6.0/10
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47 user 23 critic

Car Wash (1976)

This movie is about a close-knit group of employees who one day have all manner of strange visitors coming onto their forecourt, including Richard Pryor as a preaching "wonder-man" who is ... See full summary »

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Nominated for 1 Golden Globe. Another 3 wins & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
Darrow Igus ...
Floyd
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Lloyd (as De Wayne Jessie)
James Spinks ...
...
...
The Wilson Sisters
...
...
...
Snapper
...
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Mona
...
...
...
...
Chuco
...
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Storyline

This movie is about a close-knit group of employees who one day have all manner of strange visitors coming onto their forecourt, including Richard Pryor as a preaching "wonder-man" who is loved by most, but loathed by one, and a man who looks like a thief by the way he is holding his bottle, but it is really his urine sample as he is off to the hospital. T.C.'s love life takes a turn for the better, and the songs keep coming. Written by Graeme Huggan <hia95gh@sheffield.ac.uk>

Plot Summary | Plot Synopsis

Taglines:

Hey, it's a '70s thing! [Video Title] See more »

Genres:

Comedy | Drama | Romance

Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

22 October 1976 (USA)  »

Also Known As:

Car Wash - Der ausgeflippte Waschsalon  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Even though Danny DeVito's scenes were cut from theatrical release, you can still see him in the "Kenny meets Marsha" scene. If you watch behind "Kenny" as he is approaching the office, and the intro to the "I Wanna' Get Next to You" starts, you will see DeVito's back as he appears to be storming off from a woman (Brooke Adams) and slaps a newspaper vending machine on the way out of view. This was following a deleted scene where Kenny flirts with Brooke Adams' character of Terry when he kisses her right hand after paying his bill at the Dog House eatery, and Danny DeVito's character of Joe begins an argument with her about it and storms off. See more »

Quotes

Duane: Why don't you tell everybody how you "got so rich" Daddy Rich? This is one nigger you aint fooling! I'm onto the game you're running to these people here.
Daddy Rich: What can I do for you, brother?
Duane: The same thing you're doing for everyone else. Nothing!
Daddy Rich: Guess you don't believe in my church. The Church of Divine Economic Spirituality.
Duane: Yeah, that's right. I don't belive in it.
Daddy Rich: So, you don't belive in God?
Duane: Not "your" God. I'm a Muslim.
Daddy Rich: My God's doing all right by me. Why don't you come on board brother, and ...
[...]
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Crazy Credits

The principal cast members are all spoken out at the end of the film by J.J. Jackson, one of the film's deejays. See more »

Connections

References The Invisible Man (1933) See more »

Soundtracks

6 O'Clock DJ (Let's Rock)
Written and Produced by Norman Whitfield
Performed by Rose Royce, Orchestra conducted by Paul Riser
See more »

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User Reviews

 
A wonderful document of the 70's
27 December 1999 | by See all my reviews

It is possible that in a hundred years a film like 'Car Wash' will have lost part of its comic effect, but of one thing we can be sure: because of its value as a document of an era, it will aspire to the term of 'classic' more than futile but pretty recreations of the past, such as 'Barry Lyndon' and the Ivory-Merchant productions, all of which may be more efficient technically-wise, but are all lacking a heart. 'Car Wash' is a collective and populist film about the spirit of community. It is also a motion picture with a few symbols thrown in, probably unconsciously. Since their creation, cars have always been a symbol of status: you are what you drive. The happy-go-lucky car washers offer a 'de luxe' service for all: they give the business a 'special touch' with their multi-racial hands --not only Negroes, but also Chicanos and native Americans--, through another symbol: water, the classic icon of purification and universal conscience. Surrounded by a group of very well defined characters (especially, since they are drawn by single strokes, or have very little screen time to develop psychological traits: they are characterized by their actions), three persons stand out: Mr. B (capital), Abdullah (revolution) and Lonnie (kindness.) The greed and neglect of the lustful and amiable car wash owner is contrasted with the anger and resentment of the dry and humorless political activist. In the middle comes the ex convict, who ultimately will settle things around the film's central issue: work. We cannot forget most of the issues referred to in the film in a casual way, as we normally do in daily life, and related to the multiple characters: love, religion, prostitution, parenthood, homosexuality, social climbing, class rejection, money, class struggle, sex, and above all, music, which is the unifying element. Norman Whitfield did such a good job, that he not only established the rhythm of the action, but its atmosphere, tone and feel. It generates such positive energy, that in the end all of the virtues that appear combined with the vices of the fast, consumerist and violent urban life, as well as the suffering of some of the characters, come to the fore: love, compassion, tolerance, patience, solidarity, friendship, happiness. That makes 'Car Wash' a joyful and universal parable of survival in the latter days of capitalism. And that is not an easy achievement for a little film, directed by an African-American and aimed at a very reduced population.


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