Steven Spielberg's directing career began with the made-for-TV movie Duel, adapted from Richard Matheson's short story about a man who is targeted by a maniac trucker while driving on the highway. In essence, the film can partially be summed up as "shot of car, shot of rampaging truck, shot of scared man in car," because for most of the film, a long, drawn out car chase is what we're subject to. But there's a little bit more to it than that.
Spielberg has some tight camera angles and cinematography throughout the film. One of the best things about Duel is how forboding the truck becomes as the camera pans its length, or when it circles back around like a snake. Spielberg adds scenes to the film as well to characterize both Mann (Dennis Weaver) and the trucker, trying to take away some of the abstractions of the story while simultaneously adding others. It is to the movie's benefit that the trucker appears slightly more human than in Matheson's story; it heightens the terror of knowing that the trucker is just another human being (though deranged) who shares the road with us.
The first half of the film is relatively exciting as Mann comes into the understanding that his existence on the highway has become perilous. The car chase that ensues is fresh and welcome; the action starts early and doesn't really relent after that. The truck/car scenes are broken up by Mann's stop at a gas station and a cafe, allowing the viewer to figuratively "get out of the car" for a stretch on land. It works to maintain interest for the viewer; paranoia sets in for Mann as he tries to figure out who the mystery trucker is, and it triggers a duck hunt that ultimately leaves Mann even more terrified than before, and with him the viewer too.
But once we round that bend in the road, there's not much to keep us interested in the narrative again. Sure, there's some car chase that has some arguably profound moments and another land scene where the truck destroys a reptile zoo, but for the most part the film drags on with the aforementioned car-shot./truck-shot alternations that get stale after repetitive viewings. Just when you think Mann will finally ditch that damned truck, the beast rolls around the curve again. It might mimic the frustration of Mann, but it's tough to sit through the last thirty minutes of driving.
There's no flashy special effects here either, just good old-fashioned stunt driving, which may leave some gritting their teeth. There's not even an explosion at the truck's demise, though it does say "flammable" all over. It might be tough for some to appreciate the relatively "low" amount of action - this is, of course, leaving out all of the fine chases and eerie truck appearances.
And though Duel's beginning is especially high-octane, it's unfortunate that Spielberg couldn't do much for the last portion of the film besides more chases sequences. The end feels extremely unfulfilling - it's endless minutes of the same footage we've been seeing throughout the whole movie. It's still an appreciable film, and one that looks great when thought of as a TV movie; but the appeal doesn't really hold up, perhaps due in part because of being spoiled by contemporary dazzling effects, instead becoming a monotonous watch that especially resembles a really long car ride.
BUT: Dennis Weaver does have some fantastic expressions - like this scene!
Duel on Rotten Tomatoes
5 COMMENTS:
This is among Spielberg's best films....
A shame that it's so overlooked.
It might have been good in the 70s and 80s, but I feel it's lost its flair. I've heard great things about pacing and tension from it, but all I felt was tedium when the truck just kept... coming... back!
Ryne, I am old enough to remember watching this during it's first run...even at the tender age of 11 I was blown away by what I saw. Granted, by today's standards it's no big deal, but trust me when I tell you, back in 1970, it was rare to see a made for TV movie made with such style (and what was the budget for this? Probably not much).
One more thing, Steve's first big break was when he directed an episode of The Night Gallery with Joan Crawford, I think it was called "Eyes" or "Her Eyes" - see if you can find it, it's brilliant.
Good to know, Pax!
I definitely realize the influence of the film in the past. Sometimes it's hard to put the film into a perspective where one is not at least partially biased and spoiled by the technological progressions of our time. I find this a lot when I attempt to watch black and white movies as well, as their pacing, and especially their scare attempts, are so different from what I have grown up with.
It's always great to have a perspective of one who grew up with the film in its prime!
Steven Spielberg is the best Director I've known, he's always worried to create more and different characterizations and now he got it with this film which keep us on our seats during the hole movie.
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