This is the most difficult film of the dozens that I have rated on IMDb.
First Perspective: I first saw this film on its initial release when I was an incipient hippie- wannabe of 17. My first car had been a Chevelle SS 396, and my second was a Firebird 400. I was accustomed to driving long distances across the arid southwest at high rates of speed. Just something you did... So, on first viewing, I loved this film and its celebration of the anti- violent, anti-racist, anti-establishment milieu of the 60's counter-culture. I loved the soundtrack. I loved the familiar scenery. I loved the car and the adrenaline rush that it provided. I loved the anti-hero, Kowalski, and I expected Barry Newman to become a big star. (He starred in a short-lived TV drama, "Petrocelli," but portrayed minor characters for most of his film career.) No doubt, I also loved the rather extensive nudity.
Years later, I still remembered Newman, the title of the film, and the basic theme of pursuit, but beyond that I could not recall why I had such a fond memory of this film.
Second Perspective: I watched it for only the second time last night when I stumbled across it on one of the movie channels. So, I sat down and became a passenger on a personal road-trip of nostalgic curiosity. Mostly, I thought, "I don't really get it, but it is kind of interesting" - primarily for making me aware of a personal milieu that I had so internalized that I had long since stopped regarding it as very distinctive in any way. The anti-racism and anti-violence themes seemed pretty stereotypical and obligatory in a film of this kind. It was never clear to me why so many (mostly impassive) people would gather around the radio station and continue to hang out for a couple of days. I sat through the whole movie with a sense of how preposterous it was that Super Soul just turned the radio station into his own personal CB to talk to Kowalski. When it ended, I thought, "I wonder what the point was - an extended car chase movie? If a point had ever been in mind, surely it had vanished... Oh, I get it... Boy, a long way to go to make a non-point!"
Third Perspective: A day after seeing the movie for the second time, I turned to IMDb to see what others thought. I was quite surprised by the high rating and the number of reviews. I began to read them. Many of the positive comments I read, drug me out of my middle-aged literalistic perspective and restored my appreciation for this film and the kind of film-making it represents. It is a quest movie - the quest for freedom - and we see that in multiple characters. It is not literal, but metaphorical - symbolic to some degree, stereotypical to some degree. (But, one man's stereotype is another man's symbol.) In the context of surrealism, a car radio that talks to its driver is actually rather interesting. During the era of "Vanishing Point," Hollywood made a number of very self-conscious, pseudo-intellectual attempts at depicting the contemporary culture. Most of these attempts that I have revisited in recent years are at best, laughable, and at worst, painful to watch. But this one is neither. It avoids striking that pretentious, consciously "hip" tone that caused its contemporaries to age so poorly.
In the end, the movie achieves a curious balance. Did I like Kowalski? Yes. Was I saddened when he crashed? No. Despite the character-developing flash-backs, Kowalski was transformed from a real person with whom I might identify into some metaphor or symbol about whom I was quite dispassionate. I was merely along for an exciting ride, the end of which did not cause me the slightest bit of anticipation or suspense. Kind of like a carnival ride...
My values have changed a lot since I first saw this film. I cannot accept the existentialism and nihilism that are the film's main themes. Despite the fact that these are the themes of the film, however, Vanishing Point never seems really dark or oppressive or depressing or polemical. The soundtrack is terrific and lively, providing a counterbalance to the dark themes. The racial violence is disturbing. But most of the nudity actually seemed quite "innocent" - even if the nude rider was an obvious symbol of freedom (or the pursuit of freedom). (Interestingly, a kind of denial of existentialism and the ethos of the era comes about when Newman declines the nude rider's implicit invitation to sex and her offer of marijuana.)
Vanishing Point is absolutely remarkable for the almost complete absence of offensive language. None of the commentators I read seem to have grasped that. Almost every Hollywood film that ever portrayed the milieu portrayed in Vanishing Point (or, in fact, any anti-hero film since the release of this film) has relied on heavy doses of profanity. I submit this film as powerful evidence that such language is, indeed, gratuitous and unnecessary.
After my first viewing of this film, I might have rated it higher than a 7. Immediately after my last viewing, I probably would have rated this film somewhat lower. After reading some other comments, I think it's overall rating on IMDb is about right.
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