Before Ron Howard became the Oscar-winning director of films like A Beautiful Mind, Apollo 13, and Frost/Nixon, he was best known as a clean-cut TV star—the lovable Opie on The Andy Griffith Show and Richie Cunningham on Happy Days. But by the mid-’70s, Howard had his sights set on stepping behind the camera. His shot came thanks to producer Roger Corman, who agreed to let him direct a movie on one condition: he had to first star in one of Corman’s low-budget projects (Eat My Dust!). That deal—and Howard’s work ethic and charisma—earned him the chance to co-write and direct Grand Theft Auto in a matter of weeks. The film marked not only Howard’s directorial debut but also the end of his career as a leading man. From that point on, he left the acting to others and focused on a path that would eventually lead him to the A-list of Hollywood directors.
The movie itself is a light, cross-country chase where a young couple races to Las Vegas to get married. Paula, the bride-to-be, comes from a wealthy family that promised her to a rich, politically ambitious suitor. When she runs off with her boyfriend Sam instead, her would-be fiancé offers a hefty reward to anyone who captures them. That turns their getaway into a public spectacle, drawing in media coverage, frantic parents, bounty hunters, priests, and fame-hungry civilians.
The film doesn’t always feel polished—some early scenes, especially the dialogue-driven moments, have a TV movie vibe—but the car stunts are genuinely impressive. You can almost feel Howard learning the ropes in real time. There’s an eagerness to the way he stages the crashes, like he’s figuring out how to shoot and cut each one as he goes. The romance takes a backseat to the chaos, but to the film’s credit, the escalating mess is handled with some energy and control.
It’s not particularly deep, even with a few jabs at media frenzy and public spectacle, but at just 84 minutes, it moves as fast as the cars. Howard would later return to high-speed drama with far more polish in Rush, though arguably with less looseness and playful charm. There’s a raw, curious energy to Grand Theft Auto that’s not often associated with Howard’s later work. His presence on camera adds a bit of charm too. It’s a solid starting point for Howard’s directorial career—not essential viewing, but an entertaining curiosity from a filmmaker just beginning to find his voice.