Convoy

This film is a strange duck. One of the only two bona fide commercial hits for one of the most celebrated American directors of his era nevertheless pretty much killed Sam Peckinpah's career. What went wrong?

Some blame the basic concept, basing an entire movie on a three-year-old AM novelty hit. Like the song, it's a rambling tale about truckers ramming roadblocks and talking to each other on citizens-band radios. Kris Kristofferson as lead trucker Rubber Duck seems sheepish about the overall point, while Ali MacGraw as his love interest looks uncomfortable in a bad haircut.

"Convoy" isn't Shakespeare, but for the first 35 minutes it establishes an amiable tone and a colorful cast of supporting players. The jokes are hit-and-miss, but establish an enjoyable trucker camaraderie. Kristofferson's not much of an actor for me, but he's effective here working his gruff-but-kindly persona for what it's worth.

The early part of the film culminates in a fistfight in a roadstop diner. This sequence is well-shot and edited, belying the notion of Sam directing the entire film out of his skull on cocaine. A slow-motion shot of ketchup splattering over one combatant shows Bloody Sam had a sense of humor about his reputation. One cop seems impervious to fists and chairs alike, leaving Duck to marvel: "That ain't no cop, that's a mule wearing a uniform." You laugh because it's set up well.

But then the film moves to the Rubber Duck and his pals escaping the law, and with that ideas run out fast. The movie pushes its points, hazy as they are, with unbecoming directness. One cop introduces himself: "My name is Bob Bookman, sir, and I hate truckers." The Duck goes on some existential tangent about his growing band of followers, telling his pal Pig Pen (Burt Young) "Who the hell else they got?"

Much of the film focuses on Sheriff "Dirty" Lyle, overplayed by an uncommonly intense Ernest Borgnine, who chases the Duck because, well, he's the law and doesn't like backtalk from people he hits up for bribes. The story wanders into amnesty discussions between the Duck and an ambitious governor, with assorted points about grandstanding politicans hammered over and over.

In an out-of-nowhere dramatic shift, trucker Spider Mike (Franklin Ajaye) is beaten and stuck in jail in Texas, setting the stage for the Duck to break him out. The amiable comedy of the early film still lingers, but it's largely overwhelmed by this and other stabs at significance. By the end, the Duck has passed from myth to deity in a drawn-out finale with a lot of strained laughter. Here's an idea: It's a comedy when the audience is left laughing, not the actors on screen.

"Convoy" never sinks entirely; the visuals are cool and the supporting cast fun company. It just doesn't do enough with what it has. It's here I think Peckinpah failed the film, not working the script in a more engaging direction. He leans on stunts in place of story; after the fifteenth flipped cop car I started getting old "A-Team" flashbacks.

A lot of familiar faces from other Peckinpah films appear here, in both lead and supporting roles. Sam himself appears twice, as a boom operator in a camera car chasing the convoy and as a face on the T-shirt of Widow Woman (Madge Sinclair) that reads: "Uncle Sam Wants You".

Early in the film, Widow Woman sums up the spirit of "Convoy" when someone asks her if she wants to join them in their law-breaking adventure. "Why the hell not?" she replies. It's a line that worked when Ben Johnson said it in "The Wild Bunch". Here it is not so convincing. "Convoy" entertains, but it never convinces. For a Peckinpah movie, that isn't good enough.

Sam Peckinpah's 'Convoy' works as, if nothing else, a little cultural/pop cultural archeology. Based on a novelty song that was itself a product of a short-lived CB (citizen's band) radio/trucker craze that swept the States in the mid 70s, it offers up a rather vivid slice of life from the days of malaise. It was one of several such films ('Smokey and the Bandit', 'Breaker! Breaker!', 'White Line Fever') trying to cash in, but this one is notable for the presence of Peckinpah behind the camera (though how much the struggling Peckinpah was actually behind said camera is apparently open to debate).

'Convoy' is a tough film to nail down. At times it veers into the dadgummit, cornpone comedy territory of Smokey and the Bandit, and at others it evokes a more traditional Peckinpah zeitgeist. Ironically, it probably works best when it straddles that line. At those times, 'Convoy' offers up a broadly entertaining action yarn, with colorful characters occupying simple, well defined turf. I wish Peckinpah and Co. had somehow been able to marry that more cohesively to his standard themes while leaving the broad yucks out of the equation.

Convoy is the shallowest of Sam Peckinpah's films, but by no means the worst. It contains some oddball characters and a number of memorable sequences, and alternately funny and thought-provoking dialogue. It also features one of the very best Ernest Borgnine performances that I can remember - not bad for a man who won an Oscar for Marty!

The story traces the fortunes of some truckers, led by "Rubber Duck" (Kris Kristofferson), as they drive through the states of New Mexico, Texas and Arizona. They are pursued by the law, and gradually more and more truckers join on at the back of the line until they have literally hundreds of lorries, all roaring along the highways in protest of the prejudicial treatment they receive from the cops.

Kristofferson is supremely enigmatic as the leader of the pack. Ali MacGraw is a bit of a bore as his female companion. As mentioned before, the real star is Borgnine, mean and menacing, funny and cruel as the cop who dedicates his life to victimising truck drivers. For such a shallow film, it looks and sounds beautiful. Even the car chase through the sand is poetic. I can't explain what's good about this picture. It sounds dull and pointless, yet to watch it is a thoroughly enjoyable experience. Convoy is a contradiction of itself.... plotless, pointless, thinly plotted, and yet still (somehow) a top notch film!

It was June of 1977, and I was twelve years old. I was visiting my grandparents in Las Vegas, NM at the time, when I heard that they were filming a movie in town. Nothing new... Las Vegas has been in it's fair share of movies having been made. A great back-drop for old westerns. This was a contemporary movie that was very timely, with the whole CB radio fad happening and Smoky and The Bandit having just made a killing at the box office. Not to mention, Kris Kristofferson was at this point very much a sex symbol from his movie " A Star Is Born" having just been released.

Director Sam Peckinpah was in town and was picking out extras to sit in the Old Town Plaza near the gazebo in downtown Las Vegas. I was one of the them. The day was torrid hot, and Mr. Peckinpah didn't seem to be in the best of moods. With many curse words being thrown around and a few temper tantrums to boot (director and cast) we extras endured the heat and the anger... to get a shot to be in this movie. Of course I ended up on the cutting room floor minus a crowd scene or two, but it was such a thrill for a twelve year old girl.

The movie debuted in July of 1978, a year later, and by then, a lot of the CB radio hype had died down and the movie tanked at the box office. It was later shown on television it seemed every few months in the 1980's, almost gaining a cult following.

The movie is clearly dated, at times over the top macho, but it has a good cast, some great scenery and if for pop culture only... it's a lot of fun.

I don't think this film is as bad as it's reputation suggests. I've seen a fair number of these kind of truckin'/car chase films from the late 70's, and I think it's a fairly average representation of the genre ... perhaps even a bit better than average given the presence of Kris Kristofferson, Ernest Borgnine and Burt Young. What's disappointing is that you expect Peckinpah to elevate anything he works on to something better than "average genre film" status, and he fails to do that. There are moments when you sense his presence ... a slow motion shot of big trucks hightailing it along a sandy back road achieves a certain poetic majesty ... but mostly you get the feeling that he simply didn't care about this film. It's a giant missed opportunity.