Duel (1971)

The film that started the career of one of the world's greatest living filmmakers, Steven Spielberg, this film takes a relatively simple premise and turns it into a brilliantly executed thriller that will keep you on the edge of your seat until the final, satisfying conclusion.

David Mann (Dennis Weaver) is driving down the highway, desperate to make it to a meeting and get home again to his wife (Jacqueline Scott) and his family.

Along the way, he finds himself behind a large truck, driving a little too slowly for his liking and spilling out smoke pollution. He overtakes the truck, as he is in a hurry, and feels his problems are over.

But the truck driver (Cary Loftin) doesn't take too kindly to being passed, and overtakes him again almost immediately.

David Mann (Dennis Weaver).

This simple event begins a terrifying chain of events that sees the truck driver continually trying to run David off the road, pushing his car across train tracks, or ramming the phone booth when he tries to call the police. Long story short, David's very life is in danger, and no one seems to be able to help him.

The screenplay - written by Richard Matheson, adapted from his own short story - is incredibly tight, and well paced, filled with conflicts galore from beginning to end. The premise itself may be simple - and indeed well-suited to a short story - but the execution in turning it into a longer form film such as this is brilliant. The original script - written as an ABC Movie of the Week - resulted in a 'film' that ran for only 73 minutes, meaning it could be broadcast with commercials and still run for only an hour and a half. The film was later expanded to be released as a feature film for the European market, which required features to run for at least ninety minutes.

As mentioned above, this was director Steven Spielberg's first film project. Having only directed for television prior to this, he was given the project, and expected to finish production in only ten days. The project ran a few days over schedule, but was completed in thirteen days, with post-production being completed in under three weeks, allowing for the film to be broadcast in its already-advertised timeslot. Had the film not been the success it was, Spielberg would not have gone on to make The Sugarland Express, or indeed any of the numerous films he is now known for.

David Mann (Dennis Weaver) trying to enjoy a brief respite in a roadside diner.

The cinematography for this film is fantastic. Cinematographer Jack A. Marta worked closely with Spielberg to create some wonderful shots throughout, that bring the viewer right into the centre of the action. The opening shot of the film, which runs for nearly four minutes, is shot from David's point-of-view as he drives through suburban streets, onto small highways, and finally onto the major interstate where the remainder of the film takes place. Given that the entire film was shot on location - not a single frame was shot in a studio - the cinematography needs to be expertly done, which it is.

Billy Goldenberg's score is truly inspired, with the majority of the music being repeated notes or short phrases that escalate the tension as the film progresses. There is very little use of traditional instruments, with the majority of the score being performed on experimental instruments and African drums, an interesting choice, but a choice that has turned out well.

The cast of this film carry out their roles well, with the obvious standout being Dennis Weaver. Considering most of the film consists of various close-up shots of Weaver, he carries a huge burden on his shoulders; it is a role that requires true skill. There are many smaller roles - of characters he encounters along the way - and these are all well done as well, but without a doubt, Weaver is the true star here.

David Mann (Dennis Weaver) trying to get back on the highway before the
truck catches up with him again.

Spielberg has made an amazing film here, certainly amazing considering it was his directorial debut. True fans of his later films will spot links between this film and some of his later works, as he does like to recycle shots, sound effects, or even cast members whenever he can. I definitely recommend this film if you haven't seen it before, and even if you have.

8 out of 10.