Pit Stop

PIT STOP is actually THE WINNER since not only is that the exact title on the screen during the opening credits, but there's only one pit stop: where villain turned strategic wild card Sid Haig stops for half a second during the last race...

Which isn't your usual climax since the movie continuously peaks throughout. Backed by tough instrumental rock... the fat, crunchy guitar sounding more 1950's than 1967... this low-budget curio's directed by b-movie icon Jack Hill, before his signature women-in-prison and/or urban blaxploitation flicks...

Filmed around Los Angeles in sparse, bleak B&W from city streets to a steely-dusk junkyard to the noisy tracks, where the style of racing is mostly Figure 8, which is practically suicide even for the most intrepid hot dogs: In each smash em' up bout, always ending in a loud, boisterous, go-go barroom, Hill clearly lets you know what driver's behind the wheel, and when...

Either Sid Haig's rowdy, cocky Hawk Sidney or main character Dick Davalos as Rick Bowman, both working for Grant Willard, played by veteran actor Brian Donlevy, who's cooler and colder than the drivers he subtly pits against each other. And there's always a reason for the racing around, established within lean exposition that stretches PIT STOP beyond that era's hot rod exploitation fare: but it's all that, too...

And there's even some horror/thriller elements: Like when Haig turns borderline psychotic, taking an ax to Davalos's car simply for beating him the night before. He's also jealous about losing his girl, played by the Jack Hill directed SPIDER BABY co-star Beverly Washburn: With raven black bobbed hair and a flirtatious smile, she wields a loose yet still constrained b-girl sensuality combined with small town pathos and humble desperation.

By far, the coolest sequence takes place in the desert, filled with a reverberated, concert-like, beer-guzzling celebration of eclectic, experimental dune buggies where the edgy rock guitar grooves into a jazzy and melodic, psychedelic spontaneity as Davalos tests an engine for a pivotal race with the straitlaced husband of who eventually becomes his leading ingenue, and would, a year later, change her last name from Ellen McRae to Ellen Burstyn as tomboy mechanic Ellen McCleod, more desirably down-to-earth than Washburn's experienced hot rod moll.

Like what George Lucas would achieve six years later with AMERICAN GRAFFITI, there's a palpable feeling as if being right there with the drivers in their machines: but not in the usual monotonous and often times convoluted mainstream "cars racing around a circular-track" fashion: Placing PIT STOP ahead of large-scale productions like GRAND PRIX or the vehicle that made THE WINNER change its title, being too similar to WINNING...

But neither Paul Newman or James Garner or even Steve McQueen can equal these at-that-time no-name actors/actresses; and it's not all because of the drivers or their driving. This is director Jack Hill's coolest, tightest, most complete motion picture, and with very few superfluous distractions for the target drive-in audience...

Meanwhile, the ambiguous yet tragic "twist" ending really isn't a surprise if you (after several recommended viewings) pay close enough attention to the hard-line ethic of the primary stars: From the rudimentary city street drag race on, Donlevy and Davalos have one goal in mind: the finish line.

Following work on a couple of Francis Ford Coppola films, directing a couple of cheapie's for Roger Corman, and the delayed but supremely stylish Spider Baby (made in 1964 but unreleased until 1968), man-of-many-talents Jack Hill turned his attention to figure eight racing for Pit Stop, aka The Winner. The subject repulsed the director, but Corman insisted and, during his research, Hill became fascinated by the attitudes of the death-wish men behind the wheels. So, although the topic is pure exploitation, Pit Stop is character- driven, following the exploits of the stoic Rick Bowman (a brooding Richard Davalos) and his increasing obsession with the thrill of the win and the dance with death in every race. As racing promoter Grant Willard (Brian Donlevy) says, a suicide is born every minute.

Shot in grainy black-and-white, Hill employs European, guerilla- esque tactics to film the movie as effectively as possible, squeezing as much out of its obvious budget limitations as possible. It helps achieve a neo-noir atmosphere, heightening the gloom yet amping up the style. Modern racing films tend to be sleek and shiny, but Pit Stop is pure grit. The racing scenes, which consist mostly of footage of real figure eight racing, are insanely entertaining, with every crash, flip and slide unhindered by editing, special effects or stunt work. It puts movies like The Fast and The Furious (2001) to shame, as although said franchise is entertaining in its own right, as a movie depicting the sheer thrill of the race, Pit Stop puts it to shame.

