BOTTOM LINE
You Will Bathe in Blood

RATING
2.75/5

CENSOR
A, 2h 24m

What Is the Film About?

When Victor, the younger brother of a powerful mafia family is killed inhumanly by a rival family, his step-brother Marco (Unni Mukundan) promises to take revenge. The movie’s basic story is the way Marco goes about the vengeance and the setbacks he faces.

Performances

Unni Mukundan goes for a complete makeover with Marco. The character is designed as a beast-like personality who is raw and untamed and will go to any extent to protect his loved ones. The physical transformation and the attitude on display make the part believable. But, that is only half the job done as there is a lot of action to do.

Unni Mukundan does extremely well in the action blocks. The ferocity and energy needed for the part are adequately presented in the performance. Believability is the main thing here and the effort makes it convincing from the start to the end. But once he sets the tone and mood for his character, there is hardly any variation he brings.

Analysis

Haneef Adeni writes and directs Marco. It is an out-and-out action film made for genre lovers with a very thin storyline.

The Raid, followed by Hollywood flick John Wick, and series like The Punisher etc. have provided a feast for action movie lovers globally in the last decade and a half. Many have tried to replicate the formula across the industries and here we are now in the same space with Marco.

The movie’s opening segment sets the basic premise neatly without much drag. The principal characters among whom the narrative takes place are given some expository dialogues to establish the world and the editing sets up the tone perfectly.

The hero doesn’t arrive immediately and comes after a lot of buildup, the kind we see in KGF and the like. It raises the expectations and meets them comfortably. The hero’s introduction makes it clear that the movie would be a no-holds-barred action romp with lots of stomach-curdling gore, violence and blood spilling.

The film’s first half is about the build-up to the intro and then to the interval. Everything else happening in between works in tandem with taking the narrative towards those blocks.

The interval block raises the stakes further after the intro in terms of the action. It does remind one of the climax sequence of a recently released Telugu flick, though.

Again, the small twists and turns the proceedings take to reach the interval are on expected lines, and nothing is frankly surprising. These scenes additionally contain brief emotional moments between the brothers to justify all the violence that follows.

Post the bang of an interval, the expectations only increase as to what could come next to top it. However, we don’t immediately get to the ‘action’ and there is some drama. It is typical of the genre, which again feels like a set-up to the next big bang.

We get that bang, but in an unexpected fashion during the pre-climax. It justifies the promotional tagline of the film as ‘The Most Violent Flick’ of the season. It is also emotional and most importantly not for the weak-hearted. Some moments in it might be too much to take for a normal viewer.

The climax is on expected lines after that mayhem seen previously. But, it doesn’t just go through the motions, it delivers a satisfying experience after all things are done. It’s this full contentment experience after the whole ordeal is where Marco succeeds. The joy of making it seeps through amidst all the bloodshed.

Overall, Marco is a violent action thriller with slick execution. It delivers on what it promises without holding back on anything. It is a treat, for action movie lovers who don’t mind the gore. If you like the genre, go ahead.

Performances by Others Actors

We have many artists playing bits and pieces roles in the movie. To those who follow Malayalam cinema, a few faces are instantly recognisable like Siddique, Jagadish etc. They fit into any character given to them effortlessly. We see the same here as they play gangsters.

The rest of the actors are relatively unknown from an outsider’s perspective. However, it doesn’t matter as when it comes to the performances, they all do an adequate job. They generate the right emotion conveying ruthlessness or disgust. Abhimanyu Thilakan and Kabir Duhan Singh impress playing the antagonists. The latter gets a short, but powerful part sure to leave an impact.

Among the female characters, only Yukti Thareja and Durva Thaker have crucial parts. The screen time is small, but they add emotional appeal in their own way.

Music and Other Departments?

Ravi Basrur of KGF fame composes the music. The songs are serviceable to the genre, but the background score is excellent in his typical style. It leans more on the techno side and parts of it are repeated throughout, but it doesn’t get monotonous, though. Technically the movie is slick with excellent cinematography and editing. The action choreography is top-notch and a major highlight of the flick. The writing is okay.

