Fried Green Tomatoes

 SPOILER ALERT! The plot will be discussed.

 

Fried Green Tomatoes (1991) shows women battling those that try to keep them in subservient positions, sometimes through physical abuse. What is different about this film is that it deals with two different time periods and shows how the earlier era helps empower a female in the later time frame. The movie also focuses on racial bigotry and age discrimination. Fiction (this movie is based on a novel by comedian Fannie Flagg) set in the South often has a gothic feel, sometimes presenting the supernatural, or at least dealing with the darker side of human nature. This movie certainly does the latter.

 

The opening shot of an early model car being fished out of a river establishes that what is happening took place in the past. The image is accompanied by the other-worldly music of a single clarinet which delivers feelings of mystery and danger, sort of the way the music works in another Southern gothic-type tale, To Kill a Mockingbird. As the credits roll, so do train wheels, and they move quickly over rails. Trains play a role in the plot, but the image also is one of movement that acts as a transition to current events as a dilapidated town is displayed. There is an empty building with a worn sign that says, “Whistle Stop Cafe,” which is located next to train tracks. Evelyn Couch (Kathy Bates) sits in a car while her husband, Ed (Gailard Sartain) talks on a public telephone. (The name “Couch” suggests someone who is inactive, as opposed to the swiftness of a locomotive, and this tale is very much about Evelyn getting off a comfortable but stagnant spot and going on a personal journey). The portly Evelyn, which also implies being weighed down into passivity, stares at the old menu painted on the closed restaurant, takes out a candy bar, and starts chewing on it. She hears a train whistle and an engine chugging but there is nothing visible on the tracks. The camera moves along as if there is something passing through. There is a faint reflection of cars passing by in the windows of the defunct cafe, and the leaves on the ground blow away from the tracks. This ghostly suggestion fits in with a gothic story and adds to the merging of the past with the present. 

 

Evelyn gave Ed wrong directions, and she sheepishly smiles, acknowledging her mistake. She is lost in many ways at the start of the movie, and is the passive one in her marriage. They eventually get to the nursing home in Alabama where Ed’s aunt resides. She is ill-tempered toward Evelyn, who leaves Ed with her as Evelyn wanders off. She meets “Ninny” Threadgoode (Jessica Tandy), one of the residents, and it winds up changing Evelyn’s life. (Ninny’s last name suggests that she weaves a silver lining into the tapestry of Evelyn’s life). 

 

Ninny is a frank woman and starts the conversation by talking about having her gallbladder removed and needing a fleet enema. Her subject matter is not what the genteel women of the South usually engage in and is not what Evelyn is used to hearing. Ninny, who is from Whistle Stop, is not in need of skilled medical care but is the roommate of her friend, Mrs. Otis, and states she will leave when Mrs. Otis settles in. Ninny then abruptly mentions Imogene “Idgie” Threadgoode, and says she married her brother, Cleo. Idgie and Ruth Jamison ran the Whistle Stop Café. The coincidence of Evelyn getting lost (leading to her finding herself) at Whistle Stop right near the café and then learning about it right afterwards suggests fate is playing a role. 

 

Ninny says that Idgie was a bit wild but then adds that she can’t believe anyone would think Idgie “murdered that man.” Her line piques Evelyn’s and our interest and meshes with the opening shot of the car that suggests dire events. It also propels us into the narrative set in the past as the excellent storyteller Ninny recounts what happened. 

 Ninny says that Idgie was arrested for killing Frank Bennett, but then backtracks to when Idgie was young and played with her brother, Buddy (Chris O’Donnell) right after WWI. On the day of the wedding of her sister, Leona (Afton Smith), little Idgie (Nancy Moore Atchison) is wearing a dress. But, as she lifts her hem to walk down the stairs, scraped knees are visible, implying that Idgie is more of a Tomboy and wearing the traditional clothes of a female does not suit her. She immediately gets into a fight with the teasing young Julian Threadgoode (Reid Binion). She climbs to her treehouse and begins to shed the dress. Buddy tells stories and relates one about ducks getting their feet frozen in a nearby lake and flying off with the body of water to Georgia. He is able to charm his little sister. Idgie goes to the wedding but wears a jacket and tie showing her early rebelliousness against imposed gender roles. 

 

Ninny mentions how she had a big “crush” on the likable Buddy, who all the girls fancied. Buddy, however, was interested in Ruth (Mary-Louise Parker), who was a daughter of a friend of his mother. On the day of the wedding, Idgie, Ruth and Buddy go strolling and he tells the story about the ducks. This fairytale delights Idgie and Ruth, and is repeated in the film, adding an element of fantasy to the reality. 

 But the idyllic time the three share on that day is undercut when Buddy goes after Ruth’s hat that flies away in the wind. It winds up on those train tracks, which symbolize how life has good and bad changes in store as it passes through time. The two girls laugh as the hat keeps escaping out of Buddy’s reach, but this whimsical scene abruptly turns deadly as Buddy’s shoe gets caught in between the rails. We hear that whistle in the distance, a real one this time, and a speeding locomotive barrels down on where Buddy is trapped and kills the young man. 

 Idgie was so traumatized by the death of her brother that she exiled herself near the short waterfalls where she, Ruth and Buddy walked. As time passed, she became even more of an outsider to acceptable society. She only allowed Big George (Stan Shaw), the African American family worker, to be her friend, which in the South was rebellious in itself. He acted like a guardian angel as “he watched over her night and day.” The grownup Idgie (Mary Stuart Masterson) would stay away from home mostly and only Big George knew where she was.

 

Evelyn attends meetings to put “magic” and “spark” back in her marriage (the moderator is the author, Fannie Flagg), implying that society has left it up to her as the wife to revive the relationship, relieving the husband of all responsibility. Evelyn imagines herself wrapped in cellophane to greet Ed when he enters their house. The music playing in her head asks, “what’s become of the broken-hearted,” which implies her plan does not have a good chance for success. She imagines Ed’s response would be that she is insane. She can’t even have a romantic fantasy without it being doomed to failure. Her friend Missy (Constance Shulman) says instead of this useless group, they need, “an assertiveness training class for Southern women,” which she then admits, “that’s a contradiction in terms.” The stress here is that Southern women are taught to be submissive.

 

The next scene emphasizes the above fact as Evelyn waits at the door with beer in hand as her husband rushes through the house so he can eat in front of the TV while watching a ballgame. His only words to her are to ask her to not block his view. He confirms what she predicted when she asks what he would have thought if she greeted him only wearing cellophane. He says he would be checking her into the “looney bin.”

 

Evelyn is relegated to the waiting room again at the nursing home when they visit Ed’s aunt on Halloween (another gothic reference). Ninny sees her and the older woman mentions how smells bring back memories. Again there is that ethereal music that brings us back to the ghosts of the past as Ninny recalls eating fried green tomatoes at the cafe. Ninny says that Idgie, on a rare visit home, met Frank Bennett (Nick Searcy), and he is overly complimentary. She says her name is “Towanda,” which reflects her mythical warrior-woman persona, and says to Frank, “You a politician, or does lying just run in your family?” She sizes him up right away and the exchange shows how she is not willing to comply with playing the Southern hospitality game. 

