Slither (1973)

Did you people see the same film I saw?

A Brilliant Conflict

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

This film is so real. It treats its characters with so much care and sensitivity.

James Cann in a rare simpleton role. He plays a guy who just got out of jail and will go with anything. He just drifts with a guy who gets shot but gives him some information that could land him some money. Then he gets picked up by the beautiful barefoot Sally Kellerman. But he discovers that she is a psycho.He contacts the brother of the guy who gave him the information. And the brother (played by the portly Peter Boyle), James Cann and the brothers wife (Louise Lasser) embark on a road trip to get the money.But a sinister looking vehicle is following them.It has so many good bits. The dialogs are fantastic and memorable. All these meandering 70s movies were awesome. Slither, 92 in a Shade and Five Easy Pieces. Somehow they celebrate the possibilities of life but it's all quite depressing in the end. Human nature messes up everything.I loved this film. I watched it without subtitles. So I had to listen hard to what they were saying. Some of the scenes were laugh out loud funny.The film has a great action sequence towards the end. It is a bittersweet road film. One which makes you confused about what to think about it.(8/10)

One could find fault with elements of this movie, particularly pacing and continuity; but the laughs and the ambiguous, fascinating characters make it great fun.Until the very end, we're never sure if anybody is who they seem to be. The quest for loot is fascinating, because it's not for a fortune, just a nice chunk of change that when split probably wouldn't amount to a year's wages at an average job. So the interest focuses on the people, their semi-silly adventure, and their uncertain relationships.One reviewer didn't like it because it wasn't tightly plotted, and he's right-- it's more realistic/absurd than that. Same reviewer also didn't find it funny, which is dead wrong. Some of the comic bits are a little shaggy dog, or sometimes crude, but most people should get a lot of laughs from it.Great cast, great acting, good enough dialog and "plot" add up to an under-appreciated (and, I suppose,under-seen) little gem.

One of those films that make you realise just how good American cinema could be in the 70s. The plot is less important than the beautifully written and performed off-beat characters, all in their own way in search of an elusive (and finally impossible) pot of gold.But perhaps the strongest feature of the film are the set pieces: James Caan gets a lift in the truck of a grumpy farmer: "Get out of my truck!" "Well, can you stop it first?"; Caan visits the 'head' in a diner, and a terrified customer comes rushing in - what's scared him?; the final ten minutes, a trailer marooned in the middle of the road, destruction all around, and James Caan finally waking up (existentially): "What the f*** am I doing here in a vegetable stand in the middle of nowhere?"Caan showing a subtle touch with light/black comedy, the glorious Sally Kellerman, Peter Boyle as always wacky as hell ...Pure gold.

"Slither" is a perfect, subversive, character-driven comedy that in its own way belongs in the same category as "Pocket Money." Both are sly, low-key studies of American losers, with McGuffins in both films merely serving as excuses for the characters to bump up against each other and to wrestle with their sweet, ever-lasting ineptitude. Not the least of "Slithers"'s triumphs is its perfect cast. Could any film fan in his right mind have imagined James Caan, Peter Boyle, Sally Kellerman, Allen Garfield, Richard B. Schull, and Alex Rocco (the latter was "Moe Green" in "The Godfather") in the same movie? Caan is wonderful as a laconic, recently released con whose brief visit with an old friend turns into a comedic nightmare involving murder, the hunt for a bag of money, and continuing sinister goings-on. The plot, which isn't meant to be taken seriously, never gets in the way of the picture's real interest: examining the human off-kilteredness that lies just inches below the surface of American life. Boyle steals the film as a classic American type, the small-town third-rate entertainer who performs masterfully at Kiwanis Club dances and similar venues. His patented shtick while emceeing an event is so breathtakingly awful, you either want to condole with him or grab a barf bag. Kellerman is equally good as every man's worst nightmare, a nut case who is likely to remind many males in the audience of a certain former girlfriend known briefly. To Caan's--and our--astonishment, she goes from intriguingly sexy to nutty to dangerously nutty in all of 15 minutes of screen time; nor can he get rid of her once he's bedded her. Louise Lasser's role is small and offers her less opportunity to shine, but she's perfect as Boyle's loyal, compliant wife who never seems to know that she's married to a squirm-inducing jerk. Script and direction mesh perfectly, and Caan is terrific as an unflappable stoic who seems to have wandered into the wrong film by mistake and finds himself confronted with one outrageous situation after another. It feels cathartic when he finally lets go and belts Kellerman towards the end of the movie. An A+ for this exceptional off-beat "little" film that one day may be rediscovered and hailed as a classic of its kind.