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New on Netflix: Dirty Mary, Crazy Larry

written by rick August 5, 2016
New on Netflix: Dirty Mary, Crazy Larry

“Well, I ain’t talkin’ philosophies, I’m talkin’ cars,” says the local sheriff in Dirty Mary, Crazy Larry, a 1974 chase movie that was all-but-forgotten until predictable super-fan Quentin Tarantino started peppering his films with references to it.

The sheriff is referring to his own department’s need for vehicles, but out of context it could stand in as the film’s tagline. Dirty Mary, Crazy Larry is in love with motion, revving engines, practical stunts, and spinning wheels. Everything else is secondary, including plot, coherence, continuity, character depth, and logic.

In other words, it’s awesome.

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Unlike its better-regarded, car-obsessed contemporaries Bullitt and Vanishing Point, Dirty Mary, Crazy Larry makes no attempt at respectability. This is exploitation through and through. (See: title.) Counter-culture icon Peter Fonda stars as Larry, who is crazy. Susan George, three years removed from a star-making turn in Straw Dogs, is Mary, who is dirty. (Because she sleeps around. The gender politics of this film are abysmal.)

The two are introduced after a one-night stand, as Fonda goes off to rob a store of $150k (because, sure, stores often have $150k lying around). She ends up insinuating herself into the heist Larry and his accomplice Deke (Adam Rourke) have planned, and the three bicker their way across the Midwest at high speeds.

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None of the rest matters. The offhand nihilism and slut-shaming gives way to long, long chase sequences, clearly orchestrated in ways no film would allow today. The camera shakes violently inside the car, or focuses in on the fetishized chrome, tires, and waves of dust as the trio flees a fleet of cops, an obsessed sheriff, and even a helicopter on loan from Fish & Wildlife. It’s that kind of movie.

Like I said, awesome. Between their hyper-verbal banter and the bonkers exploitation trappings, it’s no wonder Tarantino is a fan, going so far as to reference the car’s license plate number in Death Proof and showing the film in the background of a scene in Jackie Brown.

It’s viscerally thrilling, palpably dumb, and it’s now on Netflix for all your lizard-brain, vroom-vroom needs.

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Full Metal Jacket: One of Kubrick’s more divisive films, even among Kubrick die-hards, Full Metal Jacket remains entirely worth watching. There’s no denying the gripping urgency of its first half, a Vietnam-era boot camp hell navigated by young men out of their depth. When we abruptly shift to the war itself, some viewers think the film loses the thread; others think that’s the point. Watch it, or rewatch it, and decide for yourself.


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