Сценарий фильма конвой

From Wikipedia, the free encyclopedia

Convoy
US film poster
Directed by	Sam Peckinpah
Screenplay by	B. W. L. Norton
Based on	«Convoy» by Bill Fries Chip Davis
Produced by	Robert M. Sherman
Starring	Kris Kristofferson Ali MacGraw Burt Young Madge Sinclair Franklyn Ajaye Ernest Borgnine
Cinematography	Harry Stradling, Jr.
Edited by	John Wright Garth Craven
Music by	Chip Davis
Production company	EMI Films
Distributed by	United Artists
Release dates	June 10, 1978 (Japan) June 28, 1978 (United States)
Running time	103 minutes
Countries	United States United Kingdom
Language	English
Budget	$12 million
Box office	$45 million[1]

Convoy is a 1978 American road action comedy film directed by Sam Peckinpah and starring Kris Kristofferson, Ali MacGraw, Ernest Borgnine, Burt Young, Madge Sinclair and Franklyn Ajaye. The film is based on the 1975 country and western novelty song «Convoy» by C. W. McCall. The film was made when the CB radio/trucking craze was at its peak in the United States, and followed the similarly themed films White Line Fever (1975) and Smokey and the Bandit (1977). The film received mixed reviews from critics; however, it was the most commercially successful film of Peckinpah’s career.

Plot[edit]

In the Arizona desert, truck driver Martin «Rubber Duck» Penwald is passed by a woman in a Jaguar XK-E, which leads to an encounter with a state trooper. Proceeding on his way, Rubber Duck runs into fellow truck drivers Pig Pen/Love Machine and Spider Mike, when another «trucker» informs them over the C.B. that they are okay to increase their speed. The «trucker» turns out to be Sheriff «Dirty Lyle» Wallace, a long-time nemesis of the Duck, who extorts them for $70 each.

The truckers head on to Rafael’s Glide-In where the Duck’s sometime girlfriend and Lyle’s wife, Violet, works as a waitress. Melissa, the driver of the XK-E, is also there; her Jaguar broke down and she had to sell it and some of her belongings in an effort reach Dallas, as she’s on her way to look for a job. The Duck offers Melissa a ride; Violet is unimpressed and ushers him away to give him a special birthday present. While they’re away, Wallace shows up at the Glide-In checking plates. Pig Pen and Spider Mike start making fun of Wallace over the diner’s base-station CB radio, leading to Wallace attempting to arrest Spider Mike for «vagrancy».

The Duck, having been warned by Widow Woman, enters and tries to smooth things over. But Lyle is determined and insults Mike, who is desperate to get home to his wife. Mike punches Wallace, leading to a brawl in the diner when some troopers arrive to assist Wallace. The assorted truckers prevail, and the Duck handcuffs Wallace to a bar stool. After pulling the spark plug wires and distributor caps out of the police cars, the truckers decide to head for the state line to avoid prosecution.

The truckers drive across Arizona and New Mexico, with Wallace in pursuit after he forces a local youth outside the diner to give up his vehicle when he finds him possessing drugs. He catches up with Duck, but matters are made worse when Melissa accidentally causes Duck to veer into the path of Wallace’s vehicle, forcing him to crash through a billboard and into a ditch, infuriating him further. The initial police pursuit is foiled when Duck leads the truckers off the main highway and down a rough dusty desert trail, causing several of the police cars to crash. Wallace, in yet another vehicle, this time commandeered from one of the state troopers, is again thwarted when Pig Pen and Spider Mike crush his vehicle between their rigs. Additional independent truckers join them to form a mile-long convoy in support of Rubber Duck’s vendetta against the abusive Wallace. The truckers communicate with each other via CB radio, and much CB jargon is sprinkled throughout the film. As the rebellious truckers evade and confront the police, Rubber Duck becomes a reluctant hero.

It becomes apparent the truckers have a great deal of political support and the Governor of New Mexico, Jerry Haskins, meets Rubber Duck. About the same time, Wallace and a brutal Texas sheriff arrest Spider Mike in Alvarez, Texas. He had left the convoy to be with his wife after she gave birth to their son. Wallace’s plan is to use Mike as «bait» to trap Rubber Duck. A janitor at the jail, aware of the plan, send messages by CB radio that Spider Mike has been wrongfully arrested and beaten. Various truckers relay the message to New Mexico.