 Mama (Lois Smith) and the family servant, Sipsey (Cicely Tyson), accept Idgie’s gift of caught fish which emphasizes Idgie’s self-reliant abilities, showing how she can exist without the presence of a man. Mama asked Ruth to spend the summer with them, hoping Ruth could connect with Idgie and bring her back to the family. But, Idgie was a renegade before Buddy’s death, and it is Idgie that draws out the courageous woman inside the meek-appearing Ruth. Ruth goes to The River Club which Big George warns does not have “church-going” people there. But Ruth feels it's her duty to reach out to Idgie, who is playing cards with Grady Kilgore (Gary Basaraba), the hulky local sheriff. Ruth brazenly grabs Idgie’s money and says Idgie must go home to her family. Ruth tells Idgie that she is being self-centered in her grief concerning Buddy, since they all lost him, and she shouldn’t turn her back on the family that loves her. But Idgie says that she goes where she wants to go, so Ruth’s argument concerning submission to Mama’s request is rejected.

 

Reverend Scroggins (Richard Riehle) gives a sermon about how evil lurks in places like the River Club, which he calls “a den of the devil,” because it has alcohol, gambling, and “sin,” in general. He equates Satan with serpents and while he speaks, the irreverent Idgie rides by, disrupting the status quo, saying Scroggins resembles a serpent himself. The reverend stresses to his congregation that evil can take a pleasing shape, implying the congregation shouldn’t be taken in by the pretty Idgie. Although these two are combative, Scroggins believes in justice and is not above bending the rules to see that fairness triumphs later in the story.

 

Ruth persists in trying to be Idgie’s friend and begs for a chance to have fun together. Idgie’s idea of fun is not what Ruth had in mind. Idgie takes her to, where else, a train, which has cans and bags of food in one of the cars. This time its movement shows it to be a vehicle for good as it allows the two women to aid the poor people on the roadside as they toss food to them. Even though they are giving away what doesn’t belong to them, they are like angels dispensing hope to the underprivileged. So, Ruth’s participation in Idgie’s Robin Hood-like adventure turns her into an outlaw, but she enjoys the role as she sees the smiling faces of hungry children running near the train so that they can get something to eat. Idgie points out that the high-minded churchgoers are hypocrites because they go to the River Club. The implication is that they pretend to be Christians but do no acts of kindness for the needy. When the time comes to jump off the train, Ruth thinks Idgie is crazy for suggesting it. But, when Idgie says to Ruth she will never jump off, implying she doesn’t have the courage to be daring, Ruth’s hidden strength surfaces. She says to Idgie, “Don’t you ever say never to me.” Ruth is the first to jump and she comes out unscathed while it is Idgie who hurts her ankle. Ruth tells her that she will help her walk. So, Ruth, through her association with Idgie, becomes the strong one in a reversal of roles.

 In an acknowledgement of Ruth showing her daring side, Idgie now demonstrates her strong will in order to reward Ruth. Idgie takes Ruth into a field where there is a huge beehive in a tree. She reaches in, grabs a chunk of honey, and puts it in a jar (she earlier brought a jar of honey to Buddy’s grave), and gives it as a gift to Ruth. The bees swarm around and land on her, but she assures the concerned Ruth she never gets stung. (There are no special effects or a stand-in as Mary Stuart Masterson did the scene herself). This incident adds another element of the supernatural as the astonished Ruth says to Idgie, “You’re just a bee charmer, Idgie Threadgoode, that’s what you are, a bee charmer.” Idgie is more one with the cosmic power of nature than she is connected to other people.

 Ruth’s friendship does bring Idgie back to having more contact with her family. Ruth is teaching religious classes to children for Reverend Scroggins. She is telling the youngsters about Job. The Bible story seems to fit what happens to people in the movie as they suffer many tribulations. Idgie is smiling as she looks at Ruth through a window, which stresses her outsider status. The next scene contrasts with the previous church setting since it takes place at The River Club, which Scroggins condemned as a place of sin. They are celebrating Ruth’s birthday and she gets drunk and plays poker and baseball for the first time with Grady, Idgie, and others. The two women are dripping wet after taking a dip in the river, and there is a sensual feel to the images. Ruth says that it’s the best birthday she ever had and declares that she never had more fun. Then she kisses Idgie on the cheek. The novel has a lesbian connection between Idgie and Ruth, but the film only hints at intimacy between the two. 

 

Idgie tells Ruth not to concern herself about getting drunk and worrying what other people think. Idgie wants to open up a whole new world of enjoyment for Ruth. Idgie tells Ruth she has only done what was expected of her, teaching Sunday school, taking care of her father before he died, and will be doing the same for her ailing mother. Ruth then surprises Idgie when she says, “and I’m gonna marry the man I’m supposed to.” Ninny narrates that Ruth married Frank Bennett, but Idgie didn’t go to the wedding, which shows some jealousy and possibly that Idgie felt that she and Ruth didn’t need men in their lives to be happy as long as they had each other. Idgie was so upset that she “swore that she would never see Ruth again.”

 

Evelyn continues to go to groups to find some satisfaction in her life. One meeting addresses female empowerment and the instructor says the women present are to explore their “own femaleness” by using mirrors to examine the “source” of their “strength” and “separateness,” their “vaginas.” This exercise is so shocking to Evelyn’s Southern temperament, she almost falls out of her chair. She says she can’t just slip off her panties because she is wearing a girdle. It is a funny scene, but it also points to how her society has put Evelyn physically and literally in restraints. The room in which the meeting takes place looks like a man cave, with animals and fish mounted on the walls and a dartboard on the door. It’s as if the macho male-dominated culture which surrounds women is difficult to escape.

 

Evelyn still tries to win her husband over with a nice dinner, but he comes in wearing baseball clothes (another testosterone-fueled image) and takes his meal again to the chair to watch a game on the TV. Evelyn says with their son on his own they can go to Florida and rent a boat like they did when they were first married. But the unromantic Ed says he likes the quiet in their house now which implies he sees no need for such a trip. She is trying to recapture the romance that no longer exists in their relationship. She says the classes she takes haven’t helped and instead of showing understanding or taking responsibility, he simply tells her to stop attending the meetings. At this point she is still looking for individual fulfillment from a man.

 

Evelyn instead gets what she needs by visiting Ninny on her own and listening to her tale of two women in the past dealing with male adversity. At this point in the story, Idgie is more at home staying with the Black servants, Sipsey and Big George, than her own family, which again shows Idgie’s lack of conformity. Idgie eventually feels the need to pay Ruth a visit and discovers Frank has hit her friend. Idgie wants to confront Frank, but Ruth tells her to leave if Idgie cares about her. Ruth most likely is implying that men have the upper hand, and she will suffer more violence if Frank thinks she sought outside help. 

 

Idgie receives a letter from Ruth that has an obituary for her mother and a passage from the Book of Ruth in the Bible that implies Ruth wants to be with Idgie. Idgie goes to the Bennett house with Big George and the now grownup Julian Threadgoode (Haynes Brooke). A mournful Ruth says she is pregnant. They begin to load up the car with Ruth’s things when Frank arrives, and he promptly smacks Ruth hard. Big George intimidates Frank, so he lets Ruth go, but not without kicking his wife, who carries his child, down the stairs, showing what a vile person he is. Idgie threatens to kill Frank if he comes near Ruth anymore, and again calls herself “Towanda, the amazing Amazon woman!” which is a persona which conjures up independent female power. But, her threat will come back to haunt Idgie.

 

There is then an appropriate transition to Evelyn looking at a tabloid with a headline about a woman killing her husband and selling his body parts to aliens. Sci-fi homicidal capitalism! (The outlandish violence in the newspaper is actually a foreshadowing of what is to happen). Evelyn probably is subconsciously building up her aggressive feelings about being dismissed, and that is why she is looking at the article. We then get a scene which will feed her anger as a rude male youth bumps into Evelyn who is carrying her bags and proceeds to call her a “fat cow” and an “old bitch.” So not only is Evelyn being dismissed because of her gender, she is also being victimized because of her age and body-shamed due to her weight. 

