The Getaway 1972 Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Serving four years of his ten-year sentence for armed robbery, Carter "Doc" McCoy is denied parole in a Texas prison. When his wife Carol visits him, he tells her to do whatever is necessary to make a deal with Jack Beynon, a corrupt businessman in San Antonio, to free him. Beynon uses his influence and obtains Doc's parole on the condition that he takes part in a bank robbery with two of his henchmen, Rudy and Frank. During the robbery, Frank kills a guard. Rudy attempts a double-cross, shooting Frank and drawing a gun on Doc, who beats him to the draw and shoots him several times. Doc leaves Rudy for dead, but Rudy, having secretly worn a bulletproof vest, is alive albeit wounded.

Doc meets with Beynon, who attempts a double-cross before Carol shoots and kills him. Doc realizes that Carol had sex with Beynon to secure his release from prison. He angrily gathers up the money and, after a bitter quarrel, the couple flees for the border at El Paso. A bloodied Rudy forces rural veterinarian Harold and his young wife Fran to treat his injuries, then kidnaps them to pursue Doc and Carol. Beynon's brother Cully and his thugs also pursue the McCoys. At a train station, a con man swaps locker keys with Carol and steals their bag of money. Doc follows him onto a train and forcefully takes it back. The injured con man and a train passenger–a boy whom Doc had rebuked for squirting him with a water gun–are taken to the police station, where they identify Doc's mug shot.

Carol buys a car, and the McCoys drive to an electronics store. As Doc buys a portable radio, he switches off the television set near the proprietor's desk broadcasting the news of the earlier incidents they were involved in. Suddenly, all the television sets in the store show Doc's picture, prompting him to leave immediately. The proprietor gets a glimpse of the picture, and calls the police. Doc steals a shotgun, followed by several shoot-outs and police chases. The couple escape by hiding in a large trash bin, only to end up in the back of a garbage truck that dumps its load at the local landfill. Filthy and frustrated, they argue about whether to stay together or split up. They decide to see things through.

Rudy's attraction to the veterinarian's wife leads to them having consensual sex in front of her husband. Humiliated, the vet hangs himself in a motel bathroom. Rudy and Fran move on, barely acknowledging the suicide. They check into an El Paso hotel used by criminals as a safe house because Rudy knows that the McCoys will be heading to the same place. When Doc and Carol check in at the hotel, they ask for food to be delivered, but the manager, Laughlin, says he is working alone and cannot leave the desk. Doc soon realizes that Laughlin sent his family away because something is about to happen. He urges Carol to dress quickly so they can escape. An armed Rudy comes to their door while Fran poses as a delivery girl who needs to be paid for the food. Peering from an adjacent doorway, Doc is surprised to see Rudy alive. He sneaks up behind Rudy, knocks him out, and does the same to Fran.

Cully and his thugs arrive as the McCoys try to leave. A violent gunfight ensues in the halls, stairwell, and elevator; all Cully's men are killed but one, who Doc allows to run away. Cully himself dies when Doc shoots the cables of the elevator he is in and it crashes to the bottom of the shaft. Rudy comes to his senses, follows Doc and Carol outside onto a fire escape, and shoots at them. Doc returns fire and kills him. With the police on the way, the couple hijack a pickup truck and force the driver, a cooperative old cowboy, to take them to Mexico. After crossing the border, Doc and Carol pay the cowboy $30,000 for his truck. Overjoyed, the cowboy heads back to El Paso on foot, while the couple continue into Mexico.

Development

Steve McQueen had been encouraging his publicist David Foster to enter the film industry for years, as a producer. His first attempt was Butch Cassidy and the Sundance Kid (1969), with McQueen starring alongside Paul Newman, but 20th Century Fox, particularly its president, Richard D. Zanuck, did not want Foster in the deal. Rather, Zanuck hired producer Paul Monash since he was the studio's profit maker, resulting in McQueen's departure from the project, which then fell apart. While McQueen was making Le Mans (1971) Foster acquired the rights to Jim Thompson's crime novel The Getaway. Foster sent McQueen a copy of the book urging him to do it. The actor was looking for a "good/bad guy" role and saw these qualities in the novel's protagonist, Doc McCoy.