Highlights?

Action Blocks

Unni Mukundan

Editing

Drawbacks?

Thin Storyline

Too Much Gore (Not For Everyone)

Mechanical Drama

Did I Enjoy It?

Yes

Will You Recommend It?

Yes, to those who love action movies in all its bloody glory

Marco Telugu Movie Review by M9

For Latin music, 2024 was yet another year of significant expansion — both on the commercial front, and in the stylistic detours and avant-garde tendencies favored by artists across the Americas.

Música mexicana continued gaining new fans around the world, and the field of neo-reggaetón — and urbano music in general — realized that stepping out of the box was the only possible path to remaining vital. Niche genres like salsa, bachata, rock and electronica stayed relevant by basking in the beauty of their roots.

What’s especially gratifying is the undeniable fact that Latin music’s relevance in the streaming charts is accompanied by a wave of radical creativity. Experimenting wildly, mixing established genres and creating new ones are not only accepted, but also encouraged.

De Los reporters Cerys Davies and Andrea Flores, along with contributing writer Ernesto Lechner, put together this list of 30 Latin songs from 2024 that showcase the enviable state of grace that this music is experiencing. Even better: Most of these tracks are great for dancing, too.

Cerys Davies, reporter

Ca7riel & Paco Amoroso, “El Único”

As soon as Ca7riel, in a vest made of red plush hearts, and Paco Amoroso, in an oversized, blue furry hat, sat down for NPR’s Tiny Desk, the Argentine hip-hop duo captured the hearts of many. With their own respective solo careers, this year they released their first, full-length collaborative album, “Baño Maria,” — a witty, experimental take on Latin hip-hop and electronic. With some moments of pure trap and others of melodic pop, “El Único” reflects the toned-down intersection between an ambient house beat, slowed trap drums and playful lyrics about unknowingly having sex with the same person.

Floyymenor and Cris MJ, “Gata Only”

As TikTok’s top song worldwide in 2024 and the only Latin single in Spotify Wrapped’s top 10 most streamed songs (No. 4), “Gata Only” broke barriers for Chilean reggaeton. As people across the globe participate in various dance trends and create memes, the duo successfully crafted one of the catchiest and most danceable earworms of the year. Following a lust-filled affair over a classic reggaeton beat, the breakout hit is off the 19-year-old Floyymenor’s debut EP, “El Comienzo.”

Natanael Cano and Oscar Maydon, “Madonna”

Credited as the creator of corridos tumbados, Natanael Cano has paved the way for many of música Mexicana’s biggest names. Amid a vast discography of trap corridos about drugs, life’s struggles and women, Cano puts a new spin on his love life with “Madonna.” Teaming up with Oscar Maydon of “Tu Boda” fame, the pair croons about showering their lover with gifts, money and designer brands. Singing “Mi güerita flow rock star” over intricate layers of strings and horns, the Rancho Humilde-signed artists remind listeners about the simple pleasures of a feel-good corrido.

Humbe, “Kintsugi”
Using the Japanese art of fixing broken pottery as a metaphor for a transformative love, 24-year-old experimental pop star Humbe brings a new kind of sensuality to his sound. On the lead single off Monterrey-born musician’s album, “Armagedon,” he proves he can comfortably walk the line between alternative and R&B while experimenting with the more electronic qualities of pop music.

Omar Apollo, “Empty”

In this lullaby-leaning ballad, Omar Apollo confronts who he is after a decimated romance. Off his second album “God Says No,” this is one of the few true heartbreak ballads as the Indiana-born singer decided to explore a more synth electronic sound in his solemn landscape of queer love stories. In this particular song, Apollo sings, “Cantando en otro lenguaje pa’ que no me entiendes / No quiero que sepas cuánto me duele.” Sharing this kind of explanation, pulls back the curtain on Apollo as an artist and adds a new layer of intimacy that only makes this trance-like song sting a bit more.

