Nothing screams manly like driving a muscle car. Sure, that's stereotypical but it you jump in a Dodge Charger, turn the AC/DC to 11 and hit an open stretch of road, I dare you to not feel bad ass. And as a result of this feeling a sub genre of Action was born, The Car Chase movie, also known as Carsploitation.
This movie is a prime example of that type of movie.
Vanishing Point (1971) is all about living hard and driving fast, kind of like the 1971 version of Fastlane (02-03). Kowalski (Barry Newman [Hhheelllloo Newman.]) sets out of Denver, trying to drive his all white Charger to San Francisco... in 15 hours. As a result he's destined for a couple of face offs with Johnny Law, and no road movie is complete with out bumping into a bunch of wild and crazy guys (Thank you Easy Rider for establishing precedent).
The first crazy guy is Super Soul, a blind DJ played by Cleavon Little (The Sheriff from Blazing Saddles). But SS isn't your average blind DJ, he's also a blind African American Nostradamus, yes, because he's blind he can see the future. Who serves as a narrator in a way, describing Kowalski's trip on his Radio program. Furthermore, Super Soul gathers a counterculture following for Kowalski, even contacting Kowalski via the Radio.
Shortly after that, Kowalski bumps into a Snake collector/Prospector, who catches snakes and trades them for supplies. Acting like a sunburned Yoda, the man offers Kowalski advice and helps him avoid the cops, and getting him back on his way to Frisco.
And what road movie would be complete without a group of faith healers? Kowalski and the Snake Man stop to trade snakes for gas, and other supplies, and after a brief interaction, Kowalski's off down the road again.
In addition to the vast range of characters above there's a gay couple, who try and rob him, leading to a two on one fight inside the charger and a hasty exit for the pair, leaving Kowalski by himself with the road,
This movie, (Which Tarantino loves [watch Death Proof]), is obviously an influence of Tarantino. The sound track is quite eclectic, overlapping smooth jams and high octane chases in some scenes, which all really reeks of our man Quentin, also, a song with lyrics such as "Love one another, pretend we're all brothers" plays when a group of racists come to beat up Super Soul and his fellow black radio men, a very Tarantino kind of scene.Furthering the Tarantino-esque feel the story jumps around. routinely going from Super Soul, back to Kowalski, and then to the Police, with flashbacks (to Kowalski's racing days) and the start of the movie being after the rest of the plot. Also, as can be discerned from the above character descriptions, Tarantinos knack for unique and memorable side characters may come from his respect from this movie, but it's hard to tell for sure.
The cinematography is gorgeous, easily on par with Easy Rider, from wide shots to show the road and the Charger in all it's made in America glory, as well as the extreme close ups worthy of Sergio Leone, this movie is shot fantastically well. And because it came long before the "shaky cam" revolution you won't get motion sick as Kowlaski drag races across the desert.
Kowalski himself, kind of has a "Man with no Name" vibe, sure he's known as Kowalski, but his first name is unknown. And he doesn't really say enough for us to get to know him, he just drives fast, and kicks ass. He does have a history, as a soldier, a cop, a Demolition derby driver, and all sorts of criminal activities that set him up as a rebel without a cause.
Basically, this movie is kind of like Easy Rider, but with cars. There's drugs, sex, and political messages all veiled by a loud muscle car. I personally prefer this to Easy Rider, because the plot is more coherent, it blends the drug culture and the road, much better, with out just focusing on the drugs.
Dr. Brooklyn says: LIKE this movie (8.5/10)
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