The performances are effective too. Davalos proves to be a charismatic "I play by my own rules"-type, hesitant at first, but eventually unable to resist the lure of the competition. Donlevy, Hammer's Quatermass, delivers reliable support, but the screen is inevitably chewed up and spat out by Hill regular Sid Haig as outlandish racing champion Hawk, putting his usual obnoxious redneck shtick to effective use. This being a Corman production, it often resigns itself to underdog genre tropes, but Hill's direction and screenplay means that there is always something more existential and cynical lurking beneath the surface. It may be one of Hill's lesser known works when compared to his exploitation classics Coffy (1973), Foxy Brown (1974) and Switchblade Sisters (1975), but it is certainly one of his best.

'The Winner' (aka 'Pit Stop') was made in the period between Jack Hill's wonderful horror cult classic 'Spider Baby' and his early 70s Pam Grier-led renaissance ('The Big Bird Cage', 'Coffy', Foxy Brown',etc.). While this movie very rarely gets mentioned it is one of Hill's very best, and is a tough and super cool car racing drama, much better than one would expect. Richard Davalos (best known for playing James Dean's brother in 'East Of Eden') plays Rick Bowman, a drag racing street punk who comes to the attention of car enthusiast Grant Willard (the final role for Brian Donlevy, fondly remembered as Professor Quatermass ). Willard bails him out of jail and offers him sponsorship as a race car driver. Bowman eventually accepts and becomes entranced by the tricky "figure eight" track Willard introduces him to. The king of the track is cocky and talented hot dogger Hawk Sidney (Hill regular Sid Haig in one of his most memorable and entertaining roles). Bowman and Sidney clash and Bowman sets his sights on knocking the latter of his perch while stealing his girl Jolene (Beverly Washburn who played Haig's demented sister in 'Spider Baby'). This is just the beginning for the ruthless Bowman who will let nobody stand in his way and will attempt to destroy any man, and seduce any woman who crosses his path. Pretty soon he has his eyes on Ellen McLeod ('The Exorcist's Ellen Burstyn ) the wife of champion racer Ed McLeod who he befriends. Will he betray his friends and colleagues on the eve of The Big Race, or will he finally discover he has a conscience? This is a taut and terrific drama with strong performances and exciting racing sequences that deserves to be better known. Highly recommended.

Richard Davalos of "East of Eden" fame plays Rick Bowman, a punkish man who wrecks his car in a drag race. He's bailed out of jail by cunning businessman & race promoter Grant Willard (Brian Donlevy, in his final feature film), and groomed for a career as a driver in a series of hairy and violent figure eight races. Among Ricks' competitors is the flamboyant Hawk Sidney (Sid Haig), who's not used to losing and doesn't take it well.

Clearly "Pit Stop" has become something of an underdog on the resume of low budget filmmaking legend Jack Hill. Admittedly, it's got a pretty thin, and formulaic, story. At least one plot development was patently predictable. Also, as played as a rather inexpressive Davalos, Bowman remains something of a cipher. The show really belongs to the colourful supporting players. Jack Hill regular Haig, in particular, appears to have the time of his life as the cocky veteran. Beverly Washburn of Hills' "Spider Baby" is cute as the racing junkie who ends up in Ricks' bed. Donlevy does a decent job as the man who really only cares about results. Several real life racing figures play themselves; George Washburn (Beverlys' brother), himself a stunt driver and racer, is effective as old pro Ed McLeod. Finally, "Pit Stop" features a lovely Ellen Burstyn (billed here as Ellen McRae), doing a very nice job as McLeods' wife Ellen.

"Pit Stop" benefits from believably intense action scenes and use of actual racing tracks. It's a thickly atmospheric, convincing, and ultimately very fun movie with a groovy blues soundtrack.

You sure come to dislike Rick by the end of the story, though.

Seven out of 10.

There's a class of movies that are low budget that reflect an era of Americana and certain people that get it right. A specific view. A look back at a time, place or people. I'm from a group that looks back at my heritage and those from my family and friends. West coast hot rodders. This flic has that vibe. If you're into vintage American gas. This is a great flix.