Latin Mafia, “Siento Que Merezco Mas”

The high-pitched sounds of Mexico City’s organ grinders and the hum of a chatty crowd open Latin Mafia’s debut album, “Todos los dias todo el dia.” Putting their listeners on the streets of their hometown, the Latin Grammy nominated De La Rosa brothers — Mike, Emilio and Milton — flex their ability to bend distorted vocals, forceful percussion and vulnerable lyricism in their garage-leaning production style. As they yearn for a deeper connection or lament deserving better treatment from a lover, the unified feeling among its stark switchups of a distant cheering crowd, an angered electronic track and a sorrowful ballad in the 2 minute and 45 second track is what takes this song from inventive to groundbreaking.

Ivan Cornejo, “Sale Para Ser Feliz”

One thing about Ivan Cornejo is that he sings his lyrics with his chest. As the first song on the Riverside-born musician’s third album, “Mirada,” “Sale Para Ser Feliz” captures the inescapable essence of a heartbreak over striking acoustic guitar. In this woeful outpour, he mourns the ending of a relationship and comes to terms with the fact that people can change. Cornejo completely exhibits his knack for tamed romantic angst and gives the listener a taste of the dejected world of “Mirada.”

Fuerza Regida, “Nel”

As the influence of Jersey beats infiltrated hip-hop, Fuerza Regida’s frontman Jesus Ortiz Paz ensured that música Mexicana wasn’t too far behind. On the five-piece band’s most recent album, “Pero No Te Enamores,” they explore how electronic dance music can exist in the world of trap corridos. The album’s frontrunner, “Nel,” is a lust-driven blend of JOP’s coarse vocals, a pulsating, club-like bass and a reggaeton-leaning drumline.

Kali Uchis and Peso Pluma, “Igual Que Un Ángel”

If someone was going to bring out Peso Pluma’s soft-hearted side, it only makes sense that it would be Colombian powerhouse Kali Uchis. Capable of seamless language switches, a genre-bending sound and quick-witted lyricism, “Igual Que Un Ángel” is Uchis’ synth-heavy take on finding the perfect lover. As one of the standout tracks on her 2024 album, “Orquídeas,” Uchis’ airy vocals add a new layer of dimension to Pluma’s recognizable rasp in this unexpected, but not shockingly catchy earworm.

The Marias, “Sienna”

Talk about being able to hear a heart break. As the final track on the Marias’ sophomore album “Submarine,” “Sienna” ends the band’s esteemed breakup album on its heaviest note. Complete with a soft percussion, cinematic chimes and heart-wrenching lyricism, listening to this track feels like waking up from a melancholic dream. “Sienna” is the pinnacle of the Marias’ signature style: sad, sexy and somewhat groovy.

Andrea Flores, reporter

Julieta Venegas, “A Donde Va El Viento”

Shockingly, despite its nostalgia-riddled synthesizer, “A Donde Va El Viento” is not an ’80s or ’90s tune. Julieta Venegas adds this soft-rock ditty to her long list of memorable songs, a standout for its imaginative lyrics that evoke teenage wonder. If the track sounds like it should be part of a TV soundtrack, that’s because it is. The signature tune was specifically created for Amazon Prime’s limited series “Nadie nos va a extrañar,” about a group of misfit high schoolers in 1990s Mexico City that run a forged assignments business (also a beautiful watch).

Rauw Alejandro, “Cosa Nuestra”

Five albums deep into his artistry, “Cosa Nuestra” marks Rauw Alejandro’s ascent to ultimate greatness. In it, the Puerto Rican singer pays homage to the infectious Caribbean rhythms, teetering between his bad-boy image and sensual energy. The opening namesake track kicks off this new era of “Raúl “ with a simmering bolero colored with jazzy trumpets and tantalizing conga drumming.