 

At their next meeting, the sobbing Evelyn tells Ninny she feels “useless” and “powerless.” That can be attributed to how she has been treated. But she is also stressed out and keeps eating. Men go through midlife crises, and women also can experience that feeling. As Evelyn says, “I’m too young to be old and I’m too old to be young.” Ninny discovers that her friend has hot flashes, sweats, and her heart sometimes pounds. So, menopause is complicating her situation. Ninny tells her to get some hormones to help with her symptoms. The older lady acts like a counselor here, also telling Evelyn to get out of the house and find a job. Ninny tells Evelyn that she has a “pretty complexion” and could sell cosmetics. As opposed to the nasty boy who attacked Evelyn’s looks, Ninny inspires self-confidence. We thus have a woman helping another woman to help counter the negative effects of a male. 

 

Ruth, no longer tied to her parents or her husband, now becomes part of the Threadgoode family, has her child, and stays at the Threadgoode house. That fact brings Idgie closer to her family and she and Ruth are like the parents of baby Buddy Junior, a name that honors Idgie’s brother, but also turns out to be ominous for the boy. Papa Threadgoode (Danny Nelson) gets the two women some money so that they can establish the Whistle Stop Café. Their feminist empowerment thus is fueled now by Idgie and Ruth becoming business partners. There then is a song about good-tasting barbecued meat, and Big George is cooking some food and making a sauce, another bit of foreshadowing. 

 

Grady is disapproving because of all the Black folks the two women are serving at the cafe, and warns Idgie that she is asking for trouble from certain residents in this Deep South state in this time period. Idgie says she might ask those mysterious critics “who they are under those sheets.” She implies that Grady is a member of the Ku Klux Klan since she recognized his large shoe size despite the costume. Grady has already asked Idgie to marry him so he is caught in a dilemma and says he will try to talk to the town’s Klansmen. 

 

Ruth and Idgie are compassionate toward other outcasts of society. Ruth doesn’t charge some families who are poverty-stricken. They give the friendly alcoholic, Smokey Lonesome (Timothy Scott), food and a place to sleep. 

 

While cooking up the first batch of fried green tomatoes, which Ruth declares to be “terrible,” the young women get into a laughing food fight that has an erotic feel to it as did the river scene earlier. The film’s director, Jon Avnet, said in an interview he wanted to suggest two people making love without really making love. That fact is not lost on Grady as he suspiciously eyes Idgie and Ruth smeared in raspberries and other ingredients. When he says they are coming close to disorderly conduct, Ruth plies his face with chocolate frosting. He says that Idgie has been “a bad influence” on her, to which Ruth triumphantly says, “I agree!” Ruth realizes that the rule-breaking Idgie may be condemned by the community, but for Ruth, Idgie’s contrariness has helped to set Ruth free.

 

But the laughter is undercut by the presence of Frank scoping out what is happening in Whistle Stop. He and his fellow KKK members come at night and he threatens Ruth, saying she and the baby will return to him. Society’s scorned members, Sipsey and Smokey, are the only ones there to add support to Ruth, and Sipsey is courageous as she tells Frank she is not afraid of him, another piece of foreshadowing. Frank and his fellow Klansmen from Georgia grab Big George and whip him while also breaking some windows at the café. Grady is there to warn them to stay away but tells Idgie the KKK doesn’t like her selling to Blacks, as he previously warned her not to do. He says he is not a member of the KKK despite Idgie’s accusation, as he doesn’t like being in “parades” wearing “bedsheets.”

 

Ruth goes to one of Scroggins’s revival events, which shows her balancing herself between the world of the spiritual and the profane. Her absence occurs during the Town Follies, a secular celebration in which Idgie is more at home participating. In a skit onstage Idgie is dressed as a man and Grady wears a dress which is for comic effect, but which also implies gender reversal, since Idgie never acts traditionally feminine. In contrast to these festivities, Frank arrives and knocks Sipsey to the floor as he attempts to take his boy. Big George sees him and goes to alert Idgie. As Frank heads to his car the sound of the train whistle is in the background, again sounding like an alarm alerting us that dramatic change is again about to occur. Smokey tries to stop Frank, but he hits Smokey who falls to the ground. Someone slams Frank over the head with a frying pan, buy at this point it is a mystery as to who that person is. 

 

There is a time jump to Grady introducing Georgia Sheriff Curtis Smoote (Raynor Scheine) to Idgie. Smoote is investigating the disappearance of Frank, who told his hired help he was going to see his ex-wife and child. So Smoote is suspicious of Ruth and Idgie’s possible involvement in Frank’s absence. Smoote confronts Idgie and says Frank’s hired hand heard her threaten to kill Frank, so he is looking for the evidence that will put her away. He is also intimidating as he questions Big George, since Smoote learned how attached he and Idgie are. At the same time, he enjoys eating what Grady calls the “best barbecue” in Alabama. Big George prepares the food in the back as the camera lingers on his stirring the sauce, the significance of which we learn later. 

 

Ruth tells Idgie that maybe it’s time she moved on because she thinks Idgie feels she must take care of her and little Buddy, Thus, she can’t “settle down,” which implies getting married. But Idgie says, “I’m as settled as I ever hope to be.” She is by nature unsettled, but the someone she feels most attached to is Ruth, not a man. Idgie hasn’t told Ruth what she was doing the night Frank disappeared and Ruth shows she is sympathetic to doing away with her ex-husband since praying has not helped her in the past. She tells Idgie if Frank came to take little Buddy, she would “break his neck.” Idgie reassures her that she doesn’t have to worry about Frank anymore. Ruth assumes Idgie killed Frank, but Idgie appears sincere when she says she didn't murder him. 

 

Back in the present, Evelyn looks different as she wears hipper clothing. Two women steal Evelyn’s parking space at the supermarket, telling her they are “younger and faster.” This time she will not let someone take advantage of her Southern manners and older age. Idgie, by way of Winnie, is having an effect on Evelyn losing her victimhood. She uses Idgie’s battle cry, “Towanda,” and proceeds to continually slam into the parked car that belongs to the young women. She counters their previous verbal jab by telling the car space thieves that she is older so she has “more insurance,” reversing the power position.

 

Evelyn verbally spikes her triumph by telling Ninny what happened in the parking lot. Evelyn says it was considered “bad manners” for a woman to get mad when she was growing up, but here she defies that upbringing and says, “I got mad and it felt terrific.” She no longer is willing to play the role of a female doormat and takes on her new attitude with a vengeance. She says she wants to take out all the “punks” of the world and then the “wife beaters, like Frank Bennett,” hoping to “machine gun their genitals.” She wants to right the wrongs of age discrimination and body shaming by making wrinkles sexually desirable, and banning young fashion models that “weigh under 130 pounds.” Ninny comically asks, “how many of them hormones you takin’?” 