Rubber Duck ends the meeting with Haskins and leaves to rescue Spider Mike. Several other truckers join him and head east to Texas. The truckers eventually destroy half of the town and the jail and rescue Spider Mike. Knowing they will now be hunted by the authorities, the truckers head for the border of Mexico. On the way, Rubber Duck gets separated from the rest of the convoy when the others get stopped by a traffic accident. The film culminates with a showdown near the United States-Mexico border where Rubber Duck is forced to face Wallace and a National Guard unit stationed on a bridge. Firing a machine gun, Wallace and the Guardsmen cause the truck’s tanker trailer to explode, while Rubber Duck deliberately steers the tractor unit over the side of the bridge, plummeting into the churning river below, sending Duck presumably to his death.

A public funeral is held for Rubber Duck. Haskins promises to work for the truckers by taking their case to Washington, D.C. Disgusted with the politics of the situation, Pig Pen abruptly leaves the funeral. A distraught Melissa is led to a school bus with several «long-haired friends of Jesus» inside. There she finds Rubber Duck in disguise sitting in the back. He asks, «You ever seen a duck that couldn’t swim?» The convoy takes to the road with the coffin in tow, abruptly ending the politicians’ speeches. As the bus passes Wallace, he spots the Duck and bursts into laughter.

Cast[edit]

Production[edit]

Convoy was filmed almost entirely in the state of New Mexico.^[3] Production began in 1977 when the CB radio/trucking craze was at its peak, made during the same period as such films as Smokey and the Bandit (1977), Handle with Care (1977), Breaker! Breaker! (1977) and High-Ballin’ (1978), as well as the television series Movin’ On (1974–1976) and B. J. and the Bear (1979–1981).

During this period of Sam Peckinpah’s life, it was reported he suffered from alcoholism and drug addiction. His four previous films, Cross of Iron (1977), The Killer Elite (1975), Bring Me the Head of Alfredo Garcia (1974), and Pat Garrett and Billy the Kid (1973), had struggled at the box office and the director needed a genuine blockbuster success.^[4] Unhappy with the screenplay written by B. W. L. Norton, Peckinpah tried to encourage the actors to re-write, improvise and ad-lib their dialogue, with little success.^[5] In another departure from the script, Peckinpah attempted to add a new dimension to the film by casting a pair of black actors as members of the convoy: Madge Sinclair as Widow Woman and Franklyn Ajaye as Spider Mike.^[6]

Peckinpah’s original rough cut of Convoy, assembled by Peckinpah and his long time editor Garth Craven in early 1978, had an estimated running time of 220 minutes. According to the book If They Move … Kill ‘Em!: The Life and Times of Sam Peckinpah by David Weddle and the Convoy documentary Passion & Poetry: Sam’s Trucker Movie, Peckinpah’s rough cut did not have any musical score other than the title song and «Blow The Gates To Heaven» by Richard Gillis (who had previously worked with Peckinpah on The Ballad of Cable Hogue). Jerry Fielding, who composed music for many of Peckinpah’s previous films, was also hired to do the score for Convoy.^{[citation needed]}

After a second screening of Peckinpah’s rough cut, EMI executive Michael Deeley fired Peckinpah and Craven from the film in mid-March 1978 and promoted editor Graeme Clifford to supervising editor, to drastically reduce the running time of the film for a June 1978 release. Garner Simmons, author of Peckinpah: A Portrait in Montage, said that EMI and Clifford’s version of Convoy «cut the guts out of it».^{[7][8][verification needed]}

Questioned about the production of Convoy during an interview in July 1978 Peckinpah is quoted as saying “In preparing Cross of Iron I kept hearing on Armed Forces radio this song about “We’ll hit the gate goin’ 98, Let them truckers roll, Ten-Four!” and I said “By God, I’d like to be out on that highway!” And so I got out there, but I ended up not being there at all.”

The picture finished eleven days behind schedule at a cost of $12 million, more than double its original budget.

The famous scene where the tanker truck goes off a bridge and explodes was filmed in Needles, California, on a one-way bridge over the Colorado River between Arizona and Needles. The Needles City Fire Department provided fire protection during this scene. The bridge was removed soon after as a new span connected the two sides of the river.