Foster looked for a director and Peter Bogdanovich came to his attention. Bogdanovich's agent, Jeff Berg, set up a special screening of his client's soon-to-be released The Last Picture Show (1971) for Foster with McQueen in attendance. They loved it and met with the director and a deal was made. However, Warner Bros. approached Bogdanovich with an offer to direct What's Up, Doc? (1972), starring Barbra Streisand, with the stipulation that he had to start right away. The director wanted to do both, and the studio refused. When McQueen found out, he became upset and told Bogdanovich that he was going to get someone else to direct The Getaway.

McQueen had recently worked with director Sam Peckinpah on Junior Bonner (1972), and enjoyed the experience, but the film proved to be unsuccessful. He said: "Out of all my movies, Junior Bonner did not make one cent. In fact, it lost money." McQueen recommended that Foster approach Peckinpah. Like McQueen, Peckinpah was in need of a box office hit and accepted immediately. The filmmaker had read the novel when it was originally published, and had talked to Thompson about making a film adaptation when he was starting out as a director.

At the time, Peckinpah wanted to make Emperor of the North Pole (1973), a story set during the Great Depression about a brakeman obsessed with keeping homeless people off his train. The film's producer made a deal with Paramount Pictures' production chief Robert Evans, allowing Peckinpah to do his personal project if he first directed The Getaway. The director was soon dismissed from Emperor and told that Paramount was not making The Getaway.

A conflict arose with Paramount over the film's budget. Foster had thirty days to set up a new deal with another studio, or Paramount would own the exclusive rights. He was inundated with offers and accepted one from First Artists Group, because McQueen would receive no upfront salary, just 10% of the gross receipts from the first dollar taken in on the film. This would become very profitable if the film was a box office hit.

Writing

Jim Thompson was hired by Foster and McQueen to adapt his novel. He worked on the screenplay for four months, changing some of the scenes and episodes in his novel. Thompson's script included the borderline surrealistic ending from his novel featuring El Rey, an imaginary Mexican town filled with criminals. McQueen objected to the depressing ending and Thompson was replaced by screenwriter Walter Hill. Hill had been recommended by Polly Platt, Bogdanovich's wife, who was then still attached to direct; Platt had been impressed by Hill's work on Hickey & Boggs (1972). Hill said Bogdanovich wanted to turn the material into a more Hitchcock-type thriller, but he had only gotten twenty-five pages in when McQueen fired the director. Hill finished the script in six weeks, then Peckinpah came on board.

Peckinpah read Hill's draft and the screenwriter remembered that he made few changes: "We made it non-period and added a little more action." On Thompson's novel, Hill said:

I didn't think you could do Thompson's novel. I thought you had to make it more of a genre film. Thompson's novel is strange and paranoid, has this fabulous ending in an imaginary city in Mexico, criminals who bought their freedom by living in this kingdom. It's a strange book. It's written in the fifties, takes place in the fifties, but it is really a thirties story. I did not believe that if you faithfully adapted the novel the movie would get made, or that McQueen would get the part. There was a brutal nature to Doc McCoy that was in the book that I thought you weren't going to be able to go that far and get the movie made. I found myself in this strange position, trying to make it less violent.

Casting

When Bogdanovich was to direct, he intended to cast Cybill Shepherd, his then girlfriend, in the role of Carol. As soon as Peckinpah came on to direct, he wanted to cast Stella Stevens with whom he had worked on The Ballad of Cable Hogue (1970), with Angie Dickinson and Dyan Cannon as possible alternatives. Foster suggested Ali MacGraw, a much in-demand actress after the commerc