A man wanders out of the desert not knowing who he is. His brother finds him, and helps to pull his memory back of the life he led before he walked out on his wife and son four years before... See full summary »
Harry Dean Stanton,
Paul Javal is a writer who is hired to make a script for a new movie about Ulysses more commercial, which is to be directed by Fritz Lang and produced by Jeremy Prokosch. But because he let... See full summary »
Stan works in drudgery at a slaughterhouse. His personal life is drab. Dissatisfaction and ennui keep him unresponsive to the needs of his adoring wife, and he must struggle against ... See full summary »
Henry G. Sanders,
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 <email@example.com>
This is either the best film I've ever seen, or just an interesting exercise in film-making that is ultimately of little value. The problem is that I can't decide which! No film has ever given me as much trouble in terms of my deciding where to place it in my personal Top 250 list. I mean, I know it's difficult to compare the relative merits of movies from different genres (e.g. "Schindler's List" vs "Monty Python And The Holy Grail"), but this movie is so unlike almost any others that I still don't know what to make of it.
I tried listening to the DVD commentary for some help, but Monte Hellman and Gary Kurtz had obviously pre-decided that they wouldn't talk about any aspect of the "meaning" or intent of the movie, preferring to concentrate on technical aspects such as pre-production, casting, locations, logistics, acting, lighting, sound, camera-work etc. I kind of respect them for this - leaving Joe Public to use his/her own brain in order to decide what the movie is all about.
One of the people in a featurette on the DVD said that "people haven't begun to realise how good Two-Lane Blacktop is" and I think that's right - the more I think about it, the better this film becomes in my estimation.
My take on the movie is that it's basically a contrast of the two extremes of human behaviour, as characterised by the brash, noisy "GTO" played by Warren Oates and the quiet, understated-to-the-point-of-lifelessness "Driver" and "Mechanic" - their personalities perfectly mirrored in their choice of cars. Most people's personalities lie somewhere in between, but by juxtaposing the extremes it forces one to think about one's place in that spectrum. "The Girl" is mainly a plot device to create a little bit of dramatic tension, as blokes left to themselves tend to go with the status quo. But we only want a little bit of drama, because that's not really the point, and too much drama would distract from the underlying theme.
I really love the "space" in this movie: the long takes, the long silences, the wide-open scenery, the fact that nobody SAYS anything (Warren Oates talks a lot, but never SAYS much). In modern life in general, I think people talk too much - try sitting still and shutting up for 103 minutes while watching this movie.
Not that I suppose anyone is interested, but I eventually rated this at about #70 in my Top 250, but next time I watch it I may move it up to #1 or drop it out of the 250 entirely...
29 of 39 people found this review helpful.
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