Some brilliant, bizarre stuff going on in this movie!

There need to be more movies with this kind of eerie psychic-link cutting. IIRC THE MAN WHO FELL TO EARTH does it a bit as well in its editing scheme.

Examples:

(1) When Redford and Clark make love after verbally ripping each other apart it then cuts to Blake and Ross making love.

(2) Later, when Redford watches Clark undress and begin to cry it then cuts to a scene where Blake watches Ross cry in her sleep.

This seems like an artful though rarely-used way to move between parallel plot lines - by having one character's emotional energy in one scene foreground another character's emotional energy in the next scene.

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I also want to add that Redford and Clark's relationship was something else/ahead of its time - yes, they used each other for sex despite their different social stations, but beyond that Clark acted like she took some tortured pleasure in Redford's dominating and demeaning her before finally getting shut out at the end.

How the pursuit forces both characters to question their roles in society is fantastic stuff by Polonsky. It gnaws at Redford throughout the movie and it's there on Clark's face when she finds Lola's corpse.

When Redford walks away from the posse in disgust as they try to retrieve Willie's corpse from the fire, Clark's last look to him suggests a whole range of emotions - nuanced stuff we just don't see in many movies. It's almost as if Clark recognizes in this final moment that, although an unsophisticated brute, he has a conscience, a soul, and this chase brought it out in full, for better and for worse.