Peckinpah has a cameo as a sound man during an interview scene.^[9] Rubber Duck’s truck is generally represented in the film as a 1977 Mack RS712LST although several other Mack RS700L series trucks were used as a double and as stationary props.^[10] The original 1977 Mack truck, its on-road movie double, and the only original remaining tank trailer are on display at the National Museum of Transportation outside St. Louis, Missouri.

Release[edit]

The film was released in Japan in mid-June 1978 before opening in 700 theaters in the United States and Canada on June 28, 1978.^[11][12]

Critical reception[edit]

Though Convoy was a commercial success and maintains a robust cult following, it received mixed reviews from critics upon its initial release. It holds an approval rating of 50% on Rotten Tomatoes, based on 16 reviews.^[13]

Vincent Canby of The New York Times wrote that the film «has been made before much less expensively and much more entertainingly by directors with no aspirations to be artists. ‘Convoy’ is a bad joke that backfires on the director. He has neither the guts to play the movie straight as melodrama nor the sense of humor to turn it into a kind of ‘Smokey and the Bandit’ comedy. The movie is a big, costly, phony exercise in myth-making, machismo, romance-of-the-open-road nonsense and incredible self-indulgence.»^[14] Arthur D. Murphy of Variety wrote, «Sam Peckinpah’s ‘Convoy’ starts out as ‘Smokey And The Bandit,’ segues into either ‘Moby Dick’ or ‘Les Miserables,’ and ends in the usual script confusion and disarray, the whole stew peppered with the vulgar excess of random truck crashes and miscellaneous destruction … Every few minutes there’s some new roadblock to run, alternating with pithy comments on The Meaning Of It All. There’s a whole lot of nothing going on here.»^[15] Gene Siskel of the Chicago Tribune gave the film 1.5 stars out of 4 and wrote, «Save for a car sailing through the roof of a barn, ‘Convoy’ is sluggish entertainment, the first road race film in which I rooted for the cops against the good guys. Kristofferson’s getting caught would have made a shorter and better picture.»^[16] Charles Champlin of the Los Angeles Times called the film «a multivehicle wreck of a movie» and «slack stuff, missing as a sizzling love story, missing as the kind of funny anti-authoritarian statement the song was, arriving well past the peak of the CB phenomenon, making no statement one way or the other about trucks or truckers.»^[17] Gary Arnold of The Washington Post wrote that the film «suggests a shotgun misalliance of ‘Billy Jack’ and ‘Smokey and the Bandit,'» and all Peckinpah could do with the «stupid material» was «to pretend he’s getting somewhere by noisily spinning his wheels. More often than not even his visual pyrotechnics falls short, and he’s left trying to rationalize nonsensical characters and conflicts by imposing his sentimentalities about men of war on them.»^[18] John Pym of The Monthly Film Bulletin was generally positive, writing, «What sets this apart from other recent citizen-band road movies is the skill with which Peckinpah redefines the artifacts of the Western, which is what Convoy transparently remains. It has lines of cavalrymen, a cattle drive, a secret trail to Mexico, a circular camp site, innocent bar-room fisticuffs and a hero who, while caring nothing for women, at the same time reveres the married man and his homestead … The adroitness of mood is perhaps best characterized by the moment when, his audience having been softened by the surrounding exuberance, Peckinpah slips into place such a poignantly sentimental moment as the departure of Spider Mike for his hometown.»^[19]

Empire gave the film a 3 out of 5 stars, stating «A noisy but enjoyable destruction derby of a film, sadly with none of the subtlety, invention or skill of Spielberg’s Duel.»^[20]

Box office[edit]

The film grossed $4 million in Japan in its first 9 days.^[11] Convoy was the highest grossing picture of Peckinpah’s career, grossing $45 million at the United States and Canada box office.^[1]

Home media[edit]

On April 28, 2015, Kino Lorber released Convoy on DVD and Blu-ray.

