synopsis:

'thelma & louise' begins with Thelma and Louise, tired of their lives, trapped in stale jobs, stale relationships, eager to get away from it all, if only for a weekend. They make a small break from the structure of their lives, but in the process they find themselves propelled further and further outside of structure. Daring to stop and grab a bite at a honky-tonk truck stop, they cross limitas, a dangerous portal into another realm. There, they are pursued by a would-be rapist, who is shot by Louise before he can rape Thelma. They then run for it.as they run, they get deeper and deeper into trouble, further and further outside the law. They lose their cash to J.

D., a hitchhiking cowboy, and have to rob a convenience store to get more. And the police are on their tails. They lock one officer, who stops them on the highway, in his own trunk after stealing his gun. And they blow up the very symbolic gas truck of a truckdriver who harasses them. All of this takes place in the desert southwest as they head toward Mexico.

And while the literal plot is unfolding, so is another plot. Both women are discovering the terror and the excitement of being on their own, outside the law, for the very first time completely, wildly independent and free. They have stepped outside not just of the legal structure and the social structure but of structure itself. They are letting go, and the experience is awful.

While Thelma is robbing the convenience store, Louise notices two made-up matrons in a shop looking at her sitting in the car, and she starts to put her old face back on. But after a few seconds of trying to apply lipstick and stroking back her hair, she throws the lipstick out the car, giving up on the
attempt to fit in.

Liberated by her experience robbing the convenience store, Thelma says she has discovered her calling, "the Call of the Wild." But she isn't there yet. "Thelma," says Louise, "you gotta stop being so open. We're fugitives now. You gotta start acting like that." The next morning, Louise stands on a hill in the dawn and we see in her eyes as she silently watches the sun rise that she is experiencing some sort of epiphany. Further down the road, she takes off her watch and earrings and hands them to an old man sitting by the road who stares silently at her in confused wonder.

Eventually, with their car facing the Grand Canyon and the police in back, they have to decide between ultimate structure, jail, and the unknown ultimate freedom over the edge. So over they go, and at the end the camera stops the scene with the car still in the air, still ascending, a shot that does remind of the end of butch cassidy and the sundance kid.

about this movie:this tragi-comic (pseudo-)feminist road movie, starring Susan Sarandon, Geena Davis, Michael Madson and Bradd Pitt, has been hailed as a breakthrough movie, one of those surprise zeitgeist-catching hits that expresses something essential about its time.

By and large, feminists loved the movie. And most of the critical acclaim
interpreted the film from a feminist perspective; Men in general become the cause of heroines' refuge and additionally their further crimes. The relationship between men and women in the film is most of the time the relationship between victimisers and their victims or predators and their preys. There is no believe of justice on the part of female characters. The only sympathetic male in the story is the one they never meet personally — he is the Arkansas policeman who monitors their descent into deeper and deeper trouble. They are convinced that their self-defence would not be recognised as such by the policemen since there were no eyewitnesses of the whole event.