Badlands

In 1959 a lot of people were killing time. Kit and Holly were killing people.

Release Date 1974-01-05
Runtime 94 minutes
Status Released
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Overview

An impressionable teenage girl from a dead-end town and her older greaser boyfriend embark on a killing spree in the South Dakota badlands.

Budget $300,000
Revenue $0
Vote Average 7.479/10
Vote Count 1251
Popularity 1.9344
Original Language en

Backdrop

Available Languages

English US
Title:
"In 1959 a lot of people were killing time. Kit and Holly were killing people."
Deutsch DE
Title: Badlands - Zerschossene Träume
""
Italiano IT
Title: La rabbia giovane
""
Français FR
Title: La Balade sauvage
"En 1959, beaucoup de gens essayent de tuer le temps. Kit et Holly, eux, tuaient des gens."
Español ES
Title: Malas tierras
"En 1959 mucha gente estaba matando el tiempo. Kit y Holly estaban matando gente."
Português PT
Title: Noivos Sangrentos
""

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Cast

Crew

Reviews

John Chard
5.5/10
Little did I realise that what began in the alleys and back ways of this quiet town would end in the Badlands of Montana. Badlands is written and directed by Terrence Malick. It stars Martin Sheen, Sissy Spacek, Ramon Bieri and Warren Oats. Music is by George Tipton and James Taylor and cinematography by Tak Fujimoto, Steven Larner and Brian Probyn. Badlands seems to be adored by critics, often being coined as one of the best debuts ever made by a director. Maybe based loosely on the Starkweather-Fugate killing spree of 1958, though the makers have been at pains to ensure we know this is a case of all the characters and situations being fictional, Badlands does indeed have impressive strands. It's a gorgeous picture visually, the surreal feel that is sometimes garnered by Malick in the narrative gives the piece a haunted edge and Spacek and Sheen are very good given the characters they are asked to play. However, Malick's commentary on amoral youth of 50s America, a corruption of innocence, alienation and etc, never has the depth, to my mind, to really be as special as so many say it is. Some argue the sketchy motives and reasonings involving Kit and Holly are deliberately thought provoking, I'd argue that devoid of psychological meat they are dull characters only livened by the actors' performances. Holly's narration is a clever device by Malick, serving to keep us interested since the structure of the film is repetitious, where being in the company of Kit and Holly becomes a chore. And lets not get onto credibility either... I know I'm in the minority, but three times I have tried to grasp this supposed genius in Badlands, and I just don't see it. There's a myth and mysticism that has been attributed to it, even enhanced as the years have rolled by, but where there is undoubtedly beauty on the surface, down below there is no beast. 6/10

Famous Conversations

KIT: You promise to stay down there for an hour?

BOY: Yeah.

KIT: You expect me to believe that?

KIT: Nah, skip that... I'm going to have to keep an eye on you, though.

BOY: Okay.

KIT: You don't mind?

KIT: No... You go in there, I'll have to kill you.

BOY: What's going on?

KIT: Can't afford to take chances.

BOY: Hi. where's Cato?

KIT: Well, he's gone.

BOY: Gone?... Where?

KIT: He said not to tell.

BOY: Oh yeah?

KIT: Yeah, he said for you to give us a lift into town. You're the ones with the Studebaker, aren't you?

CATO: Kit... Maybe I'd better get a shovel.

KIT: Okay.

CATO: I'll catch up with you.

KIT: Okay.

KIT: That's what he told you, huh?

CATO: No, he showed me one.

CATO: Yeah, I guess.

KIT: She plays the clarinet, too.

KIT: Where'd you get them antlers?

CATO: They come with the house.

KIT: What you been doing?

CATO: Running this place for a fella in town. Nothing much to speak of.

KIT: Well, I don't notice us hustling trash, either.

KIT: How you doing, Cato?

CATO: Not bad.

CATO: Catch!

KIT: What do you mean?

HOLLY: That your spider in there? In that bottle?

CATO: Yeah.

HOLLY: What do you feed him?

CATO: Oh, flies... grasshoppers when I can catch 'em.

HOLLY: Does he bite?

CATO: He never bit me.

HOLLY: What'd they look like?

CATO: Kind of round, like so... Gold. I'll show you if you want.

HOLLY: Don't you ever get bored around here?

CATO: Sometimes. The other day, though, an old boy was plowing in the field over there, found some old Spanish coins.

CLERK: You ever held another job before?

KIT: I used to throw trash for the City.

