Duel is the 1972 (and then full-length theatrical) American television thriller road written by Richard Matheson, based on his own story. This film is a long movie that directs the debut of American director, producer, and screenwriter Steven Spielberg.
Duel starring Dennis Weaver depicting a frightened motorcyclist driving a Plymouth Valiant lurking in a deserted and deserted canyon road in California by the most invisible driver of an untreated Peterbilt 281 litter tanker truck.
Video Duel (1971 film)
Plot
David Mann is a middle-aged seller who drives on a business trip. He meets a tank truck on a two-lane highway in the Mojave Desert, walks below the speed limit and drives out a dirty diesel exhaust. Mann passed the truck, but the truck then roared past him. When Mann caught up and dumped it again, the truck blew its horn. Mann left him in the distance.
Mann pulled into a gas station, and shortly after that the truck arrived and park next to it. Through the space under the truck bed, he saw the driver wearing cowboy boots. Mann called his wife, who was annoyed with him after a fight the night before. The gas station officer refilled Mann's car and mentioned that it needed a new radiator hose, but he said he would fix it later.
Back on the road, the truck catches, passes, and blocks Mann road every time he tries to pass him. After drowsy Mann for some time, the driver passed by. However, when Mann tries to graduate, he almost runs into the vehicle to come. He realizes the truck driver is trying to trick him in an accident, so he passes a truck using an unpaved road beside the highway and mocks the driver as he drove.
The truck moved Mann at high speed, forcing him to increase his speed to avoid the back. Mann finally pushed his car off the road and collided with a fence across from a restaurant. The truck continued on the road, and Mann entered the restaurant to cool down. Though he thought the driver's anger was satisfied, after returning from the restroom he saw the truck parked outside. He studied the diners and faced a man wearing the same cowboy boots he'd seen in a truck driver. Offended, the driver hit Mann and left with a different truck. The chase truck went a few seconds later, indicating the driver was never inside the restaurant.
Mann left the diner and stopped to help the stranded school bus, but his front bumper was caught under the bus's rear bumper. The truck appeared at the end of the tunnel. Mann's panic, freeing his car by jumping on the hood while the bus driver puts the car upside down, and runs away. To a little bit disappointed, the truck starts the bus by giving it a push to make it move. Shortly after, Mann stopped at the railroad crossing as the truck pushed his car toward a passing freight train. After the train leaves, Mann crosses the rail and stops. The truck continued down the street and Mann followed.
Mann stopped at a gas station to call the police and change the radiator hose, but when he got into the phone booth, the truck drove into it. Mann jumped clear just in time, however, the truck also pushed into several glass enclosures, featuring wild animals, where Mann almost escaped being bitten by rattlesnakes. The woman running the station shouted in horror as the truck destroyed her cage and potentially killed some of the animals that live in it. He got into his car and drove away. At the bend he pulls out of the way, hiding behind the embankment as the truck goes, apparently without noticing it.
After a long wait Mann left again, but was surprised to find a truck waiting for him on the road. Mann tries to hasten the past, but moves across the road, blocking his path. Mann sought help from an older couple in the car, but they ran away as the truck pulled back toward them at speed. The truck stopped before crashing into Mann's car and the driver passed by. At one point, Mann watched a black-and-white car parked on the side of the road. Thinking that it was a police car, he stopped to stop, only to realize that it was a pest control vehicle. He speeds up and the pursuit continues. The truck chased him in the mountains. Mann's radiator hose was damaged, causing the car to overheat. He almost made the peak and the coast decline neutrally as the truck struck him. However, the sign stated that the truck had to use a low gear the next twelve miles and the truck driver was forced to slow down, allowing Mann to gain speed.
Mann's car cooled enough to allow him to drive the dirt road and truck to follow him. He turns to face his opponent on a hill overlooking a cliff. He puts his suitcase on the gas pedal and steers it to the upcoming truck, jumping from the car at the last moment. The tanker crashed into a car, which blew fire, covering the driver's eyes. The driver realized it was too late and sounded one last time in Mann, before the truck fell on a cliff, killing him. Above the ruins, Mann jumped up and down, laughing with joy and relief. Tired physically and mentally and without a way home, he sits on the edge of the cliff and throws rocks into the canyon at sunset.
