Two wanderers, a young man and a young woman, meet in the desert and decide to travel on together. The two travellers walk and hitch-hike their way down the road to their destination, the ... See full summary »
While traveling through the desert for an appointment with a client, the businessman David Mann from California passes a slow and old tanker truck. The psychotic truck driver feels offended and chases David along the empty highway trying to kill him. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Some of the scenes were later used as stock footage in The Incredible Hulk: Never Give a Trucker an Even Break (1978). Obvious scenes used were the red Valiant slamming into the fence, the use of the same phantom truck in new TV footage, and the use of a similar Valiant in new TV footage. Unhappy by the discovery that footage from the movie was recycled, and unable to sue because the studio owned both the film and Hulk series, Steven Spielberg insisted that all his future contracts have a clause designed to protect his films from being used as stock footage. See more »
During the final chase scenes the camera cuts to the speedometer showing how fast the car is supposedly driving however the gear indicator is also visible and is clearly showing the car is in neutral gear the whole time. See more »
[radio playing, driving down the road, approaches the truck]
[David coughs, coughs again]
Talk about pollution.
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The man with the sandwich is referred to as "Hoagy Man". See more »
Gleefully sadistic little thriller. Though the young Mr. Spielberg's hand is evident in many places (the economic storytelling style, the visual wit), the film's tone probably owes more to screenwriter (and 'Twilight Zone' veteran) Richard Matheson. The story has all the itchy paranoia of Matheson's best work, with Dennis Weaver's fussy little city man confronted by Tex-Mex suspicion at best, and relentless, illogical horror at worst, as he travels from one oasis of civilization to another for an important meeting. 'Duel' is essentially a city-slicker's nightmare, concentrating collective fears of wilderness and the mad souls who choose to dwell there. But at the same time it lightly satirizes those urbanite attitudes, and Weaver's Mann is often made to look laughable, with his silly necktie, and his little Plymouth Valiant, and his prissy, civilized approach to his problem. Spielberg revels in the black comic elements of Matheson's narrative, and the result is the perfect suspense/thriller tone--one never knows whether to laugh or scream. If the story lags a bit towards the end, and if the conclusion is rather a simple one, the film is still a model of economy and tone, and it features one of the most memorable villains in suspense-film history--one that weighs forty tons. 9 out of 10.
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