Duel () – Behavioral Study of Human Reactions in Chaotic Moments. Date: April 20, Author: creofire 0 Comments We watch some movies for visual pleasure, some for the plot and the story line, some other for screenplay. .. on health Online Retailers online stores on parenting Open Source Oppression. Cars Involved: Honda Civic DX, Dodge Charger, Watch this ' 78 Chevrolet C navigate through this chase sequence. .. Duel () .. Nike's Colin Kaepernick Icon Shirt Is Already Sold Out Online. Steven Spielberg's first movie, Duel, remains one of his very best, says Mark Oakley. out one of many set pieces in the film that are some of the finest of his career to date. Duel deserves to be watched, studied and appreciated as a compelling . Felix Dennis · Apps · Books · Jobs · Media Information · Your Online Choices.
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Usually the first film means little money and little time to pull off an entire movie and make it good. True ingenuity and talent comes from working with limitations and overcoming them to get the best possible results. I honestly haven't ever been the biggest fan of Steven Spielberg - though he has definitely made some films that I admire and love - but I could never quite see him like most others could, as one of the greatest directors ever.
But now after seeing Duel, I believe in him. This is Spielberg stripped of the big budgets and the big name actors and showing us what he can really do behind the camera with a simple story, very little dialogue, and a long stretch of desert highway.
Duel tells the story of motorist David Mann being relentlessly pursued on the open road by an large diesel truck with an unseen driver. All David did, seemingly, was pass the slow-moving truck, which for a never explained reason makes the driver continually follow David closely, try to run him off the road, and follow him wherever he goes. This is based off of a short story written by Richard Matheson. The film opens with a nice long tracking shot of David's car backing out of his driveway, turning down the street and eventually entering the highway where his nightmare will start.
The entire movie is actually filled with a nice variety of shots and shot compositions, which impressed me. I mean, how many different ways can you show this car following that car, the other car bumping into them, this car and that car driving down the highway Yet Duel never lost the suspense for me.
Even in the first 20 or so minutes when I thought the "dueling" scenes were getting a little boring, suddenly the music started picking up and there's not a lot of music in the film and the trucker started actually bumping David's car as his speed slowly crept toward a dangerous mph David's inner monologue starts to be presented as a voiceover after he starts to go a little crazy from almost being run off the road and killed. This dialogue reminded me a lot of Matheson's writing, and Dennis Weaver's performance of David in these scenes also reminded me of the way Vincent Price acted in another Matheson adaptation, The Last Man on Earth.
But soon after minutes the film commences it turns out to be an edge-of-the-seat thriller. As a viewer the roaring engine of the massive devil and the Californian dry wind spraying dust on way, takes you to the place for real. Few minutes on, into the film, the audiences hop into the sedan with pounding heart, with the ramming monster tailing behind in a maddening speed.
The plot is so tight that it unfolds as if its only interest relies on studying the emotional turmoil experienced by the victim at close quarters and literally disinterested in anything else.
The inventive camera angles are unique- for the 70s- rendering visuals that are tailor made for thrillers. If not for the angles and camera positions, in particular, inside the car, the viewer would never be able to virtually connect him with the character. The spectator not once gets the glimpse of the driver, hence his huge truck becomes his personification and every advance it makes, ever tire squeak it makes could be dubbed as his representation of the his furious face spitting hatred, which is never seen on screen.
The background score effectively uses up the natural ambient sounds and keeps up with the pace of the film.
The entire movie is a visual experience with scarce dialogues. The tight editing that fills the screen with montages of the car and the truck intensifies the thrill. The camera explores every possible dimension of looking at both the vehicles making them characters instead of just being props.
Dennis Weaver Dennis Weaver as David Mann etches a realistic and natural performance of the character. With every sigh and soliloquy he portrays the anxiety of a normal human being puzzled about the uninvited trouble he is up to and self denial exemplifies his confused mental state.
His performance urges the viewer to take his side naturally, desperately wanting him to escape from the ordeal, at least, if not over powering the truck. Duel focuses on the behavioral study of a human reaction when subjected to tackle adverse, life threatening situations. There are moments where both the characters are shown with all their characteristic shades. The antagonist, who attempts directly to run over David, renders a helping hand to a stranded bus full of children and the fearing David in the final act traps the driver cunningly and saves himself from the danger.
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