DUEL

In ‘Jaws’, his third film, Steven Spielberg provided a masterclass in suspense, but in ‘Duel’, his debut feature, he had already given ample proof of his proficiency in this genre.

Taking a short story by Richard Matheson, Spielberg wrings every last ounce of jeopardy from a conflict between a car driver and a truck driven by a virtually invisible driver.

It’s a primal battle with an almost mythic air about it, a stripped down battle with no fat on its bones.

The unfortunate driver is David Mann, a salesman played by Dennis Weaver.

In an early scene he phones his wife to try to clear the air after an argument they have had, because he didn’t do enough, as she sees it, to ‘defend her honour’ at a party.

This short conversation, showing us that he is henpecked, together with his surname, suggests that a subtext is going to be his need to prove his manhood.

This interpretation is supported by the fact that throughout he is ineffectual in his dealings with people, and that he is not treated with much respect, for example by a group of schoolchildren.

The fact that the truck looks and sounds much more powerful than his small feeble car suggests a similar mismatch between the truck driver and Mann.

Mann’s inadequacy is further highlighted by his urban attire looking very out of place in the desert location.  

The film is expertly paced with quiet tense passages, such as the extended sequence at the cafe, providing something of a respite between the exciting set pieces on the road.

As always, a variation on Chekhov’s Gun is always pleasing - this time it is Chekhov’s Radiator Hose.

Some critics feel that the ending is a bit abrupt or disappointing. I see where they are coming from but I thought it wrapped things up well enough, especially since the slow motion fall of the truck down the hillside is a thing of beauty.