Le convoi

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!

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.

A convoy of angry and enraged truckers are rolling down the desert highways of Arizona New Mexico and Texas led by Martin Penwald (Kris Kistofferson) using the CB-handle "Rubber Duck". The truckers had enough of the corrupt highway cops who shake them down and threaten to impound their rigs. Leaving the truckers without any means of financial support. As well as the ridicules 55 MPH speed limit on the highways that cuts into their time and earnings and last but not least the sky-rocketing gas prices.

After the Rubber Duck and two of his trucker pals Love Machine & Spider Mike,Burt Young & Franklyn Ajaye, were entrapped by the nasty and vindictive local Sheriff Lyle Wallace, Earnest Borgnine,for illegally using the trucker CB-handle name Cottonmouth. Their shaken down by the "lawman" for $70.00 each in order to avoid having their trucks impounded and them being thrown behind bars.

The three later Going to the local truck stop to celebrate the Rubber Ducks birthday and have a few drinks are again confronted by the lawman. Sheriff Wallace, still not satisfied with pushing the truckers around, comes snooping around the area to make a few more bucks off the abused haulers. Wallace picks on poor Spider Mike accusing him of loitering and is about to throw him in jail. Spiker Mike pleads to the unfeeling Wallace that his wife is about to give birth and to please leave him alone which doesn't move the sheriff at all. But a straight right to his jaw, by Spider Mike, does make him move right on the butt of his pants. In a bar brawl with the truckers, who come to the aid of Spider Mike Love Machine and the Rubber Duck, Wallace and two of his deputies are knocked out cold and handcuffed as the three truckers together with the Rubber Duck's new found squeeze the plucky and outspoken Melissa (Ali MacGraw), a wedding photographer who's car broke down, then take off and go back on the road again with the entire Arizona Highway Patrol on their tail.

Chased by the crazy Sheriff Wallace, who commandeered a car from a young couple smoking and shearing a joint. the Rubber Duck Love Machine & Spider Mike get the full support from some very expected and unexpected persons that during the remainder of the film has them on the front pages of the news as well as getting the ear of the local governors senators and even the President of the United States himself.

There's strength in numbers is the theme of "Convoy" with the Rubber Duck & friends making a private affair into a public happening. This by drawing attention to the plight of him and his fellow truckers and how their short-changed and ill-treated by everyone down the line, police politicians and big oil, as they try to do their.

The giant convoy of truckers following the Rubber Duck open the eyes of the nation and puts corrupt low-lives like Sheriff Wallace on the front pages. All that showed what these hard working and dedicated men, the truckers, have to put up with every day and night that their on the road. In the end they get the support and respect from the public, as well as the politicians, that they so richly deserve. When the clueless and almost brain-dead politicians see the endless line of the trucker convoy lead by the Rubber Duck they not only stand up and listen but they deliver as well.

One of director Sam Peckinpah's most underrated films that, as far as I could see, had no one killed in it. Even though the amount of violence and explosions were equaled to Peckinpah's famous blood-splattering 1969 classic "The Wild Bunch".