 

Evelyn is now exercising at home and is into healthier food as she tries to change the course of her life, getting on track as it were, toward something more self-fulfilling. Of course her husband, Ed, is not on board with the new Evelyn, but she begins to reverse their roles. Her knocking down a wall in her house to let in light and air is a metaphor for how she is opening herself up to fresh ways of living. (Ed starts to respond to Evelyn’s worry about their marriage by bringing her flowers, but she later rebuilds the wall to have an extra room because she wants Ninny to move in with them. This possibility is too much for Ed, who says it’s “never” going to happen, Evelyn repeats Ruth's words: “Don’t you ever say ‘never’ to me,” which shows how the courage of Ruth in the past has brought the gift of empowerment to Evelyn in the present). When Ed sarcastically asks if his wife is trying to kill him with the low cholesterol diet, she says if she was going to kill him she'd use her hands, a masculine response. Even Ninny is worried about Evelyn’s extreme turnaround as she tells Janeen (Latanya Richardson Jackson,) a worker at the facility, that Evelyn said she gets the urge to hit Ed with a baseball bat when he watches a game on television. Janeen, obviously knowledgeable about the negative side of men, humorously says, “Oh hell, that seems normal to me.” Evelyn is thinking about using the baseball bat, a possible phallic image, and thus reversing the power roles by employing the male symbol of force against the neglectful and inconsiderate man in her life. 

 

The possibility of Evelyn killing Ed is only a joke in the story in the present. But the narrative in the past contains the real doing away with a man. Ninny says that five years passed since Frank disappeared. Smokey was missing for those five years, and now shows up again, suggesting that maybe he was the one who killed Frank. Smoote still shows up looking for the killer, but also so he can enjoy the barbecued meat. There is that ominous train whistle again in the background and the train zooms by, as someone calls out in alarm for young Buddy (Grayson Fricke). Will history repeat itself? Almost, as the revolving wheels of the train, possibly implying the passing time on a clock face, reap Buddy Jr.’s arm. 

 After drenching rainfalls, Frank’s truck surfaces, like a dark memory that will not be suppressed. Grady tells Idgie that she and Big George will be under arrest for murder. He says that if she runs off the authorities will be satisfied with executing Big George, since nobody wants to hang a woman, especially a white one. Grady says this racism is just the “facts of life.” But the rebellious Idgie will have no part of institutionalized bigotry. 

 

At the trial of Idgie and Big George, Percy, (Macon McCallman), the prosecuting attorney, tries to make it look like Idgie manipulated Ruth into leaving her husband and then she and Big George, who he slanders with racial slurs, murdered Frank. Idgie is confrontational and sarcastic on the witness stand. She never compromises as to what makes her who she is. Ruth dismisses the notion that she was controlled by Idgie and says she went with Idgie because she was “the best friend” she ever had, and declares that, “I love her.” In this context, a platonic love is assumed, but Ruth does not qualify her affection, despite the prejudice of this time and place against true love between women. 

 Back in the present, Evelyn looks classy with her new clothes and hairstyle. She also has slimmed down a good bit and has a job selling cosmetics as Ninny suggested. She discovers from Sue Otis (Carol Mitchell-Leon), Mrs. Otis’s daughter-in-law, that Ninny's house was condemned and torn down, but nobody told Ninny so as not to upset her. After hearing the news about Ninny’s house, Evelyn walks through the nursing home and as she observes old people in wheelchairs the look on her face shows worry. She may be concluding how people, like houses, are subject to the ravages of time. Evelyn goes to Ninny’s room for the first time and she sees the wall full of pictures of Ruth, Idgie, and the Threadgoode family, along with paper roses, which at least can’t decay. It’s Ninny’s birthday, which adds to the emphasis on the passage of time. Ninny says she can’t believe she’s eighty-three, and says, “it sorta slipped up on me.” All of us as we get older feel exactly like that. Evelyn has brought fried green tomatoes instead of a birthday cake as the past merges with the present. 

 

Ninny looks sad as she thinks about Ruth, who began to lose her appetite after the trial. As Ninny says that Ruth’s cancer was found to be so advanced that she only had a few weeks to live, there is a shot of an engineer oiling a locomotive, again connecting the train to the inescapable approach of death. Ruth wants to hear the story about the ducks flying off with the lake. Idgie says that was just a lie, but Ruth just wants to hear a tale, which although not true, serves a beneficial purpose as opposed to most lies. She is just like the rest of us, which is why we read books and go to movies. The best stories show us what is genuine about the human condition. Ruth passes away as Idgie finishes the tall tale. One finally escapes the onslaught of time when a person leaves this earth behind. Sipsey seems to understand the way of things as she stops the pendulum of the clock in the bedroom and tells Idgie, “Let her go. You know, Miss Ruth was a lady. And a lady always knows when to leave.” Director Avnet said that life has no close-ups, no cuts, so he staged this scene so that Idgie was not looking at Ruth as she told the story, and the audience might not notice Ruth’s passing if not paying attention. He said that’s how life is. We may miss some dramatic events. After hearing about Ruth’s fate, Evelyn confesses to Ninny what most of us are afraid to give words to. She says, “I hate death. It scares me so,” whereas Ninny says she’s much older and is not afraid of dying. This film addresses the different ways people live their lives in the face of that fear. Ninny offers later that what gets us through the tough times is knowing that the most important thing in life “is friends. Best friends.”

 

Evelyn goes to the nursing home another time to find Ninny’s bed empty and an attendant peeling Ninny’s roses off of the wall, like a grim reaper. Evelyn thinks Ninny died, and is devastated until she discovers it is Mrs. Otis who is deceased. Ninny discharged herself to go to the home that no longer exists. When Evelyn catches up with Ninny, the older woman is distraught when she sees that her house is no longer standing. Evelyn cheers her up by saying how Ninny, through her stories, has changed Evelyn’s life, and now makes her glad to get up in the morning. Ninny isn’t worried about herself because she is selfless. She is upset because she no longer has someone to take care of, as she did for her child, husband Cleo, and then Mrs. Otis. Evelyn tells her that she can come live with her, and that she would be a blessing for her and Ed, thugs giving Ninny a purpose. 

We then learn the truth about Franks Bennett’s death, since Ninny discovered what really happened from Mrs. Otis, who was Sipsey’s younger sister. It was Sipsey who picked herself up after being hit by Frank and used her frying pan to bash in his skull. It is interesting that the Black female domestic uses a tool of a servant to dispatch a white supremacist woman abuser. Sort of like divine justice. They know that the Alabama society will not believe the alcoholic Smokey, and the Blacks and their friend, Idgie, that the death was in self-defense and to prevent a kidnapping of a child. Idgie, Big George and his mother, Sipsey, devise a coverup, which is pretty dark. Idgie tells Big George that “it’s hog-boiling time.” There is only the suggestion of what takes place, but we know that Big George is barbecuing an unusual cut of meat. The Georgia lawman, Smoote, comments on how good the food tastes, and Sipsey says, “Secret’s in the sauce,” which is really true, as the director pointed out in an interview, since the mystery of what happened to Frank rests there. Idgie looks horrified to think that Smoote might discover the mystery since he is eating Frank’s cooked remains. Nothing like a touch of cannibalism to spice up a story. Smoote finally found Frank’s body, but just didn’t realize it.

 

Director Avnet said that fried green tomatoes are like the enigma that is the South. The tomato “hasn’t made it to ripeness, it’s dipped in batter. It’s bad for you, but it tastes really, really good.” The café and the food conjure up the hospitality of Southern culture. Of course the cooking of Frank’s body subverts that idea, and brings in that gothic element. 