CLERK: You lost that one?

KIT: Wouldn't be here if I hadn't.

CLERK: What kind of work do you think you would be qualified for?

KIT: I can't think of anything at the moment... I'd like you to write me out a slip, though, proving I came down here.

DEPUTY: Well, Kit...

KIT: Tom...

DEPUTY: Good luck to you.

KIT: Thanks.

DEPUTY: I mean it.

KIT: I know you do. Good luck to you, too.

DEPUTY: Holly's over here, Kit, if you want to see her.

KIT: Sure.

KIT: Hey, listen, Tom, I don't mean to tell you how to run your show here but these cuffs are pinching. What do you say now?

DEPUTY: I need to get your signature on some papers here, Kit.

KIT: Well, I've got to read them first. Suppose I could get a Coke while I do?

DEPUTY: Sure thing. Come on.

DEPUTY: Kit... Kit, I've got a question for you.

KIT: Mmmmm.

DEPUTY: You like people?

KIT: They're okay.

DEPUTY: Then why'd you do it?

KIT: I don't know. Always wanted to be a criminal, I guess. Just not this big a one... Takes all kinds though.

KIT: Say, what kind of rifle was that you were shooting at me?

DEPUTY: Thirty aught six.

KIT: You ever had to open it up like that before?

DEPUTY: Nope.

DEPUTY: We did it, Ray.

KIT: You better not leave that Cadillac sitting out here.

DEPUTY: Oh yeah?

KIT: Long as my ammo held out... Right there's where you caught me.

KIT: What for?

FATHER: For coming onto my property... With a gun.

KIT: No, you're not either.

FATHER: Yeah? Why not?

KIT: Cause I can't allow it.

FATHER: What do you think you're doing? Go on, get out of here.

KIT: Well, I got it all planned... and I'm taking Holly off with me.

KIT: Hi.

FATHER: What're you doing?

KIT: I've got a gun here, sir. It's always a good idea to have one around.

KIT: Listen. I got a lot of respect for her, sir. That's about as good a one as I know to tell you.

FATHER: Well, it's not good enough. Just what do you think would happen to her if she stuck around with you, Kit? Guy like you.

KIT: She'd get along okay. And if she didn't, well, she could take off, just take off, I wouldn't mind... I'd always tell people I deserved it.

KIT: You know, before I met her, nobody could ask me how I was doing with my girl. Matter of fact, I didn't really have one.

FATHER: Is that right?

KIT: Yeah.

KIT: Sure is pretty.

FATHER: What'd you come out here for?

KIT: I wasn't aware there was any law against it.

HOLLY: I've got to stick by Kit... He feels trapped.

GIRL: Yeah. I can imagine.

HOLLY: Well, I've felt that way, hadn't you?

GIRL: What's going to happen to Jack and me?

HOLLY: You have to ask Kit. He says frog, I jump.

GIRL: Okay.

HOLLY: What's your friend's name?

GIRL: Jack.

HOLLY: You love him?

GIRL: I don't know.

KIT: Course it's too bad about your dad.

HOLLY: Yeah.

KIT: We're going to have to sit down, and talk about that sometime.

KIT: Have you got a better idea?

HOLLY: I just don't want to go.

KIT: What?

KIT: Boy. I had a feeling today was going to be the day... Helicopter.

HOLLY: Yeah.

KIT: He's not coming to take us for a ride, either. Come on, let's make a run for the car.

KIT: You smoke Pall Mall?

HOLLY: Yeah.

HOLLY: You know... they'd probably ask to see your driver's license before they hired you.

KIT: Well. I'm not going to let that stop me.

HOLLY: What?

KIT: Nothing... I was just running off at the mouth... as usual.

HOLLY: I'm sorry. I wasn't listening.

KIT: Never mind. It doesn't matter... If I'm worth a damn, I'll pick the right direction. And if I'm not, well, I don't care. See what I mean?

HOLLY: No.

KIT: Well, I shouldn't expect miracles, should I?

KIT: Well, maybe the slope here is throwing it off some. We ought to find a more flat place.

HOLLY: How about over here?

KIT: Maybe we should've tried to hop it.

HOLLY: It was going too fast.

KIT: I could've pulled the car up on the tracks, slowed it down some.

HOLLY: Yeah, then we'd be stuck here.

KIT: Well, maybe we oughta be stuck here. I'm not saying that I know.

KIT: Everybody loves trout.

HOLLY: I'm serious.

