Dir.: Sam Peckinpah; Cast: Kris Kristofferson, Ali McGraw, Ernest Borgnine, Burt Young, Madge Sinclair, Franklin Ajaye, Cassie Yates, Seymour Cassel; USA 1978, 110′.
In a career spanning twenty-two years – but just twelve features, US director Sam Peckinpah (1925-1984) fell foul of producers more often than not. His films were butchered in the editing rooms, Convoy being no exception: the supervising editor credit for Graeme Clifford shows how EMI lost trust in the director. Written by BWL Norton, based on a song by CW McCall of the same title, Convoy is Sugarland Express meets Easy Rider.
Set in the (then) contemporary American South West, legendary trucker Rubber Duck (Kristofferson) and his merry band of truck drivers, among them Pig Pen(Young), Widow woman (Sinclair) and Spider Mike (Ajaye) are at loggerheads with the corrupt Sheriff ‘Dirty’ Lyle Wallace (Borgnine), who has the National Guard on his side, but is more interested in preventing Mike from seeing his pregnant wife, and issuing speed tickets to the rest of the truckers. Meanwhile, Rubber Duck has picked up journalist Melissa (McGraw), whose Jaguar XKE has broken down, and she has to get to Dallas to start a new job. They set off from a cafe where Violet (Yates), Duck’s former flame, but now Lyle’s wife, works as a waitress. A whole town falls victim to the ensuing destruction derby, before Duck look like he’s heading for a watery grave, State governor Jerry Haskins (Cassel) promising at his funeral to help the truckers in their fight. Still, there is a happy-end: “You ever known a duck that couldn’t swim?”
Pauline Kael talks about Peckingpah’s feature as ‘nihilist poetry”, claiming the director of The Wild Bunch, The Getaway and Bring me the Head of Alfredo Garcia is only interested in showing his disgust with American society, which did not allow any form of resistance during the Vietnam War and the Civil Rights movement. The truckers represent the earlier cowboys, not for nothing is Mexico the escape target for the truckers. Yes, these haulers are a Wild Bunch, running over policemen and crashing homes – but only because their path of destruction is as inhuman as that of the authorities. The truckers also represent the film crew – and their fight against interfering producers. John Huston, Peckinpah’s idol, once commented on the demise of a film company “as the end of the world”. It is therefore only fitting that Borgnine’s mad laughter at the ending very much channels Captain Ahab from Moby Dick.
Kristofferson takes the film in his stride leaving McGraw (again) underwritten on the sidelines, observing his antics. Highlights are the well choreographed trucker chases, a ballet of machines, much more impressive than Michael Bay’s Transporters a later, much paler rider. DoP Harry Stradling jr (McQ) stylises the fight between nature and technology in brilliant panorama shots, and the close-ups in the truck cabins echo those war features by Samuel Fuller. Peckingpah would only direct one more feature, the (again) heavily re-edited The Osterman Weekend (1982), before his early death.
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