7.3/10
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107 user 108 critic

Two-Lane Blacktop (1971)

A story of two men drag-racing across the U.S. in a primer grey '55 Chevy. Dennis Wilson is the mechanic, James Taylor is the driver.

Director:

Writers:

(screenplay) (as Rudolph Wurlitzer), (screenplay) | 1 more credit »
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1 win & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
G.T.O
...
The Girl
...
The Mechanic
David Drake ...
Needles Station Attendant
Richard Ruth ...
Needles Station Mechanic
Rudy Wurlitzer ...
Hot Rod Driver (as Rudolph Wurlitzer)
Jaclyn Hellman ...
Driver's Girl
Bill Keller ...
Texas Hitchhiker
...
Oklahoma Hitchhiker (as H.D. Stanton)
Don Samuels ...
Texas Policeman #1
Charles Moore ...
Texas Policeman #2
Tom Green ...
Boswell Attendant
W.H. Harrison ...
Parts Store Owner
...
Man in Roadhouse
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Storyline

The Driver and The Mechanic are two car freaks driving a 1955 Chevy throughout the southwestern U.S. looking for other cars to race. They are totally dedicated to The Car and converse with each other only when necessary. At a gas station, The Driver and The Mechanic, along with a girl who has ingratiated herself into their world, meet G.T.O., a middle-aged man who fabricates stories about his exploits. It is decided to have a race to Washington, D.C., where the winner will get the loser's car. Along the way, the race and the highway metaphorically depict the lives of these contestants as they struggle to their destination. Written by Rick Gregory <rag.apa@email.apa.org>

Plot Summary | Add Synopsis

Taglines:

You can never go fast enough...

Genres:

Drama

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

28 October 1972 (Japan)  »

Also Known As:

A Estrada Não Tem Fim  »

Box Office

Budget:

$850,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (Buenos Aires Festival Internacional de Cine Independiente)

Sound Mix:

(Westrex Recording System)

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

This would be Laurie Bird's (as the girl/hitchhiker) film debut. She would only star in two more films including Cockfighter (1974) and Annie Hall (1977) before taking her own life in New York in 1979. See more »

Goofs

When the G.T.O pulls into the gas station it's extremely shiny and clean considering it's just driven across 3 States! See more »

Quotes

Hot rod driver: Let's make it fifty.
The Driver: Make it three yards motherfucker and we'll have an auto-MO-bile race.
See more »

Crazy Credits

The GTO ... 1970 Pontiac See more »

Connections

References One More Time (1970) See more »

Soundtracks

Song in Gee
(uncredited)
Written by Lisa Gilkyson
See more »

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User Reviews

A superb road movie - and more than a road movie.
4 August 2008 | by (Greece) – See all my reviews

Warren Oates plays a GTO driver who, on his road East, challenges two car nuts for "pink slips". The first to get to Washington D.C. wins the other's car. The two young guys have also picked up a girl on their way, or more accurately, she just got in their car, no questions asked; who she is, where she's going, nada. She's just tagging along for the ride. All four major characters are drifters, men (and woman) with no names, and their credit titles reflect that: G.T.O., The Driver, The Mechanic, The Girl. They're parts of a long tradition of genre anti-heroes, drifters and outcasts, that includes the likes of Sanjuro (Yojimbo) and The Man with No Name.

However they face the same paradox every cinematic anti-hero faces: by separating themselves from society, by refusing to sit still and conform, they're free; it's just them, the engine revving and the road. The problem is that even though they are free, they don't seem to realize it. They keep trying to define themselves through society values. As Warren Oates muses about settling down: "If I'm not grounded pretty soon, I'm gonna go into orbit". The only thing that still permits these people identity and a place in society is through their cars. If the end is a symbolic representation of this moral double-bind that pushes them into two opposite directions, only Monte Hellman knows.

The reason I'm musing about characters in a car movie however is simple. Two-Lane Blacktop is not just about the race between a 1955 Chevy and a 1970 Pontiac. And that's probably why the movie meanders seemingly aimlessly in places, as if in a trance. It's not a racing movie. It doesn't try to be a tight, gripping thriller. In that light, the sometimes slow pacing becomes part of what defines the movie. It feels more like some sort of existential journey through 70's America. But the beauty (and Hellman's talent) is that he refuses the easy way out of obvious allegories (the kind of which Jarmusch used in Dead Man). Things are pretty much open and left for interpretation. But as the two cars cross country on their way to Washington D.C., Hellman captures the zeitgeist of the times in a unique way. I don't know how this slice of Americana looks in the eyes of Americans, but for a European like me, it paints the country in the same mythic colours Sergio Leone's movies did. The difference being this is not a reconstruction of a time and era seen through the eyes of a fascinated European director, but real locations and people.

In any way, Two-Lane Blacktop is closer to Vanishing Point than Gone in 60 Seconds. A superb road movie on all counts and more than a road movie.


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