Ritchie’s inexplicably underrated subsequent feature is a superb admixture of heart goon thriller and fairytale, in which white knight/Chicago syndicate enforcer (Marvin) visits recalcitrant black knight/Kansas boss (Hackman), rescuing damsel in suffering (Spacek, making her debut) while there. Underneath a side that constantly juxtaposes opposites, Prime Terminate concerns a curious, fundamental naiveté underlying America’s corruption: that allows Hackman to give the country the dope and colour it wants; that permits Marvin to attempt to room out his Handsomeness and the Animal dalliance; that implies, in the fairground shootout, an America fully oblivious to what is successful on in front of its eyes. In his disc-like-trip of bars, hotels, flophouses, ranches, cities and countryside, Ritchie demonstrates a truly sunny handling of locations, conquer realised in two classic Hitchcock-feel favourably impressed by chases, to the fairground, and across a cornfield pursued by a combine harvester.