1971 – A Great Year For Car Films
When I was 16 it was the biggest thrill to get my driver's license and be able to borrow the family car. A rite of passage for most boys, a badge of honour. And naturally my love of cars and my love of films sometimes cross over. 1971 was a great year for car films, although I missed out on the big screen appearances being only 6 at the time. Films that have not only car chases but a bit more. These 3 road movies are each quite singular and original.
Duel directed by Steven Spielberg
A made-for-tv movie starring Dennis Weaver as a businessman on his way to an appointment who gets on the bad side of a mysterious truck driver. Weaver is pursued down a lonely California highway by this rusted, ugly, polluting monster of a tanker truck whose driver tries to run Weaver off the road. A real suspense thriller, this has many overtones of a horror film. The villain is never shown, and thus given an almost supernatural aura, and Weaver's character feels alienated from all the people he meets along the road. At one point Weaver asks, 'How can he go so fast?', showing the unnatural abilities of this truck. Indeed, we wonder if the truck in fact has a driver at all!

An odd facet of DUEL is the lack of traditional dialogue. Most of the film shows Weaver on the road, and only a few times during the film does he interact with others and actually talk with people. Most of the 'dialogue' is actually his internal monologue, his thoughts, that we are allowed to hear. I don't think that this would be allowed very often on network television, and the fact that they did it in 1971 is quite stunning. I probably have a weak spot for this film because of the car: Weaver drives an orange Plymouth Valiant, and my family had a red Dodge Dart, practically the same car. So every shot with the dash and interior brings back fond memories.
Two-Lane Blacktop directed by Monte Hellman
Who cast James Taylor and Dennis Wilson (of the Beach Boys) in a road movie? An orthodox choice, certainly, but most fitting. Taylor plays The Driver and Wilson The Mechanic in this story of two guys who drive around the US in a plain grey 1955 Chevy looking for street races. Their car is stripped of every luxury to make it as light as possible, its engine stroked and bored, its occupants laconic and brooding. Actually The Driver doesn't talk when he drives and The Mechanic doesn't talk when he works, and since they are almost always on the road or prepping for a race, there is very little dialogue. We know nothing about the background of these guys, nothing at all. Their counterpoint is GTO, an unnamed man (played by the always great Warren Oates) who drives ... you guessed it, a GTO. He picks up hitchhikers seemingly due to a need to babble incessantly, but nothing he says is reliable. We get at least 3 different versions of what he is doing and where he got the car. GTO's talk is the flip side of Taylor and Wilson's silence.

Eventually the two cars meet (along with their occupants) and a cross-country race is established. There is also The Girl, who just climbs into the Chevy at some restaurant along they way and who eventually switches to the GTO. But that's the limit of any narrative structure that this film has. It is much more a contemplation of the road and of driving, alluding to the alienation that we might feel in our society and what tenuous ties bring us together. The film has no ending, and really it has no beginning or middle: the characters are part of an endless cycle that they are powerless to break out of. This film would never be done today.
Vanishing Point directed by Richard Sarafian
Go Kowalski! This is THE cult car chase/ road movie. Kowalski, played by Barry Newman (who?), must drive that classic white 1970 Dodge Challenger from Denver to San Francisco for some reason that doesn't really matter, and he has to do it as quickly as possible. This means total disregard for speed limits and the law, and he incurs the wrath of cops during his journey. He does have his supporters, spurred on by a blind DJ (played by Cleavon Little). But this road flick is about a chance for Kowalski to ruminate on his life, and mostly on his life's various failures, so much so that he (and the film) end with the Kowlaski and car running full speed into some parked bulldozers.

So, skimpy plots, so-so acting. Why do I love these movies? Maybe because I see them as all about driving, even more than being about cars. Some people love to drive, some people see it as a necessary part of getting from point A to point B, and some people hate driving. I'm in that first category. These films feature the sound of car engines much more than dialogue, and burning up the asphalt takes precedent over any narrative development. It is totally obvious why these were not commercial hits but also why they are cult classics, as they appeal to a definite niche audience. I appreciate their 'pureness', that driving is the most important part and not any transformation of the characters or standard plot denouement. And they have cool cars!