THELMA & LOUISE both more and less radical than it did when first released

Set 20 years after the fact, Thelma and Louise seem both more and less radical than when first released. Cab for the last two decades as the epitome of feminist film ever released in Hollywood (almost undisputed title by a film released in the meantime) Thelma was published at a time when heroines began to seem not only viable, but also as a good business practice to female audience feel excluded by the premiums of muscular action that seemed to dominate the box office, largely ignoring the women's publications. In comparison with the heroines of today, Thelma and Louise still seems essential, and the film are actually considered as a starting theme for Ridley Scott, but the iconic badge worn so long that seems less profound statements due to filmmakers that they relate only to a cultural category that so little was offered.

Bored waitress Louise (Susan Sarandon) and bored housewife Thelma (Geena Davis) have had enough. Bored with his work, men tired of their aging, inadequate and bored with their lives. But instead of jumping directly to a shooting in the southeast, with a foreword by a brief vacation in the context of the girls weekend away. Things start well past, but once that Thelma was released in a parking lot of a stranger (which has the intention of the rape), and the showdown that ends with Louise continued to shoot, found on the fleeing of the law. Scope of repression conducted by the officer Hal (Harvey Keitel) and supported by lively tramp JD (Brad Pitt), the first two women who tried to put their lives together, but increasingly they do not want to return to had, and instead want to keep pushing the limits, provided they can carry.

Published five years after the law on foreigners and the same year, the Silence of the Lambs, Thelma and Louise has become the signature of the film as an emerging feminism, which had long been wandering in the desert. Instead of being a spokesman for the story explicitly political themes, these films put women in roles previously held by men, and to investigate the growing pains as a result of the change. Although a more complete history of cinema at the time to fully understand the social significance of Thelma (or is really in-depth explanation, or just to the right place at the right time), so far, convergence has to be made on the basis of what has come immediately before and many years of its implementation.

Since the great success as Thelma was relatively little seems to have inspired imitations. Heroines of the women's field has grown considerably, opening the door as Buffy, the bride, and even Xena, but has adapted to similar trends, Thelma looked back. The representation of women in the film, after a fairly sharply divided into two categories: hypersexualized, depersonalized action heroes (men), and fickle in the emotional burden (mostly women). Thelma and Louise did not. Instead, they are adults, who are committed to each other, but still are far from their control of the situation. Compared to their predecessors, the GN-armed, Thelma and Louise seems much more sensitive and more vulnerable to the forces around them, but also a human being.

Faced with the anger that came after them, Thelma and Louise looks really pretty tame. They do not turn to violence and that will never work unless provoked. But since their motivation is always clear and that their reactions are always real, they never come off as the fantasy projections of empowerment, but people will respond in kind to the world around them. Thelma and Louise was a real revolution in the way in Hollywood, but it is, is a revolution in progress and may be waived.

Bonus features:

There are two audio commentaries, one with Ridley Scott, and one with Susan Sarandon, Geena Davis and Callie Khouri, screenwriter of the film. There are Thelma and Louise: The Last Voyage of theater and video featurette, deleted and extended scenes (including the cover), storyboards to the final chase, and "part of you, Part of Me" Music Glenn Frey.

What is absolutely unique in Thelma does not talk about guns, or its anti-male diatribes, but the fact that the resolution that the two characters find is with them rather than be a bloody act, despite, or a sad acknowledgment of defeat. The film just famous conclusion (indeed, even gutsiest creative decision by the filmmakers), where the two women decide to leave their life instead of accepting that the rest of them would be under subjagation is not so much a political statement as much as one fulfilling a promise of friendship and that person, whether fair or not, will be able to stay away.