Word: thelma
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...perhaps, a woman who has had a taste of revenge and would like to gulp down more of it. Believing that no one is likely to accept their account of what happened in the parking lot, Thelma and Louise decide they have no choice but to make a run for the Mexican border. This long concluding passage of the film, rich in irony and ambiguities, is fueled dramatically by a slow, steady shift in their relationship. As Sarandon notes, Louise suffers "great remorse" about the murder. "It doesn't change the world, and in the long run it doesn...
...Thelma who spots a really cute hitchhiker by the side of the road and decides she just has to have him. With him she has great sex for the first time in her life. To him -- he's a convenience-store bandit -- she loses all the getaway money that Louise had scraped together from her life savings. But what might have seemed yet another rape, this time of a more symbolic kind, turns out to be a fair exchange. The hitchhiker, using Thelma's hair dryer as a gun substitute, teaches her the tricks of his dubious trade; soon...
Literalists criticize Thelma's erotic awakening because, they say, it could not happen so soon after the trauma of near rape. Doubtless that would be true in circumstances less special than the ones the movie sets up. The point it's insisting on is that a sudden access of freedom is eroticizing as well as empowering...
...world movies traditionally occupy. This kind of scrutiny does not happen to Raiders of the Lost Ark or that Schwarzenegger thing ((Total Recall)) where he shoots a woman in the head and says, 'Consider that a divorce.' " Sarandon insists that all concerned spent a lot of time making sure Thelma & Louise didn't turn into "a bloodlust-revenge film." Certainly, compared with the typical male- action film, the violence here is spare and rather chastely staged...
...cost, though, is high. It is toward self-destruction that Thelma and Louise's road inevitably winds. For all the time they have been out there expressing themselves, a posse has been relentlessly closing in on them. By a pleasing irony, it is led by the only thoroughly nice guy in the picture, detective Hal Slocumbe (Harvey Keitel). A patient, sympathetic man, he is this myth's wise father figure. By the time Thelma and Louise finally see him, however, he is one of a small army of cops who have hemmed them in against the top of a sheer...