Karol G, “Si Antes Te Hubiera Conocido”

Dreamy is the theme of Karol G’s 2024 hit “Si Antes Te Hubiera Conocido,” which is not a far stretch from the energy she delivers in her 2023 albums, “Mañana Será Bonito” and “Bichota Season.” Co-produced with Edgar Barrera and Sky Rompiendo, the song toils with the wistfulness of what never came to be, and the hope of what could become. The Colombian singer released the merengue smash hit at the height of the summer, and it peaked at No. 32 on the Billboard Hot 100. Its chart-topping potency is a sign that Karol G is coming for more in 2025.

Danny Ocean, “Amor”

All Danny Ocean longs for is love. Since his 2016 hit, “Me Rehuso,” the Venezuelan singer has been belting sweet notes that yearn for his “Babylon girl.” His latest album, “Reflexa,” is no different with extra raspy vocals that seek connection and added electric beats that hover over his traditional dembow rhythm. The standout track, “Amor,” is a simple tune with a catchy backbeat and lyrics that cease to complicate concepts of love. Because, in the eyes of Danny Ocean, loving someone is as straightforward as 1+1=2. The song reached No. 1 on the Billboard Latin Airplay earlier this year and has garnered over 5 million YouTube views.

Cris MJ, “Si No Es Contigo”

It’s been a whirlwind couple of years for singer Cris MJ, whose breakthrough song, “Una Noche en Medellín,” debuted on the Billboard Hot 100 chart in 2022 and caught the attention of Karol G for a refashioned version featuring Ryan Castro on her “Bichota Season” album. The 23-year-old sustains his popularity this year with fellow Chilean singer FloyyMenor on “Gata Only,” the only Spanish track to earn a spot on Spotify’s most-streamed songs globally. But finishing hot on the Latin charts is also “Si No Es Contigo,” where Cris MJ riffs his breathy voice over a sultry urban beat. The remix with Kali Uchis and Jhayco alone is proof that Cris MJ is not a one- or two-hit wonder.

Becky G, “Otro Capitulo”

Becky G is ready for her next chapter. The homegrown singer shed her skin this year with the release of her fourth studio album, “Encuentros,” a collection of música Mexicana melodies with heart-wrenching lyrics. But between the aching pain illustrated in the fiery “Como Diablos” or soft “Muchas Gracias,” there is a glimmer of joy and hope in “Otro Capitulo.” The Selena-inspired cumbia track, which includes nods to La Factoria’s chorus in “Perdóname,” signals that Becky G is ready to slash the past in exchange for a new beginning.


Manuel Turizo and Kapo, “Qué Pecao”

Deep baritone heartthrob Manuel Turizo wires back into the bachata genre with “Qué Pecao,” two years after his megahit “La Bachata” topped the global charts. Featured on his latest album “201,” the gentle love ballad is elevated with the poetic additions of Colombian singer-rapper Kapo, whose soft-spoken interludes heat up the track. The duo, both a product of La Industria, Inc., blends the Caribbean beat with earworm guitar strumming, a sure repeat for the holiday festivities or any dance party.

Grupo Frontera featuring Maluma, “Por Que Sera”

A year after their debut album, “El Comienzo,” Grupo Frontera released their sophomore LP “Jugando a Que No Pasa Nada.” The Texas borderland band delves further into the música Mexicana genre this time, experimenting with tribal, corridos tumbados, sad sirreño and a bit of southern honky-tonk. Standing out in the collection is “Por Que Sera,” a collaboration with Colombian singer Maluma, whose tender tenor vocal contrasts lead singer Payo Solis’ deep register.

Bad Bunny, “El Clúb”

Leave it to Bad Bunny to fool us all into thinking this is one song, not three. The slow build lures listeners into a catchy electric dance hook that is simply irresistible to groove to. Then there are the lyrics themselves, an admission of ruminating thoughts about an ex-flame and what they might be up to — a universal experience for those stuck in their head after a breakup. The nightclub vibes eventually trickle off into a slow tempo beat reminiscent of his 2022 “Un Verano Sin Ti” album, which features more tropical vibes.

