Road Movies Speed, Dust and Heat: Richard Salafian’s Vanishing Point (1971) Genre Definition • Bonnie and Clyde (1967) and Easy Rider (1969) – genre defining origin of the contemporary road movie • Outlaw road movie – Quest road movie • 70s road movies – romanticism, visionary (?) rebellion, and a critique of conformist society + defeated tone in the end • Cynicism about being on the road and denial of the pretense that wandering takes the driver outside of society. Road Movies in the 1970s • Existential inspection rather than social critique (European influence) • Existentialism – an interpretation of human existence • ‘Existence precedes essence’ (Jean-Paul Sartre) – ‘humans do not have a nature that determines their modes of being (existence), but that these modes are simply possibilities from which they may choose and on the basis of which they can project themselves.’ • Existential choice and existential loss Road Movies in the 1970s • Road movies as ‘existential quest’ • Road travel as a process through which the protagonist finds her/his mode of existence • Focused on this existential and individual search and social dimensions receded: road movies depoliticized • The evolution of road movies through the 70s 1) the more pronounced dramatisation of the human and automobile Road Movies in the 1970s 2) a more ‘mechanized’ development of characters 3) a more fragmented, aleatory narrative structures 4) a road trip symbolic of emotional malaise •Apathy rather than rebellion •60s’s optimism for social changes replaced by political apathy following the disappointments and disillusionments with counter-cultural and antiestablishment movements •This lead to the Me generation and the yuppies in the 80s Vanishing Point • Vanishing Point a vintage 70s road movie – a quest road movie with outlaw elements • Kowalski’s obsession with speed and mobility – his mode of existence and his existential choice ‘Speed means the freedom of soul’ Supersoul • Spiritual bond between Kowalski and Supersoul – another road movie element ‘buddy’ Vanishing Point • ‘I am a DJ, I am what I play … I got believers.’ • Speeding Dodge GTO and a black in the predominantly white town are spectacles for Middle America • Minor, typical social criticism of road movies – corrupt and callous policemen Vanishing Point • Kowalski’s past career revealed through flashbacks – wounded in Vietnam, discharged in 1964, policeman at San Diego PD, two promotions, and demolition driver • Frustration with his job and relationships; difficulty of finding himself and fitting into society • Kowalski as a lost soul – nihilistic escape – existential quest Vanishing Point • The film depoliticizes and delegitimatizes counterculture movements and homosexuality, by identifying them with feminity • Its emphasis on masculinity – even ‘reactionary’