in some scene in the rain people and francis ford coppola precursor to his hey day of the seventy and there be the mark of a similar situation to 1969 easy rider and but not exactly in the same reference frame . here we have a drama about disconnected people from society and in some way alienate by the choice or by limit impose by one mean or another . it one of those rare original drama where some scene stand alone a total knockout . even with such a low string budget and a very freewheeling and so to speak and attitude about film the movie and coppola be able to capture everything that need to be say through these clearly define character and the curve and unexpected degree of one character versus the helplessness of another and or vice versa and or both . and and a one might be inclined see a how it be very much about the cutaway of suburban life of the 1960s and it have that escapism of the film mention before and but of a more concrete and near timeless quality with the drama and the underlying issue . in a way and if bergman be on route a a quasi guerrilla 20 something filmmaker out to get the strange truth of everyday outsider and this might be it . but along with all of the very direct and sometimes self conscious photography ( though also with a more documentary approach at time and akin with it indeterminable character ) and the actor all fit into place . shirley knight and an actress i be not too familiar with and have a complex and diverge role a a pregnant wife run off in a sort of existentialist conundrum of what life be there to have . there be moment of some awe inspire acting by her and and one of my favorite ( if not my favorite ) be when she be on the telephone call her husband the first time . such a tense scene on both end and and in every small gesture and inflection of a word so much about her be speak with so little . it extraordinary in way that mirror others in coppola film . then come in the character of killer play by james caan . this and too and be a dangerous character to take on and a it be a mix of childish bewilderment and amusement with scarred memory . think forrest gump if he do not make it past the football and wit . it one of his best and actually and by be the most minimalist for a guy who usually play tough guy in movie and here one that also be part of the crux of the story and of knight character . also very good in a supporting role be robert duvall a a cop with a rough side and rather checker past while kind of an early sample of other defected character he would play later on in his career . so the character and and what coppola risk in have an uneasiness running in them and be really what make up the film and a whatever story there be it be definitely not resolve in the usual way you might think or expect . the last ten or so minute be like others in coppola work and where the specific tragedy on all side be undercut by the emotional and psychological implication this will leave on the principle be amplify to the sublime and sad . this be and for it time and brave on the part of what be try to be represent ( in both the freedom as well a the flaw and ambiguity ) in the subject matter . and the style of the picture add a fragmented kind of view onto it all with quick flashback that be graphic and self contain in a contrast with the long shot in some crucial scene . it a road movie of it period and but it also get a lot more work than it would under another filmmaker with less chance to take on the nature of these outcast character . one of the best film of 1969 .