© 1977
Travel back with me through nearly four decades of
time …
To the late 1970s: shaggy carpets, bad hair, polyester
clothing. Cable TV, this humongous box attached to a thick plastic cord to the
back of the television. Bringing thirty or so channels into our living room, including
HBO, and the scads and scores of movies with it. Movies pre-teen Me probably
shouldn’t be watching.
I wrote about this invasion in pretty entertaining
detail during a review of Damien: Omen II, posted nearly six years ago, here.
But not all those flicks beamed into our house were “evil,”
like that the aforementioned Omen.
Some were downright good. I remember a fascination for the Midway we watched many, many times. Also such cool fare (for me) as
the original Star Trek movie and such
mindless entertainment as Smokey and the
Bandit and Convoy, all enjoyed in
that air-conditioner-less living room over those hot late 70s summers.
But the best of the “evil” movies was one me and my
brother watched countless times. Literally. I don’t remember how often we
watched it. Probably just about every time HBO aired it, I guess. And that
movie is The Car.
In one glorious sentence, the movie tells the tale of
a satanic black car terrorizing a small desert town, running down victim after
victim after victim until destroyed – we think – in an explosive showdown.
Posterity calls this movie the “Jaws on land.” I’ll take it one step further. I think it’s a
brilliant cross between two of the hottest flicks of the early-to-mid-70s: Jaws and The Exorcist.
Jaws meets The Exorcist
Wikipedia tells me The
Car was released into theaters on May 13, 1977. That sounds about right.
Seeing it on cable a year later, the fabulous summer of 1978, would make me just-about-eleven,
firmly ensconced upon the borders of the Golden Age of Science Fiction. Know what
movie came out twelve days after it? Yup. The original Star Wars … ergo facilitating an early (and perhaps premature and
unwarranted) demise. Or maybe that’s just my inner geek wishful thinking.
Anyway, I loved this movie! I loved all the characters.
Will you permit me two slightly embarrassing confessions? Okay. James Brolin, starring
as our hero, mustachioed, helmet-less motorcycle riding Sheriff Wade, was my
first ideal of manliness, my first male role model, as a youngling. And I had a
pre-adolescent crush on his goofy, spirited girlfriend Lauren, played by
Kathleen Lloyd.
Super-cool hero to eleven-year-old 1978 boy
Tragic heroine and heart-thief to same kid
Loved all the secondary stereotypical and clichéd
characters. There’s the wooden stoic Injun and his counterpart, the visionary
old Indian crone. There’s Amos, the hard-drinkin’ wife beating loudmouth who
just so happens to own a dynamite factory. There’s the craggy cranky seen-it-all
police chief. I thought the odd detail of his affection for the abused wife of
Amos a simple, endearing touch. Drunk weakling Ronny Cox. Lauren’s well-endowed friend. The stodgy
50s-era high school principal. The bad hair and bad clothes on all the
students.
Loved the victims. The bicycling couple at movie’s
beginning …man, how that boy’s frightened squealing trying to elude the Car
over a bridge – wimpy and emasculating to adult me – pulled at my heartstrings
as a youngster. The obnoxious French horn playing dope … that we see him run
over forward and backward – twice – horrified me as a kid. That befuddled fat
dopey cop trapped in his cruiser and gently, menacingly shoved off the cliff by
the Car. Wow, does every southwestern police car haul easily-ignited napalm and
C4 in their back seats? And – the most terrible of deaths! – poor, poor Lauren!
Sure, the film is chock full of crazy, stupid moments.
Like the Car suddenly cutting into a wild roll to take out two oncoming police cruisers
racing down the highway side-by-side. Or its ridiculously tossing Wade ten feet
in the air with its slightly ajar door. Or its leaping four feet off the ground
to demolish its way through a victim’s house – and a victim in the process.
Yeah, they’re stupid and crazy – but they never seemed stupid and crazy to
young me. No, they just seemed, for lack of a better word, badass.
Watch out for that door, Wade!
And that same word best describes the design of the
Car: Badass. Thoroughly badass. The low roof. The sunken headlights. The gaping
fanged maw of a grill. The flat black shark-like paint. The lack of door
handles – why wouldn’t a car have door
handles??? The amber tinted windshield. I dunno. But the dude who designed
that Car knew what he was doing and tapped into something primeval, something
Jungian, something unfathomable, as does the shark in Jaws and the demon in The
Exorcist.
And I love the concept of a “driverless” car … and the
scene, pre-toss, where Wade almost catches
a glimpse of the Car’s interior.
The best scene in the film is quite powerful. Possibly
Hitchcockian, definitely Spielbergian. It’s the scene where the Car silently
surprises Brolin in his garage as he’s preparing to destroy the thing.
Extremely well done. Tense, oozing menace, and telegraphs a lot of power into the antagonist.
That scene alone pulls the flick up one whole star in any serious review.
Oh, and the ending! I loved the grim, taciturn,
alpha-male resolve to take down the Car after it kills Lauren. As if it Crossed
a Line and Things Just Got Personal. Enjoyed the just desserts wife-beater /
demolition mogul Amos receives as he’s shanghaied into the plot to destroy the
Car. How me and my brother analyzed that massive super-explosion fireball …
searching for that demon face! Watching it a few days ago, 38 years later, I thought
I saw fangs and a lion’s paw. Back then I swore I spied a sharp-toothed mouth
spitting out literal tongues of flame.
I see, uh, a claw ... fangs? ... a gaping maw?
Ronny Cox saw a demon. Wade saw nuthin'!
I’m honestly surprised at the negativity toward this
movie when I started searching for it a few months back. It’s an unabashedly beloved
scarefest from my childhood. Rumor has it that in some cuts of the film, there’s
a final seen of the Car lurking about the streets of Los Angeles, stalking more
victims to satisfy its bloodlust. That’s something I’d like to see for
curiosity’s sake.
Body count = 11 onscreen deaths (two cyclists,
hitchhiker, police chief, six cops, Lauren). Possibly more offscreen.
Grade: A+ cheese.