Kid Cudi, “Electrowavebaby”

Kid Cudi is soaring up in space and doesn’t seem to be coming down. This year was a doozy for the rapper-singer who released two studio albums, “Insano” and “Insano (Into Mega),” along with three singles for his comic book debut of “Moon Man.” Among the insane collection (pun intended), “Electrowavebaby” was a standout electric trap melody with a memorable beat. Though it clearly samples Ace of Base’s 1992 “All That She Wants,” adding an intriguing allure, Kid Cudi still found a way to make it his own with his signature humming and a tasteful amount of “oohs.”

Nathy Peluso, “La Presa”

A passionate hyperpop diva, Nathy Peluso is equally at home with the defiance of hip-hop and the theatrical drama of progressive salsa. “La Presa” is not the first tropical scorcher that the Argentina native has given us — but it is possibly her best. Joined by the backup vocalists of venerable Puerto Rican orchestra El Gran Combo, Peluso channels the precise moment in time (the tail end of the ’70s) when salsa became operatic and symphonic. A superb vocalist, she replicates the heights of female Afro-Caribbean icons like La Lupe and Yolanda Rivera.

Carín León, “El Curioso”

Hailing from Hermosillo, Carín León arrived on the Latin scene like an unstoppable force of nature, blending his música Mexicana roots with intriguing shades of country and classic rock. Even those accustomed to his prolific ethos were surprised by his 2024 output: a stellar Latin Grammy-winning album in May — “Boca Chueca, Vol. 1” — and his now traditional “surprise” December LP, “Palabra de To’s.” A highlight from his latest session, “El Curioso” shimmers with the bouncy vibe of cumbia norteña, anchored to León’s killer melodic instincts.

Young Miko, “Wiggy”

Like many other MCs in recent years, Puerto Rico’s Young Miko gained global traction when she guested in one of Argentine producer Bizarrap’s infamous YouTube sessions. Three months later, she dropped “att.,” a debut album that oozes charisma and confirmed the arrival of a new star. Miko showcases her flow —fresh, agile, irresistible — on “Wiggy,” an ode to old-school hip-hop with references to early 2000s novelty smash “Aserejé” and a bass line that thumps restlessly as she waxes poetic about clubbing and her lust for another woman.

Rafa Pabön, “Aiwo”

“Aiwo” was created spontaneously one night in Puerto Rico, when urbano genius Pabön enlisted friends Daymé Arocena and producer Mr. NaisGai for a late-night recording session. An homage to the Boricua rapper’s African roots, it’s constructed around his quirky flow and a deep, soulful atmosphere that transcends decades. Pabön’s 2023 “Galería” album was a game changer, and this short but unforgettable single hints at more wondrous sounds to come.

Becky G, “Última Vez”

Released last year, “Esquinas” found Becky G connecting with the essence of música Mexicana — a tribute to her abuelitos. The experience was so emotionally fulfilling that the singer from Inglewood decided to repeat the experiment with “Encuentros.” This lilting ballad transports us back to Mexico’s golden era of stately heartbreak songs, amplified by Becky’s astute production choices, which combine a retro melodic sensibility with the benefits of digital wizardry. Punctuated by languid guitar lines, this sadder-than-sad gem creates the perfect backdrop for her gorgeous voice to shine through.

Gepe, “Desastre”

Gepe saw “Desastre” as an opportunity to delve into the big, cinematic chords of favorite songs of his like Paul McCartney’s “Golden Slumbers” and Queen’s “Innuendo.” The most soul shattering moment of his extraordinary tenth album — the ironically titled “Undesastre” — the track benefits from an epic orchestral backing and a series of disruptive, eccentric sound effects (the emulation of a disaster, as things fall apart). At 43, the Santiago de Chile native is riding a sublime wave of inspiration.

