Blog Directory CineVerse: A "Fast and Furious" for the counterculture

A "Fast and Furious" for the counterculture

Thursday, May 4, 2017

There's no cult movie quite like "Vanishing Point," a strange but exhilarating chase flick from 1971. On one hand, it likely would have appealed to manly men conservative types back in the day, but also to hippies, multicultural-minded moviegoers and liberal-leaning viewers, too. For a film that lacks any type of meaty plot or character development, there was a lot more to talk about with this picture than expected. Here's the thrust of our CineVerse discussion points:

WHAT IS THE SIGNIFICANCE OF THE FILM’S TITLE? WHY CALL IT “VANISHING POINT”?
According to essayist Geoff Ward, it could be referring to “the point where the sides of a highway converge at the horizon through the action of perspective—the point towards which Kowalski is always and inevitably heading, where the sightlines converge, itself an illusion.”
It may be referencing the suicidal finale, “the point at which (Kowalski) vanishes from the world.”
It may make us think of how Kowalski reaches a point where he is no longer a person and instead assumes the mantle of a hero or villain, per Ward.
Consider, also that things appear and disappear in the movie, such as the white car that suddenly vanishes after passing the black car early in the movie.

WHAT THEMES COME TO MIND AFTER WATCHING THIS PICTURE?
The anti-hero vs. the Establishment: Kowalski becomes a sympathetic figure because he’s bucking the system and thwarting those who wish to control and curtail him.
The enigma and appeal of the mystery man, the rugged individualist, the romantic loner, the iconoclast: we know very little about Kowalski or what motivates him; indeed, his character and the film beg many unanswered questions, as posed by New York Times writer Rick Lyman: “Are we meant to remember Stanley Kowalski from ‘A Streetcar Named Desire?’ Why is he a pill-popping renegade? What induces him to make a meaningless suicidal bet with a drug dealer to drive his car to San Francisco in an impossibly short time? Why…does he choose to kill himself…rather than knuckle under?’
Crossings and X-factors: Kowalski’s vehicle creates a big “X” in the sand; also, he “crosses the central reservation, the railroad line, the state lines, No Name Creek, and…the line between what the authorities/establishment will and will not tolerate…and the line between optimism of the past and pessimism of the present, and, ultimately, the point of no return at Cisco, where he becomes resigned to his doom, is own personal ‘vanishing point,’” wrote Ward.
Signs: literally, in the form of road signs and visual cultural signifiers like ads, headlines and graffiti. Ward asks us to consider how often we see a “Stop” sign, or what the sign “End speed zone” is suggesting here, and what we’re supposed to think about other visual icons and symbols, like “Coca Cola, Mobil (big business, materialism), police insignia (the establishment, authority), Jesus Saves (religion, dogma), Love (the counter-culture)”...and "Argo’s Car Delivery," which "alludes to the myth of Jason and the Argonauts, the crew of the ship Argo who sailed in search of the Golden Fleece."
Cosmic irony and existential angst. Ward posits that “the movie depicts graphically how the realization of human potential, and the validation of human purpose, are frustrated not only by the very institutions which we create, but also by the very way we think…Kowalski sacrifices himself in order to bring this powerfully to our attention.”
WHAT DID YOU FIND INTERESTING, UNIQUE OR UNEXPECTED ABOUT THIS FILM?
It can be enjoyed on multiple levels: as a straight-up action thriller, as an existential think piece about nonconformity, or as a dated time capsule movie endemic of the counterculture, cult film audience it appealed to.
Unlike other lawbreaking anti-hero characters in cinema, he seems to abide by a moral code: he rebuffs sexual offers from females, he stops and checks to make sure that drivers he leaves behind are not hurt, and he only takes what he needs, suggests Ward.
There’s a recurrent use of crash zooms and rapid focus shifts, a trend many 1970s grindhouse and exploitation films.
The movie features a bed of nearly nonstop music that varies from country to rock to soul.
There’s an awkward and stereotypical scene depicting gay outlaws that can be cringe-worthy today.
While the car chase shots/scenes involved risk and should be appreciated, many expect there to be more stunts, close calls, crashes, pile-ups and death-defying feats of driving, as we often see in other car chase films.
It’s hard not to watch this movie and not think of the O.J. Simpson car chase and the media frenzy that erupted from that event—demonstrating that life can imitate art.

WHAT OTHER MOVIES DOES VANISHING POINT CONJURE UP?
Easy Rider, with its anti-hero, counterculture themes and road movie template
Car chase plot films like Bullitt, Duel, Smokey and the Bandit, Death Proof, and the Fast and Furious series
Copycat pictures from the 1970s such as Crazy Mary, Dirty Larry, Death Race 2000, and Gone in 60 Seconds
Old and modern movies that feature incredible auto chase sequences, like The French Connection, The Rock, and Ronin
Thelma and Louise, which shares a similar tragic but romantic ending
First Blood, another movie in which a Vietnam vet is harassed and chased by authorities, who suffer at the skilled hands of the pursued

OTHER FILMS DIRECTED BY RICHARD C. SARAFIAN
Run Wild, Run Free
Man in the Wilderness
Lolly-Madonna XXX 

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