KIT: Why not? I mean, I'm having fun... At least I'm not bitching.

HOLLY: Well, I feel kind of like an animal living out here. I mean, there's no place to bathe and... no place to get anything good to eat.

KIT: Well, I'll catch you a big trout. Soon as we get to the mountains.

HOLLY: That's Montana over there.

KIT: I never been to Montana... Acquaintance of mine has, but I hadn't... Never had any reason to.

HOLLY: "Rumor: Pat Boone is seriously considering giving up his career so he can return to school full-time and complete his education. Fact: Pat has told intimates that so long as things are going well for his career, it's the education that will have to take the back seat."

KIT: I don't blame him.

HOLLY: "Rumor: Frank Sinatra and Rita Hayworth are in love... Fact: True, but not with each other."

HOLLY: I'd like to get out of here.

KIT: Soon as I start the car... and fix my hat.

HOLLY: Don't.

KIT: Anybody ever done that to you before?

HOLLY: No.

KIT: Positive?

HOLLY: Yes.

KIT: Guess there's no way I'll ever know. For sure.

KIT: Hey, why're you always walking ahead of me?

HOLLY: Well, why you always walking behind me?

HOLLY: Later we found out she was deaf and we hadn't even known it.

KIT: Excuse me.

KIT: You tired?

HOLLY: Yeah.

KIT: Yeah, you look tired... Listen, honey. when all this is over, I'm going to sit down and buy you a big, thick steak.

HOLLY: I don't want a steak.

KIT: Well, we'll see about that... Hey, lookie.

HOLLY: What'd you put him in there for?

KIT: Just to keep him out of the sun.

KIT: Think I got 'em?

HOLLY: I don't know.

KIT: Well, I'm not going down there and look.

KIT: Whatcha looking in there for? We can't afford any of that.

HOLLY: Just looking.

HOLLY: Is he upset?

KIT: He didn't say anything to me about it.

KIT: Look at all this junk.

HOLLY: How's he doing?

KIT: I got him in the stomach.

HOLLY: I found a lid. It was laying on the ground over there.

KIT: Put that down. It's dirty.

HOLLY: "The Kon-Tiki in motion was a little different from what it usually was in such conditions. We had become sensitive to changes in the rhythm of the logs. I thought at once of suction from the coast, which was drawing near, and was continually out on the deck and up the mast..."

KIT: He was nervous.

KIT: How you doing?

HOLLY: I'm fine. Kind of tired.

KIT: Yeah, me too.

HOLLY: Suppose the neighbors heard the noise?

KIT: Wouldn't be funny... Listen, I'll be back in a while.

HOLLY: Listen, maybe we ought to tell somebody about this.

KIT: You said that once already... Too late now.

HOLLY: Why?

KIT: They're not going to listen to me. You either. Are you kidding?

HOLLY: Are you sure?

KIT: You don't believe me, see for yourself.

KIT: I came in the front.

HOLLY: How bad off is he?

KIT: I can look and see.

HOLLY: We better call the doctor... Listen. I'll say how it happened, part I saw.

KIT: Well... I don't think that'd work.

HOLLY: Don't call me stupid.

KIT: Okay, but I'm going to keep it for a souvenir...

KIT: You know what I think?

HOLLY: What?

KIT: That we should crunch our hands with this stone. That way we'd never forget what happened today.

HOLLY: But it would hurt.

KIT: Well, that's the point, stupid.

HOLLY: Gosh, what was everybody talking about?

KIT: Don't ask me.

HOLLY: Did it go the way it 'uz supposed to?

KIT: Yeah.

HOLLY: Is that all there is to it?

KIT: Yeah.

KIT: Somebody else is going to get it.

HOLLY: I don't care.

KIT: Kids eat that kind of stuff in Korea.

HOLLY: My stomach's growling.

KIT: There's an old Fudgesicle over there. You want it?

HOLLY: No.

HOLLY: What a nice place.

KIT: Yeah, the tree makes it nice.

HOLLY: And the flowers... Let's not pick them. They're so nice.

KIT: It's your play.

KIT: Can I come around and see you tomorrow?

HOLLY: Okay.

KIT: You're a redhead.

HOLLY: I know.

KIT: Anybody ever call you "Red"?

HOLLY: Yeah, but I don't like it.

KIT: Why not?

HOLLY: Just don't... I've got a headache.

KIT: Yeah?

KIT: You want to go for a ride?

HOLLY: Well, I got homework.