Spanish Harlem Orchestra, “Llegó El Caballero”

Even though traditional salsa is now a thing of the past, Los Angeles-based keyboardist Oscar Hernández cultivates its rugged sound with the kind of vitality and dedication to the craft that could single-handedly keep the genre alive. Hernández got his start as a teenager, playing the piano with La Conquistadora, Ray Barretto and Celia Cruz, and the band’s ninth album, “Swing Forever,” brims with electricity and gunpowder. “Llegó El Caballero” underscores the bandleader’s gift for intricate arrangements, with majestic combinations of brass and elegant piano lines. The raucous soneos of guest vocalist Gilberto Santa Rosa — a Puerto Rican legend — are the cherry on the pie.

Cimafunk featuring Monsieur Periné, “Catalina”

So far, the 2020’s have been something of a golden era for tropically inflected pop. This joyous duet between Cuban trendsetter Cimafunk and Colombian gypsy jazz outfit Monsieur Periné — culled from Cima’s third album, “Pa’Tu Cuerpa” — is the perfect Latin summer anthem. The production is crystal clear, with rumbling bass, percolating syncopation and lovely acoustic guitars in the bridge. But the stars of the show are Cimafunk and Periné singer Catalina García, whose overwhelmingly sensuality is playful — and effortless.

Girl Ultra, “Blu”

On “Bombay,” a track off her 2022 album “El Sur,” Mexican songstress Girl Ultra had demonstrated her penchant for flirting within the confines of decadent, EDM-flavored pop. This summer, she released an EP, “blush,” loaded with sonic candy. Opening track “blu” finds her multitracking her own voice, creating a hypnotic, mantra-like mood by chanting syllables to the march of a grimy dance machine. Girl Ultra has found her own slice of heaven in the sonic playground of the recording studio.

Trueno, “Tranky Funky”

At 22, Argentine rapper Trueno employs hip-hop as a source of light, a communal language with the power to heal the world. Drawing from the canon of vintage rap, “Tranky Funky” gallops forward to the sound of congas, chunky piano chords, wah-wah guitars and a nod to Mobb Deep. A close cousin to Trueno’s breakthrough hit “Dance Crip” (2022), it summons you to the dance floor while declaring its undying love to hip-hop — a cultural force of unity for the past 50 years.

Matheson penned the story of Duel after being dangerously tailgated by a trucker while driving on a California highway on November 22, 1963, the same day that President John F. Kennedy was assassinated. Duel was ultimately published in the March, 1971 issue of Playboy magazine.

The story was brought to the attention of fledgling director Spielberg by his secretary, who told him that she was aware Universal and ABC had optioned the property for a Movie of the Week and were looking for a director.

Spielberg read the short and was compelled enough by the strength of it to apply for the job. He met with producer George Ekstein and beat out a host of other directors based on an episode of Colombo Spielberg had directed and showed the producer. Matheson was meanwhile hired to adapt his story into a teleplay.

Director Steven Spielberg on the set of Duel. (Photo courtesy of Universal Pictures.)

During the casting process, Spielberg fought hard to have Dennis Weaver star in the project based on the director’s admiration for the actor’s performance as the hotel manager in Orson Welles’ Touch of Evil, opposite Charlton Heston, Janet Leigh, and Welles himself.

Spielberg, and Weaver, eventually won out. Additional cast members included Jacqueline Scott, Eddie Firestone, Lou Frizzell, and Lucille Benson, all in minor roles.

Dennis Weaver as the main protagonist, motorist David Mann. (Photo courtesy of Universal Pictures.)

Principal photography was completed in just 13 days, mostly on rural California stretches such as the Agua Dulce Canyon Road, Soledad Canyon Road, Angeles Forest Road, and the Sierra Highway. Equally astonishing is the fact that the film was edited in a mere 10 days by Frank Morriss.

