IMDb > Vanishing Point (1971)
Vanishing Point
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Vanishing Point (1971) More at IMDbPro »

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Overview

User Rating:
7.3/10   19,103 votes »
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Up 9% in popularity this week. See why on IMDbPro.
Writers:
Guillermo Cabrera Infante (screenplay)
Malcolm Hart (from a story outline by)
(more)
Contact:
View company contact information for Vanishing Point on IMDbPro.
Release Date:
13 March 1971 (USA) See more »
Genre:
Tagline:
It's the maximum trip... at maximum speed. See more »
Plot:
Kowalski works for a car delivery service. He takes delivery of a 1970 Dodge Challenger to take from Colorado to San Francisco... See more » | Full synopsis »
Plot Keywords:
User Reviews:
Eyes chasing Eyes See more (156 total) »

Cast

  (in credits order) (verified as complete)

Barry Newman ... Kowalski

Cleavon Little ... Super Soul

Dean Jagger ... Prospector
Victoria Medlin ... Vera

Paul Koslo ... Young Cop

Robert Donner ... Older Cop (as Bob Donner)
Timothy Scott ... Angel
Gilda Texter ... Nude Rider
Anthony James ... First Male Hitchhiker

Arthur Malet ... Second Male Hitchhiker

Karl Swenson ... Clerk at Delivery Agency
Severn Darden ... J. Hovah
Delaney & Bonnie & Friends ... J. Hovah's Singers

Lee Weaver ... Jake
Cherie Foster ... First Girl
Valerie Kairys ... Second Girl

Tom Reese ... Sheriff
Owen Bush ... Communications Officer
rest of cast listed alphabetically:

John Amos ... Super Soul's Engineer (uncredited)

Val Avery ... Police Officer (uncredited)
Rita Coolidge ... J. Hovah's Singer (uncredited)
David Gates ... Pianist at Revival Meeting (uncredited)

Ted Neeley ... J. Hovah singer (uncredited)

Charlotte Rampling ... Hitchhiker (uncredited)
Bruce Rhodewalt ... CHP Communications Officer (uncredited)

Meg Wyllie ... Police Dispatcher (uncredited)

Directed by
Richard C. Sarafian 
 
Writing credits
Guillermo Cabrera Infante (screenplay) (as Guillermo Cain)

Malcolm Hart (from a story outline by)

Barry Hall  uncredited

Produced by
Michael Pearson .... executive producer
Norman Spencer .... producer
 
Cinematography by
John A. Alonzo (director of photography)
 
Film Editing by
Stefan Arnsten 
 
Set Decoration by
Glen Daniels 
Jerry Wunderlich 
 
Makeup Department
Del Acevedo .... makeup artist
 
Production Management
Francisco Day .... unit production manager
 
Second Unit Director or Assistant Director
Richard Glassman .... assistant director
John D. Benson .... assistant director (uncredited)
 
Art Department
Dennis J. Parrish .... property master (as Dennis Parrish)
 
Sound Department
Bill Edmondson .... sound mixer
Tom Edwards .... sound mixer
Theodore Soderberg .... sound mixer
 
Special Effects by
Paul Stewart .... special effects (uncredited)
 
Stunts
Louie Elias .... stunt coordinator (as Louis Elias)
Carey Loftin .... stunt coordinator (as Cary Loftin)
Max Balchowsky .... stunts (uncredited)
Joe Brooks .... stunts (uncredited)
James W. Gavin .... aerial stunts (uncredited)
Bill Hickman .... stunts (uncredited)
Carey Loftin .... stunt double (uncredited)
Carey Loftin .... stunt driver (uncredited)
 
Camera and Electrical Department
Richard Hart .... gaffer (uncredited)
Mason Sperry .... grip (uncredited)
 
Casting Department
Michael McLean .... casting supervisor
 
Costume and Wardrobe Department
Ed Wynigear .... wardrobe master
 
Music Department
Jimmy Bowen .... music producer
Jimmy Bowen .... music supervisor
Pete Carpenter .... musical associate
Tom Thacker .... musical associate
 
Other crew
Michael McLean .... associate: Mr. Sarafian
Iain Quarrier .... creative associate
Maurice Unger .... production administrator
Duane Toler .... script supervisor (uncredited)
Bill Venegas .... location manager (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
MPAA:
Rated R for sensuality/nudity and drug content (re-rating) (1998)
Runtime:
99 min | UK:106 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Mono (Westrex Recording System)
Certification:
Australia:M | Brazil:14 | Canada:14A | Finland:K-16 | France:U | Germany:16 (re-rating) (2008) | Iceland:L | Norway:16 | Singapore:PG | Sweden:15 | UK:18 | USA:PG (Approved No. 22718) (original rating) | USA:R (re-rating) (1998) | West Germany:18 (original rating)
Filming Locations:

Did You Know?

Trivia:
'Guillermo Cain' modeled the Super Soul character after The Big Bopper.See more »
Goofs:
Revealing mistakes: During close-ups on the rattlesnake in the desert that threatened Kowalski, the prospector's snare casts multiple shadows from studio lighting.See more »
Quotes:
Hitchhiker:Patiently. That's the only way to wait for somebody.See more »
Soundtrack:
So TiredSee more »

FAQ

What are the differences between the US-Version and the UK-Version of this movie?
See more »
29 out of 37 people found the following review useful.
Eyes chasing Eyes, 7 September 2009
Author: tedg (tedg@FilmsFolded.com) from Virginia Beach

Gosh, I had forgotten how powerful this is.

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.

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