Recently, I watched the first half of the movie Always, a 1989 indulgence that plays more like a sitcom version of Touched by an Angel than something from one of the most influential directors of the 20th century. It made me appreciate another Steven Spielberg effort, one I saw within the same week, a hundred times more. The made-for-TV movie Duel, which dates back to 1971, works using simplicity and creativity. It would eventually become a stepping stone in helping to launch a dozen future blockbusters for Spielberg, but in my opinion, because of its low-budget and suspenseful throughline, it is actually one of his best.
Duel is relentless, warped, and action-packed all at once. It's about a mild-mannered businessman named David Mann, who simply wants to get back home to his wife (Jacqueline Scott) and make amends to her after botching things up the night before by leaving her in the presence of a drunk guy at a party. He is running late and needs to make good time, so he passes a transport truck on the highway. He is confused when the truck, in turn, races past him then cuts back to a lower speed again. These are the kind of buttheads on the road that can really tick you off. But David has no idea how aggressive the unidentified trucker will become, and the rest of the movie becomes a cat and mouse (or, perhaps, a David and Goliath?) game with the highest of stakes.
This is a meticulously storyboarded movie, and would make a fine teaching tool in directing classes. There are some exceptional shots behind the vehicles, beside them, above them, far away, close up, and so on, until the end result is a dizzying montage of suspense and tension. One really interesting shot has David at a pay phone in a laundromat. The camera is at the other end of the room, and a woman comes along and starts doing her laundry directly in front of the action. Also, the truck itself becomes a character all its own, and since the driver's identity is concealed, the effect is as menacing as if a gun or a chainsaw had jumped to life and started stalking David. Needless to say, the success of the movie rests heavily on Weaver's shoulders, and he does an admirable job of conveying a panicked, anxious, and peeved-off demeanour which anybody would adopt after going through what his character has.
This year saw the release of Joy Ride, directed by John Dahl. Dahl made the wonderful poker film Rounders, and with Joy Ride, apparently there have been several comparisons and similarities to Duel. Guess what's now on my must-see list?