Duel originally aired as the ABC Movie of the Week on November 13, 1971, and received rave reviews by critics and viewers alike. Spielberg, in particular, was lauded by film critics from Variety and The Hollywood Reporter for his directorial flourishes on the movie.

The movie opens with a montage of shots taken from the bumper of Mann’s car as it travels from Los Angeles to the high desert. (Photo courtesy of Universal Pictures.)

So universally positive were the reactions to Duel that it was theatrically released in 1972-’73 in an extended 90 minute version (14 minutes longer than the television cut) with additional scenes shot by Spielberg.

Duel’s plot is simple. David Mann (Weaver) is a Los Angeles salesman who has an appointment with a client upstate. During the course of his drive he encounters a worse-for-wear big rig truck emblazoned with “Flammable” warnings all over its exterior.

Mann’s original sin: passing the big rig. (Photo courtesy of Universal Pictures.)

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The truck is going slowly up a grade, so Mann passes it in a responsible fashion using his turn signals, and is soon underway at a speed he figures will get him to his appointment on time.

Just a few moments later, the truck abruptly roars past him, cuts him off, and then slows down to its original speed in front of Mann. Perturbed, and now breathing the truck’s diesel exhaust, Mann passes the tanker again and is treated to a blast from its air horns.

Mann and his tormentor at the gas station. (Photo courtesy of Universal Pictures.)

Later in the day, Mann pulls into a gas station, and a few minutes later the tanker parks next to him at an adjacent pump. The truck’s driver gets out of the beast on the side opposite Mann’s field of view, but the salesman is able to see the man’s cowboy boots.

After a phone call to his quarrelsome wife in which she quips about his lack of manhood the night before when his co-worker was making advances towards her, Mann is told by the gas station attendant that he needs a new radiator hose. He declines the repair and is on his way.

Back on the road, Mann is once again menaced by the tanker truck, which rudely passes him and then swerves all over the road to prevent Mann from repassing. Mann finally gets past the truck, whereupon the big rig tailgates him, forcing Mann to go faster and faster. Doing in excess of 100 mph, Mann loses control of his vehicle and spins out across from a diner.

Mann spies his adversary outside the diner. (Photo courtesy of Universal Pictures.)

Shaken, he goes into the diner’s lavatory. When he comes out, he sees the offending truck parked outside, and assumes the driver is in the diner with him. He studies the diner’s patrons, and confronts one wearing similar cowboy boots to the truck’s driver.

The patron does not take well to Mann’s accusations and punches him several times. The man then leaves, gets into a pickup truck, and drives away, indicating to Mann that he had picked out the wrong man.

The big rig tries to kill Mann by pushing his car into a freight train. (Photo courtesy of Universal Pictures.)

A blown radiator hose derails Mann’s getaway. (Photo courtesy of Universal Pictures.)

In spite of Duel’s unsophisticated plot, the movie actually makes quite a few thematic comments on life-and-death, contemporary society, and masculinity. The fact that we never see the driver of the big-rig also imparts a supernatural feel to the proceedings, as if this is perhaps a fever dream in Mann’s head, or, if real, that the driver of the truck is in fact a demon or the devil himself.

This quasi-satanic angle is so well conceived in the movie that it was directly lifted for the less well-crafted but nonetheless entertaining 1977 film, The Car, starring James Brolin.

Glimpses of Spielberg’s future cinematic aesthetic are visible throughout the film. (Photo courtesy of Universal Pictures.)

Quick glimpses of Spielberg filmmaking hallmarks are littered throughout Duel. His use of wide angle lenses on close-up subjects to infuse a sense of shock or panic are present, as is his exceptional framing and use of the camera to convey information.

For a 25 year-old, Spielberg’s mastery of the mise-en-scene is absolutely extraordinary here, and it makes for an exciting romp despite the straightforward plot. It stands to reason that in the hands of a lesser director, Duel could have easily been a bore and a misfire.