CONVOY, even after almost 30 years since it was released, remains was it was, an iconic American film by an iconic American director. This movie,which is not short on American archetypes, from Ernest Bornine's vile redneck sheriff "Dirty Lyle," to Kris Kristofferson's independence-loving "Rubber Duck," to Ali MacGraw's free-spirited "Melissa," is really an old-fashioned Western, but with trucks. LOTS of trucks. Like Clint Eastwood's "man with no name" gunslinger, Kristofferson (who steals every scene with his smile and blue eyes) is a man whose sense of honour and justice compels him to act on behalf of the down-trodden; symbolized in this case by a black truck driver named "Spider Mike" (played by actor Franklyn Ajaye). But instead of guns and "pistols at dawn" Kristofferson uses a semi. But it's not "justice" he's after, for in the world of CONVOY "justice" (per se) doesn't really exist. That's what makes this film so iconic. If it was about "justice" this movie would have been a court drama, with the Rubber Duck hiring a lawyer, going to court, and getting Dirty Lyle tossed in jail for his arrogance and abuse of power. Nor is it about mere revenge, for throughout the movie Kristofferson's character never truly reaches the point where he simply wants to hurt and destroy his nemesis. It's rather about personal honour and how we, as individuals, define it. Spider Mike, therefore, becomes not so much the victim of racism (which is repeatedly emphasized by the other characters calling him "boy") but of a system that has allowed dishonourable people (in positions of power) to abuse that power at will. Into this world comes the "legendary" Rubber Duck, the "last of the independents," who alone is willing to strike a blow for the diminished honour of another man, while seeking no reward for himself. This is the essence of the American Western and why it works so well in CONVOY. Take away the trucks, put on some cowboy boots and a six-shooter, and you have before you any number of Westerns whose sole premise is that one man with personal integrity and honour can make a real difference in the corrupt world in which he lives. The difference in this case is that Kristofferson doesn't just "clean up this one horse town" he, with the aid of his "posse" of like-minded truckers (Burt Young does a terrific job as his side-kick "Pig Pen"), totally demolishes it. And like those great Westerns, only then can Rubber Duck find solace for his spirit; which he does without compromising either his own values or his personal integrity This is the essence of honour itself and what really makes this movie work. Even, now, after almost 30 years, one cannot help but stand and cheer as Rubber Duck and company take on the forces arrayed against them as the movie reaches its climax. And then stand up cheer again during the closing dénouement. CONVOY, therefore, isn't about "America," or even about being an American, it IS America; the America of myth and folklore that people, even now, still believe in and which the great Westerns of old have done so much to popularize. Because of that and because director Sam Peckinpah does it with such style and grace, this iconic movie, by an iconic director, deserves a place on the shelf of every lover of good solid entertainment

The "Smokey and the Bandit" target audience never knew what hit them when they went to see "Convoy". Used to a diet of direct-to-drive-in films they had no conception of what could happen when Hollywood threw big bucks and a competent (if distracted) director at the genre. What they got was something that movie historians are still trying to classify. A movie based on a CB radio song that morphed into a poetic homage to machinery; where trucks are turned into mythological monsters and filmed cruising through the heat-radiating desert to a score of classical music.

Why Sam Peckinpah elected to take on this project has really never been explained, although that decision certainly supports those tales of substance abuse, and the final cut is bizarre enough to also fit that explanation. It is an amazing film as it wobbles between self-parody and self-importance to a degree never seen before and never seen again until "Apocalypse Now". I'm not sure how much attention and interest Peckinpah actually showed toward the making of "Convoy". It has the disjointed feel of multiple directors or of a Director of Photography filling in many times when Sam was not motivated to make an appearance on the set.

Kris Kristofferson is fine as trucker "Rubber Duck" although Earnest Borgnine pretty much steals the whole thing.

But "Convoy's real claim to fame is as the film where Ali MacGraw's career spectacularly crashed and burned. She did not just fade away but shattered into a million pieces. MacGraw got into acting in her late twenties but looked young enough to be believable as a college-age girl in her first two starring roles; the excellent "Goodbye Columbus" and the pathetic but hugely popular "Love Story". Her age worked to her advantage as her two characters (particularly "Goodbye's" Brenda) came off as poised, stylish, classy and smart. She picked up a huge following of male viewers who would have bought tickets to anything she was in and she was generally inoffensive to female viewers. She was nominated for the Best Actress Oscar, started fashion crazes, and made the cover of Time magazine. She also picked up the head of Paramount Studios (Robert Evans) as a husband dedicated to advancing her acting career. It was a done deal that she would get the lead in "Chinatown", a role that would fit her rather limited range (poised, classy, stylish). Her only obstacle was managing the transition to middle age in a way that her smitten fans could accept.

Unfortunately she dumped Evans for a short marriage (5 years) to Steve McQueen. Just how badly her image and career were managed after she left Evans is illustrated by her bad haircut in "Convoy". Just glance at the promotional poster and you may be able to hear the sounds of a million bubbles bursting in the minds of her male fans. The idea of "Brenda" playing a truck stop mama with short curly hair would have made it too painful to even contemplate seeing this movie. Her fan base literally melted away with the start of the film's promotion campaign. They never returned, the illusion had died. Ironically had they actually seen her horrible performance in "Convoy" they might have felt better, as the performance is so absurd it achieves a sort of surreal quality. But a couple years later they discovered replacement Jennifer Beals and moved on.

Then again, what do I know? I'm only a child.