Maps Duel (1971 film)
Cast
Production
This script was adapted by Richard Matheson from his own short story, originally published in Playboy magazine. Matheson was inspired for the story when he was followed by a truck driver on his way home from golf with friend Jerry Sohl on November 22, 1963, the same day John F. Kennedy's murder. After a series of failed attempts to thwart the idea as an episode for various television series, he decided to write it as a short story. In preparation for writing the story, he drives from his home to Ventura and records everything he sees on the tape recorder.
The original short story was given to Spielberg by his secretary, who told him that it was made into a movie this week and advised him to become a director. Duel is Spielberg's second long-term endeavor, after his 1971 NBC The Name of the Game episode television episode "L.A. 2017".
Most of the films were filmed in and around the Canyon Country community, Agua Dulce, and Acton, California. In particular, the sequences were filmed on the Sierra Highway, Agua Dulce Canyon Road, Soledad Canyon Road, and the Angeles Forest Highway. Many of the landmarks of the Duel still exist today, including tunnels, railroad junctions, and Chuck's Cafà © ©, where Mann pauses to rest. The building is still on the Sierra Highway and has housed a French restaurant called Le Chene since 1980. The "Snakerama" gas station seen in this movie also appears in the 1951 Spielberg film (1979) in honor of < i> Duel , with actress Lucille Benson reappearing as the owner.
Television film production is overseen by ABC film director this week, Lillian Gallo. The original version for television was 74 minutes long and the filming was completed in 13 days (three more than 10 scheduled days), leaving 10 days to be edited before being broadcast as ABC Movie of the Week. After a successful TV show, Universal released overseas films in 1972. TV movies were not long enough for theatrical release, so Universal has Spielberg spent two days filming several a new scene, turning the Duel into a 90 minute movie. The new scene was installed at the crossroads of the train and school buses, as well as the Mann scene talking to his wife on the phone. A longer opening sequence is added to the car coming out of the garage and driving through the city. Keywords are also added, to make the movie sound less like a television production.
Spielberg lobbied to have Dennis Weaver in the lead role because he admires Weaver's work in Orson Welles' Touch of Evil . Weaver repeats one of his lines from Touch of Evil , tells the truck driver at the cafe that he has "other thoughts coming." This sentence is generally misinterpreted as "another thing to come", as did the Weaver character in the Touch of Evil .
On the Archive of American Television website, Spielberg was quoted in an interview given by Weaver as saying: "You know, I watch the movie at least twice a year to remember what I do".
Truck as villain
The Matheson script explicitly stated that the unnamed truck driver, the movie villain, was not seen next to his arm shot and boots that were needed to convey the plot. In the DVD documentary, Spielberg observes that the fear of the unknown may be the greatest fear for everyone and that the Duel is heavily dependent on the fear. Throughout the film, the truck driver remains anonymous and invisible, with the exception of two separate shots where his Weaver's arm waves are on into oncoming traffic, and another shot where Weaver observes snake skin boots. His motives for targeting Weaver's characters were never revealed. Spielberg says that the effect of not seeing the driver makes the real villain of the movie is the truck itself, not the driver.
Vehicles
The car was carefully selected, Plymouth Valiant red, though three cars were used in actual film production. The original release of Duel featured a 1970 model with 318 V-8 and Plymouth engines spelled out in large letters across the bonnet, as well as the characteristics of 1970's model luggage lid maintenance; the 1971 model with 225 Slant Six is ​​also used. When the film was released in theaters and the scene was added, the 1972 model with 225 Slant Six was added, with the name "Plymouth" on the hood as a symbol. All Valiant are equipped with TorqueFlite automatic transmissions.
Spielberg does not care what type of car is used in the film, but insists that the last model chosen is red to allow the vehicle to stand out from the common landscape in a wide shot from the desert highway.
