When his wife goes into a troubled labor while he is on the road over 1200 miles away James Kowalski, an ex race car driver and a former Army Ranger, attempts to elude police while trying ... See full summary »
Charles Robert Carner
Insurance investigator Maindrian Pace and his team lead double-lives as unstoppable car thieves. When a South American drug lord pays Pace to steal 48 cars for him, all but one, a 1973 Ford... See full summary »
Larry Rayder is an aspiring NASCAR driver, Deke Sommers is mechanic. As they feel they collectively are the best, the only thing that is holding them back is money to build the best vehicle... See full summary »
"The Driver" is a specialist in a rare business: he drives getaway cars in robberies. His exceptional talent prevented him from being caught yet. After another successful flight from the ... See full summary »
The story of two very different men, a horrific car accident, and a crime committed deep in the woods. Various facts and stories are cautiously presented, but the pieces of the puzzle don't fall into place straight away.
Kowalski works for a car delivery service. He takes delivery of a 1970 Dodge Challenger to take from Colorado to San Francisco, California. Shortly after pickup, he takes a bet to get the car there in less than 15 hours. After a few run-ins with motorcycle cops and highway patrol they start a chase to bring him into custody. Along the way, Kowalski is guided by Supersoul - a blind DJ with a police radio scanner. Throw in lots of chase scenes, gay hitchhikers, a naked woman riding a motorbike, lots of Mopar and you've got a great cult hit from the early 70's. Written by
'Guillermo Cain' modeled the Super Soul character after The Big Bopper. See more »
At 21:49, after Super Soul receives the first radio report about Kowalski, the Challenger goes up a hill into shadow with a large mound of earth on the left side of the road, then the road curves right at the top of the hill. A few seconds later, after a cut showing Kowalski driving, the car is on the road down the hill before the shadow, ready to climb the same hill again. See more »
And there goes the Challenger, being chased by the blue, blue meanies on wheels. The vicious traffic squad cars are after our lone driver, the last American hero, the electric centaur, the, the demi-god, the super driver of the golden west! Two nasty Nazi cars are close behind the beautiful lone driver. The police numbers are gettin' closer, closer, closer to our soul hero, in his soul mobile, yeah baby! They about to strike. They gonna get him. Smash him. Rape... the last beautiful free soul ...
See more »
The Fox logo is shown without the fanfare making it one of the first times this has happened. See more »
Seeing it again is a real lesson on how certain cinematic language, if presented purely, transcends. And for a US-made movie, it is pretty pure.
If you do not know it, the primary narrative is essentially no narrative: a muscle car speeding across the desert chased by police, initially for speeding and ultimately just to exert power. This fellow is Kowalski, a name imported from a landmark film. He simply drives. It is his life now. We see flashbacks. Find he was a Medal of Honor winner in Vietnam, a star racer and then a cop. There's a backstory about his being a good cop and turning in some rotten apples, so by degrees we come to understand the moral landscape.
There is only one other character, a blind black disk jockey who is listened to by apparently everyone. Guided by his eavesdropping on police radio, and some psychic ability.
This was after "Easy Rider" and instead of bold men moving into a life, we have life chasing an honest man. Same ethic, could even have been the same man. But he knows himself. He knows he is a cinematic creature, someone to be observed and dreamed about. He knows he carries his world with him. Always borrowed.
You can see Malick here, the notion that the character sees us seeing him, that he knows he is fictional and knows we think him not. You can trace it to the female version in "Thelma and Louise," where they have their end only because they know someone will watch. Its not like "Cool Hand Luke," or "Bonnie and Clyde" at all where the man decides. That comes from the Hollywood western.
Its derived from the "Breathless" tradition.
A good third of this film is spent on the "audience," the rural townspeople. These parts are filmed in a documentary style, with it seems real people who have come to watch the filming, having heard on the radio from a borrowed soul. They look dumb and bored, clearly with nothing better to do than watch, just like us.
Ted's Evaluation -- 3 of 3: Worth watching.
30 of 39 people found this review helpful.
Was this review helpful to you?