25th Anniversary Five-Part Mini Series Event
Thelma & Louise
Directed by Ridley Scott
Written by Callie Khouri
Released by MGM on May 24th, 1991
Nominated for Six Oscars
To celebrate the anniversary of this bonafide girls gone wild classic from 1991, Team Experience is revisiting the picture, tag-team style all week long (like we did with Rebecca & Silence of the Lambs, y'all!).
While the film begins in Arkansas, we're taking an alternate route. Grabbing the keys to begin this road trip is our own dazzling female duo over in Los Angeles, Anne Marie and Margaret. - Editor
Pt 1 by Anne Marie and Margaret
Anne Marie: 00:01. Fade in on an opening credit sequence that pulls every single late 80s/early 90s cliche. Heat-baked street? Check. Twanging guitar? Check. Harmonica solo? Check.
Margaret: Based on this alone, I would definitely expect to be watching a serious action-drama about a lovable renegade cop
Anne Marie: I mean, it's in that vein. As Susan Sarandon has pointed out (love this woman, and love how much she talks about this movie), Thelma & Louise basically is an outlaw buddy movie in the vein of Butch Cassidy & the Sundance Kid.
01:10 But more on that later. Right now let's talk about HANS ZIMMER WROTE THIS SCORE?!?
Margaret: Hans Zimmer contains multitudes.
Anne Marie: As long as those multitudes contain at least one louder-than-necessary instrument solo. In all seriousness, there is a lot of talent behind Thelma & Louise, which you get to see just in the opening credits roll: Besides our two incredible leading ladies, the incomparable Geena Davis and Susan Sarandon, we've got baby Brad Pitt without an ounce of baby fat on him, Harvey Keitel (happy belated birthday!), Michael Madsen, Christopher McDonald, and it's written by Callie Khouri, who would one day give us Nashville. Not the Altman.
Margaret: And never let us forget character actor workhorse Stephen Tobolowsky, who also appears here in compliance with state law. I also often forget that this is a Ridley Scott film. It doesn't have a "Ridley Scott film" kind of place in our cultural discourse, though it's got at least as much pop permanence as Blade Runner. (When was the last time Blade Runner got referenced in a Country radio hit?)
Anne Marie: Definitely.
02:15. Moving on, we introduce Our Fair Heroes. It's actually a great bit of screenwriting, because we learn exactly who each lady is just by this introduction
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