Deadhead Miles

Truly weird and whacked out.

Watch it for Arkin's great over-the-top acting. Watch it just to hear the Dave Dudley soundtrack. Watch it for the great New Mexico scenery. Watch it for that beautiful Peterbuilt. Watch it for the scene where Arkin throws bottles out of his cab at various objects along the road.

Why this movie isn't a cult flick is most likely only due to fact that it's so hard to find. It's virtually unrentable, and it's never on tv anymore.

DEADHEAD MILES, never released theatrically, showed up a few times on cable in the 1980s, then vanished again. One has to wonder why? The fact is, despite being virtually plot less, this is a very entertaining film, and the fact that it is so scarce seems to add to its mystique. It is just a series of vignettes with Alan Arkin traveling across country in his semi-truck, but it works.

Not mentioned in most of the IMDb write-ups is Bruce Bennett, who scores in a bit as a truck-driving ghost, a literalization of an old truck-driving legend. The fact that it is Bennett (of all people) adds to the film's eccentricities. By all means, see DEADHEAD MILES if you can find it. I would love to see it get more exposure again.

I saw this movies in the early 1980s at the Toronto Festival of Festivals (as the Toronto International Film Festival was known then) at like 10 A.M. while I was waiting for the "important film" to roll. Nearly 30 years on, I can't remember what the important film was but I still have warm feelings for the road weirdness of Deadhead Miles. Partly that's because I've been a fan of Arkin's since Wait Until Dark, one of the greatest thrillers of all time. He plays one of the creepiest villains ever. At on point he explains what happened to his cohorts. He says they had plans to kill him but then: "Topsy-turvy. Me Topsy, them Turvy." It's delicious when he says it. As for Deadhead Miles and other films of legend you can't see legally or easily (A New Leaf, 1971), these are the things internet downloads were invented to deliver. We're getting closer, but we're still a few years away from a time when you'll be able to go online and download any movie or TV show their owners want to rent or sell. There are still economic and ego issues to deal with, but the promised land for film geeks is almost at hand. Next year in Hollywood.

I saw this film at the old LA International Film Festival back in 1984. It has also use to play on Bravo once every 3-4 hours back in the late eighties when they use to run those god awful early Fassbinder home movies the rest of the time. The Terrence Malick script has some of the funniest lines ever written but probably could have used a serious re-write, the directing is pretty awful but Alan Arkin's usual overacting acting style is really quite effective most of the time. Better than Two Lane Black Top not in the same league as Vanishing Point this road movie is more for open minded cult movie types than typical filmgoers. Also, look for a John Milius cameo as a state trooper.

As far as I can tell, this film is auteur Terrence Malick's little joke on Hollywood. Malick fans won't find any of Malick's signature directing style--he didn't direct it, and there is no style to speak of in the direction by Vernon Zimmerman. But the Malick script is full of quirky, goofy witticisms and scenes that are more smirk than laugh producing. I picture Malick musing to himself as he typed the final draft: "I wonder if someone will film this part" and then deciding, "Yes. This is America. Someone will."

Alan Arkin's character, Cooper, drives a yellow Peterbilt down America's highways and byways, tells us he's an "engine man," tries to hustle a load, finds humor where he can in a frankly eighth-grade-boy way: after throwing, one-by-one, a case of full Pepsi bottles at signs as he's driving, he turns to his hitchhiker passenger (the lantern-jawed Mr. Bentley from *The Jeffersons*!) and asks "Wasn't that fun? I had fun. That was my idea of a good time" (dialogue approximate). In another memorable scene Cooper sticks it to the trucker's nemesis--cops--in a way that reminds me of Kit Carruther's passive aggression in Malick's directorial debut, *Badlands* (1972) when he throws a set of the boss's keys into a barrel of oil after being told he's fired.

Interestingly, Arkin's character never talks on the CB, which is the first thing you'd expect a trucker to do in a trucker movie. Just shows how Malick is a great left turner.

If Arkin is not doing an impression of Terrence Malick's voice and accent in this film, I'll eat my hat. Arkin's "Texan meets Kermit the Frog" inflection (the way one interviewer described an imitator of Malick's voice) makes me wonder if Arkin met with Malick before filming began and picked up his vocal mannerisms. Hearing so many gregarious lines come out of Arkin's mouth is an eye-opener for Malick fans--I was thinking to myself as I watched and listened "I wonder what happened to Malick after this script to make him decide to be terse?"

Since there's no plot to speak of, the trucker-talk flavor of the film becomes its reason for being. By the end, I realized Malick simply strings together all the witty-to-a-redneck trucker talk he's heard, creates a sometimes realistic, sometimes surrealistic atmosphere around the world of trucking, and asks the audience, in a pugnaciously droll way, to take it or leave it.

Item of interest: the title *Deadhead Miles*, which I originally thought referred to a slacker named Miles, actually refers to the trucker's term for driving a semi with no load in the trailer. Ironically, Arkin's character carries a "load" in the trailer during the entire film. You'll understand why I put that word in quotes if you see the film.