 

Evelyn and Ninny find a jar with a honeycomb in it at Ruth’s grave with a note from Idgie. Evelyn is astounded to learn from Ninny that Idgie is alive, still “charming bees.” She says that sometimes she believes she catches “a glimpse of her.” Evelyn looks intrigued and says, “Maybe we’ll see her today.” Ninny replies, “Maybe,” and she has an enigmatic look on her face. There has been the suggestion that Ninny is really Idgie. The film possibly implies that, since Ninny never appears in the flashbacks as a younger woman. In Fannie Flagg’s book it is evident that they are separate people, and it would be weird for Ninny to say she had a crush on Buddy, since he was Idgie’s brother. It is more likely that Ninny put the honey and the note there to emphasize that these fascinating people live on through the retelling of stories, just like the fanciful ones that Buddy used to tell and were repeated by Idgie, who then told them to Buddy, Jr. Ninny says as much when she tells Evelyn, “All these people’ll live as long as you remember ‘em.”

 

As Ninny and Evelyn walk away, Ninny’s voice-over says that after Ruth died and the train no longer came to Whistle Stop, the café was shuttered, and everybody “scattered to the winds.” She adds, “when the café closed, the heart of the town just stopped beatin.’ It’s funny how a little place like that brought so many people together.” It is ironic that two social outcasts and their Black friends were a magnet that attracted others to this Alabama town so long ago. Whistle Stop is now a ghost town whose spirits live on in the tales told about it which incorporates individuals and transcends them.

The next film is The Mouse That Roared.

Thelma and Louise

SPOILER ALERT! The plot will be discussed.

Since this 1991 film directed by Ridley Scott deals with the sexual abuse of women, I thought I would issue a reminder about my new novel, The Bigger Picture. It is a mystery for movie lovers, and it contains a #MeToo theme. All of my earnings are being donated to the Bryn Mawr Film Institute. The link to Amazon is: https://www.amazon.com/Bigger-Picture-Augustus-Cileone/dp/0997096284/ref=sr_1_1?s=books&ie=UTF8&qid=1527711220&sr=1-1&keywords=cileonea

Men do not come off well in this Oscar winning script by Callie Khouri. However, the movie serves up its indictment of the male predatory inclination toward women with a side order of humor which helps to make the message entertaining. The first shot is of a road in the open, unpopulated part of the American landscape. It sets the stage for the road picture that follows, only this story’s travelers are two women instead of the usual couple of male buddies. But, it is also the vastness of the land on either side of the paved passageway, which can represent the accepted path to follow, that gives a sense of freedom from the restraints that society dictates. This film is about outlaws in the broadest sense, those who find themselves rebelling against repressive confinements (a theme similar to last week’s Kiss of the Spider Woman).

Susan Sarandon’s Louise Sawyer (the last name reminding us of Mark Twain’s Tom Sawyer, making a connection between Louise and an adventurer and rule-breaker) works as a waitress in a diner type restaurant. She is obviously making meager earnings in a marginal job usually assigned to women. She tells some female adolescent customers who are smoking that they are too young to engage in that vice. She makes it relevant to them by saying it will ruin their sex drives. This scene establishes Louise as a wannabe maternal figure who has never achieved motherhood. The next shot undermines her advice as we see her smoking. So, she doesn’t practice what she preaches. This duality in her nature appears several times in the story.

Louise is excited about breaking away from her dreary job by going on a short getaway with her friend, Thelma (Geena Davis). But in a phone call, Louise learns that Thelma hasn’t “asked” husband Darryl (Christopher McDonald) if she can go. Thelma shows how up to this point she is intimidated and subservient to her spouse. Darryl curses at her and is impatient with Thelma when she asks if he wants something special for dinner. He says he doesn’t “give a shit” what’s on the menu, exhibiting his uncaring attitude toward his marriage. He says his job workload on Fridays might prevent him from coming home for dinner. She questions why is it so busy on a Friday evening all of the time. There is an implication that Thelma suspects he’s having an affair, but she is too timid to confront him with an accusation. He is condescending as he says it’s a good thing she isn’t in his trade, the carpet business, which he makes sound like it’s equivalent to working for NASA. The two women have plans to go to the mountains where they can stay at a cabin owned by Louise’s friend. Louise says they can learn to fish since it must be easy if Darryl can do it. Louise can be comically insulting about Darryl’s intelligence since she knows Thelma must regrettably agree with her.

We initially find that Louise is the more rebellious one, but her protege, Thelma, surpasses her as the story goes on. Louise tries calling Jimmy (Michael Madsen), her boyfriend, but he is not answering, and his absence, playing gigs in his spare time as a musician, is a sore point for Louise, pointing to her belief that men are not there when she needs them. In her kitchen sink area, instead of the usual handle, there is a figure of a man straddled over the faucet that makes the spout look like a large penis. This image shows how Louise is sexually uninhibited, but it also conveys that she wants to be the one in control of how that spout is used. She drives a flashy Ford Thunderbird convertible. The Thunderbird is a muscle car,  and the bird it is named after, in Native American stories, causes lightning and thunder. Thus, the automobile is symbolic of Thelma’s desire for female empowerment.

Thelma starts the journey in a state of trepidation, and upsets Louise by bringing along a revolver for protection against psycho killers, bears, and snakes. Thelma tells Louise to hold the gun, thinking she knows more about how to handle it. This act sets the stage for what happens shortly, and is ironic, since Thelma will eventually show her ease with handling a firearm. She tells Louise that she wants to take along a lantern in case a psycho is after them up in the mountains and cuts off their electricity. Louise says jokingly that the lantern will come in handy, as if it will be a great deterrent against a maniac killer. Louise kids Thelma’s fearful logic by saying maybe she should take her car, too, in case the psycho steals their spark plugs, and then they will have spares.

Thelma says she didn’t tell Darryl about going on the trip. Louise is shocked but impressed that she defied her husband’s wishes, which, according to Thelma, is that she just stay home and never have any fun. Thelma just left a note and food to microwave. Thelma starts to hold a cigarette. When Louise asks what she’s doing, Thelma says, “Smokin.’ Hey, I’m Louise.” She is beginning to mimic her renegade pal, becoming her student. She is like a catholic schoolgirl escaping the priest’s iron rule. But, when Thelma hikes her legs up on the car seat, which can reveal too much as the wind blows up her skirt, Louise wants her to be a bit more modest. Her protective, motherly side appears again, which derives from what we later  learn was a traumatic event that she experienced while living in Texas before moving to Arkansas.

Thelma wants to go to a truck stop, but again Louise, showing her worry about being around strange men, wants to keep going. She eventually gives in when Thelma reminds her that Louise was the one who wanted her friend to “let down her hair,” and have some fun. They stop at the Silver Bullet (a sign that women may need a weapon like the one that kills werewolves, equating some men with the bestial monster). There are lots of people in this joint, playing pool, and listening to country music. Louise says she has not seen a place like this since she left Texas (which means she wanted to leave behind the life that this bar signifies). Thelma orders a Wild Turkey, with emphasis on the “wild” part, which shows how Thelma appears to want to cut herself loose from her constricted life (but which also points to the “be careful what you wish for” warning). Louise is worried about Thelma opening herself up to exploitation by reacting too quickly and extremely to her newfound freedom. Thelma, resembling a rebellious teenager, says it’s her vacation, and Louise is as bad as Darryl, trying to control her. Louise responds by saying she is just surprised because Thelma is usually so sedate. Thelma says she’s had it with being sedate. Louise plays along and also orders some alcohol, but Louise wants them to have girl fun, without men.

