Many of the 1970s movies that are still considered masterpieces today explore the implications of a person's actions, not just on society but on their personality as well. The atmosphere of fear that defines that decade of cinema has permanently changed how intense thrillers and heist movies were made. However, the '70s had their fair share of smooth heist films where nothing went significantly wrong, and even morals didn't become complicated.
You might think such movies would be male-centric films that have aged poorly, but a late '70s Burt Reynolds movie is an empowering exception.
Smokey And The Bandit Is A Classic Driving Movie
Burt Reynolds stars as the titular Bandit in Hal Needham's Smokey and the Bandit, which follows two daring drivers, Bo "Bandit" Darville and his partner Cledus "Snowman" Snow (Jerry Reed), who accept the challenge of driving an illegal beer shipment across state lines from Texas to Atlanta in less than 28 hours. Despite initially being reluctant, Snowman is quickly persuaded by the carefree Bandit after the latter mentions the large prize money involved.
The premise sets up a thrilling against-the-clock ride that will inevitably turn into an interstate chase when the police get involved. Snowman drives the truck with the beer in it, while Bandit runs interference during their speedy drive. He smartly causes chaos, personally incurring the wrath of the primary policeman on his tail, to draw attention, so the truck can smoothly coast through dangerous territory without being confronted by law enforcement.
Jackie Gleason plays Sheriff Buford T. Justice, who recognizes Bandit's driving style, even if he doesn't have a good idea of the latter's appearance, and becomes hellbent on catching the driver in hopes of winning the large bounty on his head. Some of the best car movies that will rev you up are from the '70s, and Smokey and the Bandit belongs in the hall of fame with them.
Sally Field's Character Was Ahead Of Its Time
During the initial stage of their return drive after securing the beer, Bandit nearly crashes into a car carrying a runaway bride who hitches a ride with him, revealing that she's Carrie, nicknamed Frog by Bandit. Sally Field brings a rebellious energy to Carrie, who has no interest in appearing dainty or adhering to the restrictive standards that defined appropriate behavior for a woman in the 1970s.
Within minutes of getting into Bandit's car in full bridal makeup, she takes off her wedding dress, praises her own legs, raves about her whimsy, and starts describing her experiences on Broadway. Bandit is entertained, but he's also forced to take her seriously after a while when she proves she can keep up with him in keeping the police busy with her skilled driving. Among bigger names, Smokey and the Bandit is a 1970s movie that's forgotten, but should be considered a classic.
The second wave of feminism was strongest during the 10 years of the 1970s, and the films of the time reflect this, even if there's a majority of dated movies from that decade as well. Princess Leia and Ellen Ripley are the most prominent figures amongst 1970s movie characters who helped reshape genre expectations by fiercely leading sci-fi action films at a time when the genre was still largely male-dominated.
Thelma & Louise didn't happen until another 14 years had passed since Smokey and the Bandit, but both the protagonists of Ridley Scott's milestone movie are reminiscent of Sally Field's character in Smokey and the Bandit, which was released the same year as Star Wars. Carrie rejects domestic life, explores her knack for hedonistic criminal behavior, and allows herself to fall in love again while basically saving Bandit at multiple points. The latter also reminds one of Princess Leia, who goes from distressed damsel to savior within an hour in A New Hope.
The Film's Lightheartedness Also Makes It Timeless
The most intense heist thrillers from the 1970s are characterized by high-contrast cinematography, shady characterization, heavy emotional arcs, and serious stakes that put the characters' lives at risk throughout the runtime. Smokey and the Bandit stands out as an exception because you know from the movie's tone that this isn't a film where things can go horribly wrong. The police are caricatures, Bandit is cocksure, and the movie is a joyride.
This tone further accentuates the rebellious energy that Carrie brings to Smokey and the Bandit, since her presence introduces whimsy into the events, while showcasing the skills that make her an ideal participant in Bandit and Snowman's operation. In a more somber film, her introduction would have felt too unserious. The light tone also provides the perfect backdrop for her loud personality to express itself appropriately, opposite the overconfident Bandit, who ends up relying on her during the job.
The Chase Sequences Are Great Even By Today's Standards
Cinematography makes and breaks heist films and car movies, since capturing the extent of anxiety-inducing stakes in a film is of the utmost importance to put viewers in the shoes of the characters, so they can enjoy the tense ride to triumph. Smokey and the Bandit has lazy editing during the character interactions and humorous moments to impress on viewers how lightheartedly Bandit takes even seriously dangerous moments he encounters in his work.
In contrast, the cinematography during the chase sequences comprises tracking shots from the bumpers and the windshield and over-the-shoulder shots from the backseat, which accentuates the high-octane nature of these moments when accompanied by the quick cuts in the editing. The thrill factor in Smokey and the Bandit is no less than in the older Fast & Furious movies or even more serious films like Baby Driver and Drive.
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