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Movie Title: Vanishing Point Vanishing Point is available for streaming or downloading. |
The legend begins at the ruin, where we are shown a roadblock of horrid proportions, and a white 1970 Dodge Challenger rocketing toward it. From there the memoir begins, backing up two days to give the rest of the tale. An interstate jog is on for the driver of the Challenger, whom we know nothing at all about. As the anecdote unfolds, the identity of the driver is rationed out in flashbacks and news reports, slowly bringing into focus the nature of the character. At first, we naturally capture the driver to be a simple car thief, as does law enforcement. Gradually, we learn that the driver is not a thief at all, he is simply delivering the car. He is a decorated Vietnam ancient who joined the police department after his splendid discharge, married a stunning girl, and then lost her in a surfing accident. Not long after, he stopped a senior officer from beating and raping a young hippie girl, and was dishonorably discharged from the force. We also learn that his high-octane burn across the desert is to satisfy a simple wager: if he makes it from Denver to San Francisco in less than 15 hours, he doesn’t have to pay for the amphetamines he bought to retain him awake for the swagger. He is guided along the scheme by blind disc jockey “Supersoul” (Cleavon Minute), who speaks to the driver (whose name is we learn is Kowalski (no last name given, via the AM radio in the Challenger. Supersoul is Kowalski’s invisible guardian angel, advising him of the cop’s attempts to finish him, at least until some local rednecks bust into the radio residence with a storm of rocks and racial epithets and beat Tidy Soul and his engineer into submission. As Kowalski rockets across the blasted desert landscape, he encounters numerous crackpots and visionaries, all of whom seem to offer another fraction to the puzzle that Kowalski’s life has become. From prospectors to faith healers, outlaws to newlywed hijackers, we are given a behold into a world that exists far from the beaten track we all recede each day. As Kowalski hurtles toward his date with the destiny that was mapped out for us at the very beginning of the film, each rumor and news portray seems to contradict the image of him that is being played out by the police of several states, elevating him to something of a folk hero among a growing legion of fans and supporters.
This movie knocked me out from the very beginning. For those die-hards, yes, there are plenty of car chases and stunts to satisfy most fans of car/action films. But that’s not the whole account, by any measure. For this is the fable of one man, not a mythic yarn, or even a regional folk hero. Why does he do what he does? He simply has nothing left to lose or regain. How many men returned from Vietnam at least a exiguous disillusioned by the world they came home to? How many have had their lives mapped out smart and beautiful, only to have the blind monkey wrench of fate turn their worlds upside down? Here is a man who is perfectly willing to sacrifice his freedom, his safety, and possibly even his life to acquire what amounts to a ten-dollar bet, at best. When Kowalski finally arrives at the roadblock, the inevitable conclusion to his odyssey, he takes the only road he knows, a path which had been spot for him ever since the beginning.
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On a cinematic level, the influence of Vanishing Point is far reaching, indeed. The chronicle of a jaded ex-cop who has lost his wife, his hope and, to a degree, his humanity, was taken and nitro-injected in George Miller’s Aroused Max (1979) and the Road Warrior (1982), as Max Rockatansky (not too far a arrive from Kowalski) has his life violently ripped out from under him, and thus turns to the start road. At first for revenge, but then because it is the only world he can exist in, a residence where jungle law prevails. By then, Max is nothing more than a shell, a ghost of a human who haunts the blighted landscape propelled by a hunger not even he can understand. One of the most effective space devices is that of not giving the protagonist a name until well into the film. Joel Schumaker obsolete this technique very well in his honorable movie Falling Down (1993), not giving Michael Douglas’ character a name until the final act of the film’s fable. By doing this, we are allowed to peep the character as a sort of everyman, someone whom we may know, or may even be. We are then free to watch the goings-on at a remarkable more personal level, smart all too well that the yarn being played out upon the mask could, given the apt circumstances, be any of us, and to that extinguish, possibly even all of us. By the time we learn that the character is someone, it’s too unhurried. They are already a allotment of us, crawl by destiny and experience. Also of mark is the using of a disc jockey to provide a running commentary on the nature and exploits of the protagonist (as well as provide a reasonable source for the music in the film), a diagram frail, to lesser attain, in Walter Hill’s The Warriors (1979) . Lastly, although film characters have been bumping into oddballs in the desert for years, Abbe Wool’s improbable Roadside Prophets (1992) stands out as the protagonists lag through the desert, encountering numerous wisdom-dispensing desert dwellers, each contributing their ideas, ideals, and experiences in a arrangement that lends toward a larger collective ideology wherein a greater truth resides.
This is a masterpiece of filmmaking. Do yourself a gargantuan favor and check it out.
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After seeing this movie in ‘71, a year before obtaining my driver’s licence, it truly influenced my driving skills and my treasure for high performance American horse power. Seeing the movie now almost a hundred times over, I know the dialog word for word. This is a cult classic to be shared with those 70’s era Mopar fanatics who too have seen this movie in it’s various cuts at the local driveins. (And attemped to drive objective as hastily as Kowalski did after they left the drivein) . Having the sound track on LP(vinyl) and the movie on VHS, I can revisit my obsession with this film and sound track when ever I feel the need to reassure myself for need of controlled race. Remember, they broken-down several Challengers during the filming and you can notice some of the different cars throughout the film if you have a inspiring peep. For those who can fix the frame of the movie objective after Kowalski makes impact and someone is spraying water on the wreckage, they can gaze the the car is a white Camaro. Recognize at the vent windows on the door frame. Challengers did not have these! For those with a really bewitching stare and a great veil can spy the Camaro script on the truck lid also. For those newer viewers, sit wait on and savor a pre Dukes of Hazzards suitable car plod. It doesn’t collect any better than this. (Unless we can fetch it on DVD along with a CD version of the excellant music sound track! Hint, Hint!)
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