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Spielberg’s use of framing, lens choice, and depth make even mundane sequences feel artistic. Examples include this shot of Mann’s car driving through the desert, and Mann’s phone call to his wife, framed inside the door of a washing machine. (Photos courtesy of Universal Pictures.)

The use of sound and the lack thereof at times is also beautifully handled in the film, often injecting a menacing tone of impending doom. Relatively little dialogue is spoken in the movie, as per Spielberg’s desire to let the terror of the situation and the vehicles do the talking. The majority of dialogue in the film is heard as a narration of Mann’s inner thoughts.

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The cinematography by Jack A. Marta, the aforementioned editing by Frank Morriss, and Billy Goldenberg’s exciting score should also be given a nod for their peerless efficacy.

Mann’s ride: a 1970 Plymouth Valiant. (Photo courtesy of Universal Pictures.)

Even Spielberg’s selection of vehicles is well thought through. Mann’s car, a 1970 Plymouth Valiant, is a compact with a limited powertrain. It was chosen to echo Mann’s meek personality and his wife’s suggestion to the effect that he was no Prince Valliant the night before. The car’s blinding Tor-Red exterior paint, on the other hand, was chosen by the director solely because it would stand out against the desert locales that they filmed in.

As an aside for those concerned with production minutiae, four Valiants were used during production. A 1970 and ’71 model equipped with Chrysler’s 225 cubic-inch slant six were used for beauty shots, while an older 1969 model with the manufacturer’s 318 cubic-inch V8, was dressed up to look like the 1970 model and used primarily as the stunt car.

For the extra scenes shot for the theatrical release of the movie, a 1972 Valiant with the 225 cubic-inch six was used. To Spielberg’s dismay, this car would later be used in an episode of the Universal television series, The Incredible Hulk.

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Spielberg settled on a 1957 Peterbuilt 281 for the truck as he felt it had a menacing “face.” (Photo courtesy of Universal Pictures.)

Spielberg looked at a number of big rigs before deciding on the 1957 Peterbuilt 281 used in the film. Its older cab styling, consisting of a long hood, round headlights, and split windshield, looked like a menacing face to the director, and its decrepit condition helped to convey the dark specter motif that he was after. The addition of multiple license plates on the truck’s bumper was Spielberg’s idea, to suggest that the driver is a serial killer who has done this before to other drivers across the southwest.

The truck was powered by a 280 horsepower CAT 1673 turbocharged diesel engine with a 13-speed transmission and had a Rockwell TK-570 axle behind it. The top speed of such a setup was roughly 65 mph, so the impression of greater speed was accomplished by wise selections of camera lenses and low angles.

Spielberg’s chose of lenses and angles were able to make the tanker look like it was going faster than it was. (Photo courtesy of Universal Pictures.)

For the additional scenes filmed for the 1972-’73 theatrical release, a 1962 Peterbuilt 351 with a CAT 1673B engine was used.

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The vehicular action in Duel is truly top-notch, as one would expect since legendary Hollywood stuntman Carey Loftin was the stunt coordinator and driver of the big rig. Loftin’s previous credits included standouts like Viva Las Vegas, Bullitt (he was the on-screen driver of the bad guys’ Dodge Charger in that film), Grand Prix, Bonnie and Clyde, Vanishing Point, and The French Connection, amongst countless others.

His vehicle control behind the wheel of that big, ungainly Peterbuilt is remarkable and must be seen to be appreciated.

Maybe Mr. Mann should have walked instead of driven. (Photo courtesy of Universal Pictures.)

In all, Duel is a very finely crafted, and thoroughly enjoyable movie. Had I been a film critic at the time of the movie’s release, I would have had no trouble singling out Steven Spielberg as a future grand auteur of the medium. His directorial stamp can be felt over every frame of the film, and his choices here are always dead on.

Spielberg turned a potentially run-of-the-mill Movie of the Week into a project worthy of theatrical distribution at a time when I believe only a handful of other directors could have done so. I highly recommend that you see Duel if you never have, and I give it 8 out of 10 pistons.

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