A handsome guy named Harlan (Timothy Carhart) hits on them right away. The waitress, (Carol Mansell) knows his philandering ways, and asks if he is bothering the women. Thelma says to the questioning Harlan that she and Louise were out looking for some fun. Thelma is an innocent who trusts and reveals too much around what the experienced Louise sees as a potentially dangerous threat. Louise tries to put the guy off, telling him to mind his own business, and blows smoke in his face. Thelma promises to dance with Harlan later, and after he walks away, blames Louise (who has those two sides to her) for sending out mixed messages about having a good time and then acting like a chaperone. Thelma says she knows that Louise is upset with Jimmy, and Louise’s plan is that once Jimmy sees she’s not around he’ll be begging her to come back. In the meantime, Thelma says she wants to enjoy herself. Harlan treats them to drinks. Thelma says to Louise that they should dance, but Louise thinks Thelma means the two of them, as can be seen by her bewildered look when Thelma goes off with Harlan. Again, Louise wants to keep the vacation restricted to themselves. Louise dances with a guy, too, and then they all do line dancing. But, Louise goes back to the table leaving her dance partner with a  regretful look on his face (Scott is good at getting the actors to convey their feelings without using words).

Thelma has drunk too much and, along with the dancing, feels dizzy. Louise says she is going to the restroom and then wants to leave. Harlan says Thelma needs to get some fresh air, and they go outside to the parking lot. Louise is in the Ladies’ Room which is filled with women doing their makeup and griping at each other about getting space in front of the mirror. The quick scene shows how women are put in the position of worrying about their looks so they can attract men. They are made to turn on each other in this competition with other females. Outside, Harlan starts to make advances, but Thelma says she has to keep walking, and wants to go back inside. Harlan just wants what he wants, and tries to hike up her skirt. He says he wants to kiss her, while saying he won’t hurt her. This reassurance is actually a reminder that the threat of harm is present. She says she’s married, and he says so is he. She says it to stop any sexual intimacy, but he acts like it’s okay as long as they will be consenting cheaters. His promise not to hurt her is a lie, and he hits her when she resists. When she fights back, he hits her hard twice, and says that she dare not hit him, as the thought of a woman using force to turn away an attacker won’t be tolerated. Harlan is ready to rape Thelma when Louise shows up pointing, appropriately, Thelma’s gun at his head. He backs off. After the two women start to walk away, Harlan says he should have raped Thelma, and uses vulgar language toward Louise. She then shoots him. Here, and in the rest of the movie, men who feel they have the upper hand are deprived, legally and illegally, of their power by Thelma and Louise.

Louise wants to flee immediately, and Thelma drives them away. Thelma is hysterical and wants to go to the police and say Harlan was trying to rape her. But, Louise, as we learn based on her own experience, knows the reality behind the situation they are in. Since Thelma was dancing and laughing with Harlan, society will not take her word that Harlan went too far. The implication is that the sexist legal system is prejudicial in blaming the female victim for encouraging the male sexual behavior, arguing that the male can’t be responsible for his actions once aroused. They pull over, and Louise, temporarily derailed by the situation, vomits, but then is able to take over the driving, and the situation. At a coffee stop, Louise says they must not panic. She tells Thelma that nobody saw them at the shooting. In response to Thelma’s objections, Louise says if Thelma wasn’t so into having fun they wouldn’t be in this situation. Louise here is practically taking the position that women who arouse men are at fault for the abusive actions that follow. Thelma rightly and shockingly asks, “you mean this is my fault?” Louise, after what happened to her in Texas, knows Thelma didn’t do anything wrong. Louise knows that you don’t blame the victim when it is the perpetrator who inflicted the suffering. Thelma calls home in the middle of the night, reaching out to her husband in her desperate situation. But, there is no answer, as we see the untouched note she left next to the uncooked TV dinner in the microwave. Darryl was out, probably cheating on his wife, so he is no help to Thelma in her time of need.

Harlan is dead, and Detective Hal Slocumb (Harvey Keitel) questions the truck stop waitress who says that the two women, whom she says she can identify, who were associating with Harlan, weren’t the type to kill him. She says Harlan’s ways caught up with him, and she hopes it was his wife who did him in, but it was probably an old girlfriend, or her husband that committed the crime. She seems to be trying to protect Thelma and Louise in an act of sisterhood (similar to the women in Big Little Lies).

While stopping at a motel, Louise says they need more money, and the two squabble about what to do next. Louise cries, and says she can’t go back to jail (does she know how rape victims are treated because she was incarcerated for what she did to her rapist?) While alone, Louise is very upset, vigorously wiping Harlan’s blood off of her, like a guilt-ridden Lady Macbeth. She calls Jimmy to get him to wire her money. She reaches out to her man, like Thelma did. When she asks Jimmy if he loves her, he gives a halfhearted “Yeah.” So she, like Thelma, feels that she can’t rely totally on a man. But, Jimmy is more decent than Darryl, and says he’ll get her the cash, which Louise says should be sent to Oklahoma City, where they will be headed.

While Hal’s boss, Max (Stephen Tobolowsky), says to put out an APB on the women based on the descriptions they have, Louise tells Thelma that after they acquire the money, she wants to head to Mexico. She wants to know if Thelma is willing to go with her. Louise doesn’t want to involve their men in what’s happened, so she tells Thelma to call Darryl and say they’re having a good time and she will be back home soon. But Louise also doesn’t want to involve Darryl and Jimmy more than necessary since she just doesn’t trust men after her violent encounters with them. Both Louise and Thelma feel increasing anger toward males. At a stop, Louise is hostile to a guy gawking at her, as she feels she can’t escape the leers of men. While on the phone with Darryl, Thelma can’t even get her husband to care about what she is saying. He just yells at her for taking off, and is annoyed because she has interrupted the football game he’s watching. He demands that she come home that night. She gets angry, says he’s her husband not her daddy, so he can’t demand anything of her. She is finally asserting herself with him, and tells him to go “f---” himself.”

On her way out of the phone booth, Thelma bumps into J. D. (Brad Pitt, in the role that put him on the road to stardom). She seems flustered, and the first thing he says is “crazy women.” Notice his use of the plural; he’s not just talking about one individual, but instead makes an unfounded generalization about “women” as a whole group. But, he is a great looking guy, and because it is difficult for women to break away from how they have been brought up, Thelma puts on some makeup in the car to enhance her attractiveness. J. D. is very mannerly and tells Thelma he needs a ride because he is trying to get back to school, which is an obvious line to anyone who has a lick of sense. She again, despite her being attacked by Harlan, is too believing and open, revealing to him that they are going to Oklahoma City. Louise blows J. D off. Thelma says he was so polite and wants to give him a lift, but Louise just looks at Thelma and says her name, as if to imply “why don’t you wise up,” especially given that they are on the run. Thelma goes into a store and buys little bottles of booze, even though the shopkeeper says it’s cheaper to purchase a big bottle. Thelma is mentally caught between two worlds: her “sedate,” in-her-place safety with Darryl; and the wild, fugitive mind-set to which she is trying to acclimate herself. Buying the liquor shows on the one hand that she wants to cut loose, but purchasing the tiny bottles lets her think she is still hanging onto her protected, married world by indulging herself responsibly.

Louise guns the car in reverse to get to the gas pump, which shows how even though she is trying to hold onto control, there is turmoil underneath wanting to break out. Thelma asks how long will it take to get to Mexico, which shows she is onboard with the plan, and Louise just smiles to show she is glad her friend is hanging in there with her. Thelma observes J. D. walking away from them, and says what a nice butt he has. Her sexual passion is breaking free, and she is acting more like the pursuer instead of the pursued. Louise, wary of men, diverts her by asking Thelma to find roads on the map to Mexico from Oklahoma City which do not go through Texas. Thelma points out how impractical it is to avoid Texas, but Louise won’t tell Thelma what happened there that makes her want to avoid the state.

