Like many talented young U.S. directors of the 1950s, 60s, and 70s, Martin Scorsese got a big break from American International Pictures studios. This was in the days of drive-in movies and so-called "B" pictures, meaning that something like Boxcar Bertha would be secondary to whatever feature attraction was playing. AIP directors worked on a strict schedule, small budget, and were required to goose things along with softcore sex and bright red violence. No surprise, Scorsese delivered, and found ways to punch it up with his trademark kinetic editing style. He also knew how to get solid performances, even back then. Barry Primus, Bernie Casey, and John Carradine shine here; Barbara Hershey and David Carradine aren't so great or convincing. The movie, like Bonnie And Clyde six years earlier, is about contemporary rather than past times, even though it's set in the 30s. Hershey and Carradine are early 70s free lovers and free spirits, not really nice folks but much more moral than their foes in banking and legal institutions. The film is uneven, but just when you find your attention drifting, Scorsese makes his presence felt with imaginative, original, playful images and sequences. For example, pay close attention to the scene in which Carradine goes to his union office with stolen money, and see how much effort Scorsese puts into images that other directors would blow off. The DVD looks great, a huge improvement over cruddy, pan and scan VHS. No extras except for the original trailer, which is a treat: lots of it is shot through bright colored tinted lenses, taking you back to 70s schlock at its finest. Based on a true story, this is pulp NON fiction; takes its place alongside After Hours, King of Comedy, Kundun, Age of Innocence, and Bringing out the Dead as an uneven, underappreciated Scorsese gem--not as consistently great as his big movies, but plenty of interesting moments and a chance to see the master in training before he moved up to self-consciously artful films.