Duel

This film proves that television can produce a quality film. Much like Spielberg's first big theatrical hit, "Jaws", this film deals with a menace, the driver, that is pretty much unseen for most of the film. It also preys upon our fear of being caught in a desperate situation with no one around to help. Also, Dennis Weaver was perfectly cast as the unfortunate motorist that happens to be the prey of a psychotic truck driver. This definitely is a far cry from Weaver's most famous role of Marshall Sam McCloud, who was the typical hero compared to the terrified motorist he plays in this film. Too bad that we here in the United States never got a chance to see this great film in a theater like the rest of the world. This is definitely a classic suspense film.

A brilliant study in minimalist suspense and terror

This film is the perfect example that you don't need a gigantic budget, sound names, great publicity or a little push from someone famous to create a cult classic. All it takes is talent and Spielberg has repeatedly shown us that he has plenty of it. It was filmed in a modest budget, the characters hardly talk and the plot is quite simple: it is the story of a man being chased in a highway by an truck. However it was filmed in such a way that it literally sticks you to the screen, never being boring for one second. The truck (not the driver) is the main protagonist of the story, a menacing character who chases a man to death for no particular reason. It plays marveously with our most intimate fear: the unknown. An absolute must see, a cult classic. this is a unique film.

I can recall vividly watching this movie as an ABC movie of the week at the tender age of six.Very few movies at that time in my life had the ability to captivate me.Duel was one of the fortunate few.We have a mild mannered businessman,excellently played by Dennis Weaver,on his way to a very important appointment.Suddenly,there is trouble ahead in the form of a ruthless tanker truck driver.For unexplained reasons,the truck driver singles out David Mann(Weaver)as the recipient of whatever rage and torment possesses him.Along the way,we have an apparently unsympathetic diner crowd,among whom this mad truck driver may have mixed in with while David was freshening up in the diner's restroom.Which one of them is it?Did he ever come in at all?Did he just linger outside,adding to David's torment?Then,there is the lady at the Snakerama,whose reptile displays are leveled when the truck driver realizes that David is trying to notify police in her phone booth.David ends up searching for strength he's not sure he possesses in order to combat this unseen menace.I love the idea of the driver never being seen,as the unseen is often more frightening than what is thrown in our face.This film may have been made for television,but it played like something you would see in a movie theater.I understand that it was in fact,released in theaters in England later on after Spielberg added some more footage.I am envious that they got to see this Hitchcock like thriller on the big screen.I consider it a grand edition to my DVD library.Great stuff.

2/28/2006 R.I.P. Dennis Weaver (1924-2006)

From the opening credits, where we see a POV of David Mann's car pulling out of his driveway off to who-knows-where, the viewer knows their in for something special. Indeed, Duel is something special. It's essentially a 90 minute chase with the occasional brief intermissions for scenery change. This could get old really quick, and indeed it does get old . . . but I can't help but watch in amazement and observe how long Spielberg kept me engaged in just two vehicles on open roads.

And interestingly enough, ten minutes after the film started boring me it recaptured my interest for the breathtaking finale.

After Duel, the Creeper truck and the semi from JoyRide are pushovers. This is the Freddy Krueger of vehicles, and the truck (not its driver) is treated as the bad guy. I particularly loved when the truck was shot in silhouette through the tunnel - beautiful and haunting composition. Also the shots where the camera pulls around Mann's car and travels parallel up along the truck – simply put, 'awesome cinematography.' The high number of interesting shots (on location, no less) of the truck chasing Mann is what really drives this film forward. It takes a long time for this particular flair and flavor of film to get boring.

Dennis Weaver plays his part of David extremely well; unfortunately, I didn't much care for the spineless middle-class Joe-shmo character on the page. I think part of my dislike comes from those annoying internal monologues that were totally unnecessary. It's always been a cheap gimmick in my mind, and Weaver truly communicates those emotions without the added soundtrack. Still, despite a character that I did not like, Duel managed to keep me engaged in the story . . . strangely enough.

Earlier I spoke of brief intermissions from the chase; notice I didn't say the tension is eased up here. Spielberg finds ways to lace these breathers with suspense through the presence of the truck (still, more to do with the truck itself than the driver). And really, it's through these intermissions that we meet other (very colorful) characters who make quite an impact considering their bit parts (then again, maybe it's due to the fact that juxtaposed to an empty desert any character is colorful).

I appreciate the lack of any real information, lack of a motive, lack of background story on Mann, very little info (if any) on Mann's destination. I do, however, think Spielberg went just a bit too far with the ambiguity; however, that's a very minor complaint that I don't care to dwell on. Sure a few points needed to be touched on more, but then again the Freddy Krueger of diesel trucks is chasing you, are you really going to stop and ask it a question?

I wish the character emotions had taken the same route instead of feeding the audience those redundant internal monologues. Oh well, there's a fun contrast for you.

In my review of T3, I wrote 'I wonder what director will be the first to direct the very first film composed solely of one action scene?' Spielberg comes pretty damn close, and the funny thing is his 60+ minutes of chase footage is more interesting than the new millennium's 10+ minute chases. Rock on Steven!

DUEL is Spielberg's JAWS of the highway, a raucous nascar race of a film that was "made for TV". Usually, the phrase made-for-TV makes me ill, but Universal TV executives had no clue what they had here. It was so good, the film got its fitting recognition in Europe, where it was released theatrically. Spielberg's own idol, director David Lean, praised the film's suspense and excitement. A testimonial from Sir David Lean is enough to get any career going. DUEL begins from the point of view of a driver, and never lets up. The fear Dennis Weaver encounters consists not only of the monster truck itself, which is on an unexpected death chase, but of the inability to see who (or what) is behind the wheel.

It seemed like a great episode of THE TWILIGHT ZONE, and Rod Serling would've been proud. Speed kills and you may never pass a slow truck on the highway again after seeing this. There is no character development, no humor, no identifiable characters, but in this case, who cares? It is only 90 minutes long and Spielberg's goal is to make you tired. To make you experience what this everyday salesman is going through for NO apparent reason. Besides a shark in the ocean, I really can't think of another more frightful situation to be in.

The truck itself is sinister looking, almost resembling one from RAIDERS OF THE LOST ARK. The only remnant of a human being in the truck is an arm. The arm waves much like the hitch-hiker in the famous TWILIGHT ZONE episode. Weaver is cheesy and silly looking in his Peter Fonda-esque shades, but it is a sign of the times. You don't necessarily find yourself rooting for him to escape alive. Basically, you are held prisoner by Spielberg's web of suspense, and stay wide-eyed the entire time. Great fun to watch on big or small screen.

RATING: 8 of 10