'Vanishing Point', a chase movie from the early 1970s, can be easily related to other films of the same (or similar) genres. From its predecessor 'Easy Rider' it takes the bleak beauty of western America, a rollicking soundtrack and a structure whereby the continuum of life on the road is punctuated by emblematic, but vague, encounters. Like Spielberg's 'Duel', it is minimalistic in form. But it's outlaw philosophy has more in common with later, sillier films like 'Smokey and the Bandit' and 'The Cannonball Run' (in 'Easy Rider', the heroes simply want to mind their own business; but in 'Vanishing Point', beating the system is the end in itself). This might make the film seem more political, except for the complete vapidness of its central concept: that "freedom" can be defined as the right to burn enormous quantities of oil at life-endangering speeds (indeed, it appears that one of the ways in which the mainstream has persecuted our hero is to attempt to prevent him from driving when drunk). One could say that this film proceeds under the false cloak of counter culturalism, while selling us the same macho dreams as any mainstream Hollywood product. Yet without the pseudo-philosophical justification, this is a movie without point or purpose, whose central character acts without any rational motivation.
For all that, the chase itself is gripping, though it's strange (especially for a European) to see what qualified as a sports car in America 30 years ago: this one has huge front and rear overhangs and ridiculously soft suspension. But the worst thing about this movie are its bizarre diversions from the main plot, which include: the cheesiest love scene I can remember; a strange, homophobia-tinged encounter with a couple of gay would-be car-hijackers; a racist attack, apropos of nothing; and, most oddly of all, a meeting with a motorcycling, naked blonde in the middle of the desert. The surprise ending which follows all this might have had an impact if the film that had preceded it had anything to say.
The only real reason for watching this film today is as a period piece, a strange mix of reactionary and hippie values that clearly mark it a product of its time. But freedom does not mean irresponsibility; nor does irresponsibility in itself bring freedom, however oppressive we find may the life we are expected to live. Watch 'Five Easy Pieces', a timeless classic from the same era, for a real exploration of these themes.
For all that, the chase itself is gripping, though it's strange (especially for a European) to see what qualified as a sports car in America 30 years ago: this one has huge front and rear overhangs and ridiculously soft suspension. But the worst thing about this movie are its bizarre diversions from the main plot, which include: the cheesiest love scene I can remember; a strange, homophobia-tinged encounter with a couple of gay would-be car-hijackers; a racist attack, apropos of nothing; and, most oddly of all, a meeting with a motorcycling, naked blonde in the middle of the desert. The surprise ending which follows all this might have had an impact if the film that had preceded it had anything to say.
The only real reason for watching this film today is as a period piece, a strange mix of reactionary and hippie values that clearly mark it a product of its time. But freedom does not mean irresponsibility; nor does irresponsibility in itself bring freedom, however oppressive we find may the life we are expected to live. Watch 'Five Easy Pieces', a timeless classic from the same era, for a real exploration of these themes.