We are not given a step-by-step exposition of the detective work here, since that is not the focus of the film. So, how Hal learns out about the identity of the women is not well explained, except someone at the truck stop described Louise’s car. As Hal shows up at Thelma’s place, and basically breaks in to gather information, we see the women singing in the car, feeling free despite the circumstances. They run into J. D. again, and Thelma acts like a dog begging for a bone, sexual innuendo intended, and Louise reluctantly gives J. D. a lift. Meanwhile Hal visits Darryl, tells him about the shooting at the Silver Bullet, and says his wife is involved.

While Louise drives, J. D. asks why Thelma has no children. She says her husband is too much of a kid himself and prides himself on being infantile. Louise gets off a zinger saying, “He’s got a lot to be proud of.” Thelma says she started dating Darryl at age 14 and married him at 18.  She candidly, and probably too quickly , admits to not having been intimate with anybody else. Her statement shows how limited her life has been. J. D. notes that the way Louise drove off the road (the symbol of the legal path) in a hurry to avoid a police car makes him suspect they are in trouble. He jokingly plays down his suspicions by saying maybe she has too many parking tickets. Louise, again not trusting men, wants to separate themselves from J. D., wisely not wanting him to know more about them in case he is later questioned by the police.

Hal reports to Max that Thelma and Louise never reached the cabin they were going to. He somehow finds out Thelma took a gun with her, but Darryl said she never touched it. The fingerprints on the car where Harlan was shot match those of Thelma, which Hal probably got from her house, but gain we are not given this information. Meanwhile, Jimmy surprises Louise by showing up at the motel where she is supposed to pick up the money. Jimmy gets two rooms for the women. While alone, Thelma says she thinks that Louise really likes Jimmy, but Louise says he just likes the “chase” part of going after a girl. Louise shows her cynical attitude about men and romance here. Thelma, following up on the “chase” line and the fact that they are on the run, jokes by saying Jimmy “sure got his work cut out for him now, don’t he,” Louise, not in a joking mood, then tells Thelma to guard the money. Why she gives the cash to Thelma doesn’t make much sense, except as a contrivance to present a problem later in the plot.

In the room they are sharing, Jimmy wants Louise to tell him what’s going on. He displays his temper when she doesn’t respond, knocking over a table. Louise, who will not tolerate such aggressive male behavior, starts to leave. He calms down, and then offers her an engagement ring. He says he was afraid he was going to lose her, but she says that’s not a good reason to get married. She says she thought it’s what she once dreamed of, but given what’s happened, she no longer sees a romantic relationship with a man as being possible in her life. He says that she’s not the only one who didn’t have their dreams come true. She says to him what she said once said to Thelma - “we both got what we settled for.” She seems to be saying that they are all responsible for having low aspirations, capitulating to the burdens the world places on them.

We have the two women paired off, as J. D. shows up at Thelma’s room. While playing a slap-hand game, J. D. says Thelma has to take off her hand jewelry, including her wedding ring, which symbolically makes her free to be with him. She knows he’s no student, and he admits to robbing liquor and convenience stores, and a gas station. He’s also on the run, having violated his parole. Since Thelma is on the off-road to breaking rules, she is intrigued by him. She picks his brain about his robberies. He says he checks out a place, and his rendition of what he says when he robs an establishment is very civilized and humorous. He says, comically, that armed robbery doesn’t have to be such a negative experience. It can be something to tell your grandchildren about, sort of an upside-down version of a benign anecdote. Thelma and Louise don’t seem to be cut out for lasting relationships. Their intimacies here with men are brief. Louise has sort of a goodbye tryst as she is nostalgic about how she and Jimmy first met. In contrast, Thelma’s lovemaking with J. D. contains the heat of her first true passionate encounter.

Before he leaves, Jimmy promises he won’t say anything about seeing Louise. At breakfast, Thelma has mussed hair, and love marks on her neck. She says now she knows why there is so much fuss about sex, having broken the rules by indulging in an extramarital fling to achieve her physical self-fulfillment. Louise, in a kind of odd motherly tone treating the grown Thelma as her child, says she is so happy “you finally got laid properly. That’s so sweet.” She almost sounds as if she is praising her daughter for getting a part in the school play. But, Thelma’s gain comes with a cost when Louise realizes Thelma left J. D. alone with their money, which he ran off with. So, even though Thelma had a life-altering experience, in the end, the man still exploited the woman. Louise breaks down, feeling powerless. Thelma, learning from her mentor, takes charge and says it will be okay. Thelma tells Louise not to worry, and she is the one who tells her they must get going. Louise was previously the one to urge moving on. Thelma now takes command.

The cops show up and tell Darryl that they tapped his phones and want to try to figure out where his wife is. They tell him don’t let on that he knows anything about what happened. Max tells Darryl to be gentle on the phone and say how much he loves Thelma. Darryl looks like this advice sounds crazy to him, as if expressing affection is alien for a man. Max says, “women love that shit.” He is just as guilty of not being able to understand women, implying men aren’t really sweet and caring by nature, but they just have to pretend to be once in a while to get what they want from women.

While Thelma goes into a market, Louise gazes at some old women in a building. The expression on her face implies that she is thinking about how she will appear when she ages. Her fear of losing her attractiveness is evident as she starts to put on some makeup (mirroring Thelma earlier), because she, too, as a woman, has been programmed to be constantly concerned about how she looks. Louise’s lapse into traditional female role playing is placed in counterpoint to Thelma’s unladylike running out of the store after robbing it. We see on the surveillance tape reviewed by the cops that Thelma used J. D.’s amusing style to rob the place. She said, “Who will win a prize for keeping their cool.” She said the people in the store had a choice. They will either have an interesting tale to tell their friends or will get to wear toe tags. She says, “If nobody loses their heads, nobody will lose their heads.” The policemen and Darryl watch the tape and are practically rendered speechless by Thelma’s audacity, showing how she derailed their expectations that she, as a woman, would act meekly. Louise says maybe Thelma found her calling, and Thelma says it’s “the call of the wild.” They are now outlaws because playing their prescribed parts in the male world was like being in jail already, and now they whoop it up because they feel liberated from their gender prison. Yet, ironically, they still follow some of society’s rules, trying to find an anchor that will stop them from being totally socially adrift. That is why Louise, despite their other serious infractions, tells Thelma, in comical contrast, not to litter.

At a rest stop, Louise takes off her jewelry, just as Thelma removed her rings when she was with J. D., and exchanges the objects for an old man’s hat. It’s as if she doesn’t want to devalue herself anymore by being adorned in order to be pleasing to a man’s eye. The women discuss their legal stance by admitting that there is no evidence showing that Harlan tried to rape Thelma. Louise humorously says they can’t argue Thelma’s stealing from the store was allowable since there is no such thing as “justifiable armed robbery.” So, the legal system comes up short for them since it won’t give enough weight to their word about what happened.

Even though Jimmy said he wouldn't say anything about meeting Louise, once the police confront him, we find out that he told the cops that he delivered the money to Louise. This is another example of a woman being betrayed by a man. Darryl is at the police station when J. D. shows up, whom the cops bring in for questioning because he has on him the same amount of money that Jimmy delivered. Jimmy told them he saw J. D. with the women at the motel and then identified J. D. from mugshots. Alone, Hal, who seems to be the only one with sympathy for Thelma and Louise, blames J. D. for having stolen their money that caused them to commit the robbery. Otherwise they would have had a chance to prove why there was violence at the Silver Bullet. Darryl’s ego gets knocked down another peg when he is humiliated as J. D. lets him know he had sex with his wife.

