Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

It's an amazing and heartbreaking story.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

In 1909, an Indian youth and his girl flee a posse pursuing him for killing the girl's father. (Based loosely on a true story).In 1969, the movie was received as part of the broader counter-cultural movement then flourishing. Certainly several of the film's themes resonated with the social justice wing of the movement, and I'm sure that for leftist writer-director Polonsky the justice-for-the-Indian theme was no stretch. Seeing the film again after 40-years, I'm struck by how generally low-key it is, despite the highly charged potential. That's particularly the case with the lovers-on-the-run (Blake & Ross). Unlike such fugitive classics as You Only Live Once (1937) or They Live By Night (1947), this version refuses to sentimentalize the lovers. Despite standard expectations, Willie treats Lola pretty harshly and all but drags her along by the hair—a far cry from the usual pathos. Nor, for that matter, is the Coop (Redford)-Elizabeth (Clark) relationship romanticized, as she treats him with general disdain while he sexually humiliates her. (I doubt this film did anything for Redford's lover-boy image.)At the same time, none of the principals is particularly likable, certainly a departure from usual box-office appeal. Coop may sympathize somewhat with Willie Boy, but he's clearly no reformer let alone racial crusader. He is, after all, an elected sheriff with a race conscious constituency, so his reserve is at least understandable. And, for that matter, neither is Willie Boy very likable. He may be a victim in an extended sense, yet he encourages little sympathy in his headlong flight for survival. If he's meant to represent Indian plight generally, it's certainly not an emotionalized appeal. In fact, the social justice element occurs only sporadically and through biting references to Indians' lesser worth as Indians. So, by no means, is the movie's message "piled on". Note too, how Polonsky refuses to caricature the one vicious racist, Calvert (Sullivan), in the manner of many other anti-racist films. All in all, the movie comes across as something of an oddity since it follows no particular path other than its own. Clearly, Polonsky wants to avoid the more obvious pitfalls of movies with a message, and largely succeeds, at least in my estimation. However, the caution does come at something of a price. In short, so much of the material is low-keyed that I, for one, was never drawn emotionally into the dramatic events; instead I observed them at a distance, even Willie Boy's last stand, which should have been more of a grabber. Such detachment seems rather paradoxical for a film that should have strong impact given the themes and talent involved. My guess is that Polonsky used perhaps too much caution in dealing with what is admittedly tricky subject matter.Nonetheless, it remains an interesting film, well acted and beautifully photographed, making good use of the barren edge of California's Mojave desert. I guess my only real gripe is with whoever did Ross's Indian make-up. As another reviewer aptly observes—it looks like it was slathered on with a ladle. Then there's the long lacquered hair that threatens at times to reach around and strangle her. Those minor misfires aside, Polonsky's project remains a curious one-of-a-kind, still worth a look-see, even if it's no longer the rebellious 1960's.

A drifting Paiute Indian in 1900s Southern California kills the father of his Indian girlfriend in self-defense; the couple escape into the desert, but a sheriff and his posse are on their trail. Critics were overly kind to this dull western in 1969; despite being based on fact, it has not aged well. The depiction of relations between the Indians and the white man has historical interest, but aside from Robert Blake as macho Willie Boy, these actors do not look comfortable in their roles. This may be Katharine Ross' most embarrassing hour, and Robert Redford as Sheriff Cooper is either squinting in the sun or looking at his boots. Abraham Polonsky's low-keyed direction is certainly no help. *1/2 from ****

the first time i saw this movie i was a pre-teen, and it always haunted me. i think it should have gotten a much higher rating also.yes, it raises all the cross-culture misunderstandings, thats what makes it so tragic and so good. it makes you stop and think before you make that next assumption about someone you don't know....whose culture your only vaguely familiar with..not a bad thing to do today, then or anytime.

Bad movie due to below average production and editing.The message regarding the Native American plight was good but wasted on this movie effort.Too bad bacause the actors gave good performances.The last 20 minutes was the best part but nothing you can't miss.Flows like a slow TV movie.Thank God Redford is preety.Still worth a look if you are a fan of pro Native American Western action drama or a big fan of the lead actors......