KIT: Bring it along.

KIT: Yeah, well, I'm going to work as a cowboy now... Or thinking about it. It's a routine, like anything. What do you think?

HOLLY: I don't know.

KIT: Hi.

HOLLY: Well, stop the world.

KIT: Quit my job.

HOLLY: Great.

KIT: Just seemed like the right move... Whatcha doing?

HOLLY: Spanish.

KIT: How do you say "Quit my Job" in Spanish?

HOLLY: Something mi trabajo.

HOLLY: Well, I know what my daddy's going to say.

KIT: What?

HOLLY: Can I be honest?

KIT: Sure.

HOLLY: Well, that I shouldn't be seen with anybody that collects garbage.

KIT: He'll say that?

HOLLY: Yeah.

KIT: Now what's he know about garbage, huh?

HOLLY: Nothing.

KIT: There you go.

HOLLY: Well, I mean there's nothing he wants to know about it... I've got to run.

HOLLY: That's my father. I got to run.

KIT: Hey, wait a minute. When am I going to see you again?

HOLLY: You still in school?

KIT: Nah, I got me a job.

HOLLY: Doing what?

KIT: Well, I don't mind getting up early, so I got a job throwing garbage... I'm not in love with the stuff, okay.

KIT: Oh, incidentally, my last name is Carruthers. Sounds a little too much like "druthers", doesn't it?

HOLLY: It's okay.

KIT: Well, nobody asked me what I thought. They just hung it on me.

KIT: Hi, I'm Kit. I'm not keeping you from anything important, am I?

HOLLY: No.

KIT: Well, I was just messing around over there, thought I'd come over and say hello to you. I'll try anything once. What's your name? I said mine.

HOLLY: Holly.

KIT: Listen, Holly, you want to take a walk with me?

HOLLY: What for?

KIT: Well. I got some stuff to say. Guess I'm kind of lucky that way. Most people don't have anything on their minds, do they?

KIT: What's that?

VISITOR: Well, I'd like to leave a message, if that's okay.

KIT: Sure.

KIT: Hi.

VISITOR: Hi... ah, Mister Scarborough here?

KIT: Yeah, but the thing about him, he's down with the flu. He's sick.

VISITOR: Really?

KIT: Yeah. I'd invite you inside, except it's contagious. Don't want to start an epidemic.

VISITOR: No, of course not. It's only that he called last night and asked if I could come by.

KIT: Well, he didn't have it last night.

KIT: You're my friend, aren't you?

RICH MAN: Yes.

KIT: Okay, no monkey business then.

RICH MAN: Yes.

KIT: Listen, ah... We're going to take the Cadillac for a while. How'd that be?

RICH MAN: Fine.

KIT: Don't worry, I won't let her drive.

KIT: Hi, whatcha doing?

RICH MAN: Just thinking.

KIT: Good a way to kill time as any... She okay?

KIT: Good deal... Oh, uh, we're on the run and we'd like to hang out here for a while. Couple of hours, maybe. How'd that be?

RICH MAN: Stay as long as you like.

KIT: Sorry to barge in on you. Anybody else here besides you two?

RICH MAN: No.

KIT: Hi.

RICH MAN: Yes?

KIT: This your place?

RICH MAN: Yes.

KIT: Okay, friend. Start running.

ROUGHNECK: Just gimme a chance.

KIT: Git.

ROUGHNECK: Who are you?

KIT: Name is Carruthers. Believe I shoot people every now and then. Not that I deserve a medal.

KIT: You didn't walk out here.

ROUGHNECK: It's mine all right.

KIT: Well, listen. I'm going to swap you my Cadillac.

KIT: See, we're about out... been driving all night. Actually, I don't even have time to explain it to you.

ROUGHNECK: Well, matter of fact, I don't have any.

KIT: Just a second now. That's your truck. isn't it?

KIT: Morning... Say, you got any gas?

ROUGHNECK: Maybe.

KIT: Well. I'm sorry, sir, but we've got to ask you for it.

KIT: You tossed my hat out the window.

SHERIFF: Wanta sue me?

KIT: No.

KIT: Think I'll take the juice?

SHERIFF: Beats me.

KIT: Hi.

SHERIFF: Hold it right there.

KIT: I could've held off an army if I could've gotten behind a rock in the mountains.

Oscar Awards

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Media

Featurette
Three Reasons: Badlands
Clip
The First Four Minutes
Featurette
Badlands and the Art of the Voiceover