Spielberg has what he calls "audition" for trucks, where he sees a series of trucks to choose one for the film. He chose the older 1955 Peterbilt 281 over the current flat-topped "cab-over" truck style because of Peterbilt's long hood, its split windshield, and its rounded headlights gave him more "face", adding to his threatening impression. personality. In addition, Spielberg said that some number plates on Peterbilt's front bumper subtly show that truck drivers are serial killers, after "running to other drivers in other countries". For every shot, some people are assigned to make it worse; each successively adding oil, fat, dead fake insects and other defects.
The truck has a twin rear axle, a CAT 1674 turbocharged engine with 13-speed transmission, making it capable of carrying loads greater than 30 tons and top speeds reaching 75-80 mph. During the original filming, the crew only had one truck, so that truck shots falling off the cliff should be completed in one shot. For theatrical release of the film, two additional trucks were purchased to film additional scenes that were not in the original version for television (school bus scene and railway crossing scene). One of them, 1964 Peterbilt 351, is almost identical to the original truck except for air intake, then destroyed in the production of another film. Only one of the trucks survived, a Peterbilt 281 in 1960 that was stored and prepared as a truck reserve for truck 351, but not used.
The second stock record of the vehicle was later used in the episode of The Incredible Hulk television series, entitled "Never Give a Trucker an Even Break". Spielberg is not happy with this, but its use is legal, because the show is produced by Universal and the Duel contract does not say anything about reusing recordings in other Universal productions.
Peterbilt truck 281 in 1960 was purchased several times. Currently owned by truck collectors and on display at Brad's Trucks in North Carolina.
Music
The original scores of the film were compiled by Billy Goldenberg, who previously wrote music for the Spielberg segment of the Pilot's Night Gallery and the episode Columbo "Murder by Book," and took part in the Spielberg episode < i> The Name of the Game "LA 2017" with Robert Prince. Producer Spielberg and Duel George Eckstein told him that due to his short production schedule, he had to write music during the filming, and Goldenberg visited production at the site at Soledad Canyon to help get an idea of ​​what would be needed. Spielberg then gets a Goldenberg ride in a tanker truck driven by Stunt Carey Loftin's driver on several occasions; the experience frightened the composer, though he eventually got used to it. Goldenberg then composed the score in about a week, for strings, lutes, keyboards and the use of heavy percussion instruments, with a Moog synthesizer effect but avoiding brass and woodwinds. He then works with the music editors to "pick from all parts (them) and cut them together (with sound effects and dialogue)." Most of the scores are ultimately not used in the finished film. In 2015 Intrada Records released a limited edition album featuring a complete score, plus four music tracks source of the radio compiled by Goldenberg.
Release
Duel was originally featured on American television as an installment of ABC Movie of the Week . Finally released to theaters in Europe and Australia; it has a limited cinema release to a few places in the United States, and it's widely praised in the UK. The success of this film allows Spielberg to establish himself as a film director.
Reception
Critical response
The film received many positive reviews and is often regarded as one of the biggest TV movies ever made. On the aggregation website of the Rotten Tomatoes review, Duel currently has an 88% score based on 40 reviews, with an average rating of 7.7 out of 10.). Television critic Matt Zoller Seitz in his 2016 book co-written with Alan Sepinwall titled TV (The Book) named Duel as the greatest American TV movie of all time, stating that "Almost five twenty years after its initial broadcast, the action-driven thriller of this myth retained much of its power ".
Duel Interpretation often focuses on Mann symbolism and trucks. Some critics follow Spielberg's own interpretation of the story as an indictment of the mechanization of life, whether by the literal machine or by the social regiment. The theme of gender performance in Mann's quest to prove his masculinity is another interpretation that some observers have noted. The film has been placed at # 66 on The 100 Scariest Movie Moments on Bravo.
Accolades
- Awards
Avoriaz Fantastic Movie Festival
- Primary Prize : 1973
Emmy
- Extraordinary Achievement in Sound Movie Editing : 1972
- Nominated
golden ball
- Best Made for TV: 1972
Emmy
- Extraordinary Achievements in Cinematography for Entertainment Programming - For Special Duration Program or Feature Made for Television : 1972
Source of the article : Wikipedia
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