Crash and Burn: DIRTY MARY, CRAZY LARRY

As a follow-up to last week's post, here's one more example of the loose, no-rules cinema that dominated a decade of anti-establishment filmmaking.

The car chase movies of the 1970s were a fabulous form of escape for anyone who grew up watching them at drive-ins or chopped up between commercials on fuzzy black-and-white TV's. Gritty, disposable, outrageous—their fast-forward journeys as existential as they were literal—these future cult flicks reveled in automotive excess and the ingenuity of their clearly insane stunt crews.

The genre came into its own in 1971, its stripped-down, no nonsense sensibility showcased in the classic threesome of Vanishing Point, Two-Lane Blacktop, and Steven Spielberg's Duel (made for American TV but released theatrically everywhere else). Not content to simply feature an epic car chase as centerpiece (à la Bullitt or The French Connection), these movies for the most part were the car chase. And unlike the physics-defying stunts in recent action pics (no matter how fast or furious), the chases and crashes in these films had a visceral buzz often missing from today's computer-generated pileups.

Further refinement—and more elaborate stunts—emerged in 1974, a banner year that featured Spielberg's The Sugarland Express, the ultra low-budget Gone in 60 Seconds, and the gonzo Dirty Mary, Crazy Larry. Most of these flicks sported a nihilistic, authority-flouting temperament as defiant as any racing stripe, none moreso than Dirty/Crazy.