Louise wants to know if the police are onto them so she wants Thelma to call Darryl (Don’t they realize that the store Thelma robbed would have a surveillance camera?). If Thelma suspects by the way Darryl reacts that there’s something not right, she is supposed to hang up so as not to be traced. Since he is never nice to Thelma, all Darryl has to say is “Hello” in an upbeat way to make Thelma hang up and say he knows about their situation. Louise calls back to talk to the cops. Hal says they have not charged them with murder yet, and they just want them for questioning. He says he doesn’t think they will make it to Mexico. Louise hangs up, and is angry, as Thelma admits that she told J. D. about going to Mexico. Louise says what they had “going for them” was the police didn’t know where they were or where they were going, and now “that’s gone.” Louise tells Thelma she has to stop being so open with people. They are fugitives now, and have to start acting like it. Here, Louise pulls away from her inertia and starts to deal with the situation again.

Driving at night through the southwestern part of America, Thelma comments on the beauty of this natural (that is, uninhabited, unrestricted) landscape. She says she always wanted to travel but never had the opportunity to do so. Louise says now she has. Through crime, ironically, Thelma gains freedom to do what she couldn’t while enslaved in her gender bondage. Louise stops and gets out to look at the territory, losing herself in its vastness. Maybe she is already thinking this place is where it will end for them. Perhaps society is not a place for women who defy men’s power. On the road again, Thelma starts laughing hysterically as a release from the horror of killing a man. While giggling, she says, of Harlan, “Guess he didn’t expect that.” Louise says it’s not funny. Thelma guesses that’s what happened to Louise, that she was raped in Texas. Louise stops the car and says emphatically that she is not going to talk about that. So, even though we don’t have the details, we understand, while not approving, of why Louise shot Harlan. It was a sort of retribution against all male sexual aggression.

A trooper pulls them over for speeding. He swaggers over to their car, oozing macho intimidation, gets Louise into his car, and is ready to use the police radio. Thelma comes up with her gun and puts it to his head. His bloated manliness is immediately deflated. The women are very polite and apologetic, still ironically adhering to certain social conventions, with Thelma saying if he gets on the radio he will find out they are wanted in two states, and that will ruin their plans. She tells Louise to take the officer’s gun and shoot the radio. Flabbergasted by Thelma’s calm strength, Louise comically shoots the car radio, and Thelma has to tell her to shoot the police radio. Thelma tells the trooper that one would never have thought they were capable of this behavior just a few days ago, but if he had met her husband then he would understand. Thelma shoots holes in the trunk so the officer can breathe. Before getting into the trunk, the cop, completely stripped of his inflated male authority, starts to break down in tears and says he has a wife and kids. Thelma says he’s lucky. She tells him to be good to his wife. Her husband wasn’t nice to her, and “look how I turned out.” So humor upends the seriousness of the scene, but turns it into a cautionary warning to all men (see Dietland, The Handmaid’s Tale) that if they don’t cease their abuse, they will pay for it.

Both women are practical now, getting used to their fugitive situation. They pick up extra ammunition from the trooper’s car. Thelma says it’s crazy, but she seems to have a knack for being an outlaw, her rebelliousness having been dormant, waiting for a chance to surface. Louise now shows some regret saying that they could both get killed, and maybe they should have gone to the cops, as Thelma had suggested early on. In a complete reversal, Thelma is a convert to realism, no longer believing that they would get justice within the system. She says that nobody would have believed them because of the way she was dancing with Harlan. She says people would have said she was “asking for it.” She says Harlan had hurt her and would have hurt her worse if Louise hadn’t shown up. Her life would have been ruined anyway. At least this way Thelma says she’s having some fun. She only regrets she wasn’t the one who shot him.

Max says Thelma and Louise are either smart or lucky they have not been caught yet. Hal, in a dire forecast about those who buck the system, says brains will “only get you so far and luck always runs out.” Louise calls Hal, and in response to his question about where she is, she says they are not in the middle of nowhere but can see it. Both women have developed a sort of gallows humor. She says it was just an accident how all this happened, and Hal says he believes that was the case, But it has snowballed, so now Louise says she thinks of the words “incarceration,” “cavity search,” and “death by electrocution.” She’s starting to feel that coming out alive doesn’t sound so appealing, which is a foreshadowing of the end of the film. Hal says he knows what happened to her in Texas, so he understands her motivations. She hangs up, but the police traced the call. Hal wants to be at the apprehension to keep things cool, because in these situations, he says, “the volume gets turned up,’ and Hal thinks the girls will get shot.

Louise wanted Thelma to commit to going to Mexico, but now it is Thelma who wants Louise to assure her that she isn’t giving up. Thelma says something inside of her has “crossed over,” and she can’t go back. She is beyond the point of return in her mind, the place where one has broken the rules and no longer can abide by them. Louise promises that she won’t make any deals with the police which would compromise their freedom. Louise says that Hal said they will be charged with murder, and their only choice is between coming in dead or alive. Thelma, again using gallows humor, asks, “Didn’t he say anything positive?”

Thelma, while riding along, says she is wide awake, more awake than ever before, seeing things in a different light, like a woman no longer having the wool pulled over her eyes about the role she was told to play. She is like Neo being given the truth about the falseness of his world in The Matrix. Thelma says she is looking forward to Mexico, and Louise says they will be sipping Margaritas. They ride along enjoying loud music. They keep running into a vulgar trucker who makes overtly sexual propositions. They finally engage him and when he asks if they are ready to get serious, Louise says “I think so.” But, she means to get serious in a very different way from what the trucker thinks. They pull over, and, he, like the trooper, swaggers over to them, ready to party. They tell him his behavior is lewd and disgusting. They ask how would he like it if men treated his mother, sister, or wife the way he treated them? Louise demands an apology for his unacceptable behavior. He just curses them. Louise then shoots out the tires on his rig. He just curses them more. They then shoot at his tanker and it blows up in flames. He, along with Harlan, Darryl, and the trooper, have been, literally or figuratively, shot down off their perches of abusive power.

After the phone trace, the police are now in pursuit of the women, and a car chase ensues. Louise’s fancy driving creates some Keystone Cop entertainment as the police cars get demolished, either getting involved in collisions, getting caught under a low bridge, or flipping over. The comic scene still illustrates the theme of the women undermining the male show of force. Thelma says no matter what, she’s glad she went along with Louise. With more gallows humor, Louise asks how does Thelma like the vacation so far? Thelma says she went a little crazy, and Louise says she always had it in her, just now she took the opportunity to express her outrageous side.

They are going so fast that they swerve at the end of the road and realize that they are looking at The Grand Canyon. Thelma says it looks beautiful, and perhaps so does death, now, given the alternatives. The openness of the wilderness that made them feel free is now invaded by the males hunting them. The attractive view of the Grand Canyon is undermined as the police helicopter swoops up in front of the scenery. The women have run out of alternative routes, and of freedom in this life. The men are there with their guns, their show of force, telling them again what to do. They are told to raise their hands. Otherwise, it will be considered an act of aggression against the police if the women are not subservient. Hal says to his boss, Max, “how many times can these women be f----- over?” Thelma says let’s not get caught, but instead, keep going. Louise kisses Thelma, who may really be the love of her life, and they grab hands as Louise bravely floors the car. We see various scenes that represent their lives flashing before our eyes. These two can only be free by driving into the canyon itself, merging their outlaw souls with its natural sovereignty.

The next film is Blow-Up.