Soundtrack[edit]

Features:

• «Convoy» by C. W. McCall (a new version, written especially for the film, with saltier language)
• «Lucille» by Kenny Rogers
• «Cowboys Don’t Get Lucky All the Time» by Gene Watson
• «Don’t It Make My Brown Eyes Blue» by Crystal Gayle
• «I Cheated on a Good Woman’s Love» by Billy «Crash» Craddock
• «Okie From Muskogee» by Merle Haggard
• «Southern Nights» by Glen Campbell
• «Blanket on the Ground» by Billie Jo Spears
• «Keep on the Sunny Side» by Doc Watson
• «Walk Right Back» by Anne Murray

Novelization[edit]

A paperback novelization of the film by screenwriter B.W.L. Norton (ISBN 9780440112983) was published in 1978. A more serious edge and less humor was given to the film’s story and there are some changes and additions, such as no mention of Spider Mike being African-American, a definite hatred between Rubber Duck and Wallace, a fight between Rubber Duck and Wallace after Spider Mike is broken out of jail, Widow Woman getting married (for the fifth time) and a background story given to Melissa.

References[edit]

External links[edit]

• Convoy at the American Film Institute Catalog
• Convoy at AllMovie
• Convoy at Box Office Mojo
• Convoy at IMDb
• Convoy at Rotten Tomatoes
• Review by Scott Vondoviak
• Convoy The Movie
• C.W. McCall: An American Legend

From Wikipedia, the free encyclopedia

Convoy
US film poster
Directed by	Sam Peckinpah
Screenplay by	B. W. L. Norton
Based on	«Convoy» by Bill Fries Chip Davis
Produced by	Robert M. Sherman
Starring	Kris Kristofferson Ali MacGraw Burt Young Madge Sinclair Franklyn Ajaye Ernest Borgnine
Cinematography	Harry Stradling, Jr.
Edited by	John Wright Garth Craven
Music by	Chip Davis
Production company	EMI Films
Distributed by	United Artists
Release dates	June 10, 1978 (Japan) June 28, 1978 (United States)
Running time	103 minutes
Countries	United States United Kingdom
Language	English
Budget	$12 million
Box office	$45 million[1]

Convoy is a 1978 American road action comedy film directed by Sam Peckinpah and starring Kris Kristofferson, Ali MacGraw, Ernest Borgnine, Burt Young, Madge Sinclair and Franklyn Ajaye. The film is based on the 1975 country and western novelty song «Convoy» by C. W. McCall. The film was made when the CB radio/trucking craze was at its peak in the United States, and followed the similarly themed films White Line Fever (1975) and Smokey and the Bandit (1977). The film received mixed reviews from critics; however, it was the most commercially successful film of Peckinpah’s career.

Plot[edit]

In the Arizona desert, truck driver Martin «Rubber Duck» Penwald is passed by a woman in a Jaguar XK-E, which leads to an encounter with a state trooper. Proceeding on his way, Rubber Duck runs into fellow truck drivers Pig Pen/Love Machine and Spider Mike, when another «trucker» informs them over the C.B. that they are okay to increase their speed. The «trucker» turns out to be Sheriff «Dirty Lyle» Wallace, a long-time nemesis of the Duck, who extorts them for $70 each.

The truckers head on to Rafael’s Glide-In where the Duck’s sometime girlfriend and Lyle’s wife, Violet, works as a waitress. Melissa, the driver of the XK-E, is also there; her Jaguar broke down and she had to sell it and some of her belongings in an effort reach Dallas, as she’s on her way to look for a job. The Duck offers Melissa a ride; Violet is unimpressed and ushers him away to give him a special birthday present. While they’re away, Wallace shows up at the Glide-In checking plates. Pig Pen and Spider Mike start making fun of Wallace over the diner’s base-station CB radio, leading to Wallace attempting to arrest Spider Mike for «vagrancy».

The Duck, having been warned by Widow Woman, enters and tries to smooth things over. But Lyle is determined and insults Mike, who is desperate to get home to his wife. Mike punches Wallace, leading to a brawl in the diner when some troopers arrive to assist Wallace. The assorted truckers prevail, and the Duck handcuffs Wallace to a bar stool. After pulling the spark plug wires and distributor caps out of the police cars, the truckers decide to head for the state line to avoid prosecution.

The truckers drive across Arizona and New Mexico, with Wallace in pursuit after he forces a local youth outside the diner to give up his vehicle when he finds him possessing drugs. He catches up with Duck, but matters are made worse when Melissa accidentally causes Duck to veer into the path of Wallace’s vehicle, forcing him to crash through a billboard and into a ditch, infuriating him further. The initial police pursuit is foiled when Duck leads the truckers off the main highway and down a rough dusty desert trail, causing several of the police cars to crash. Wallace, in yet another vehicle, this time commandeered from one of the state troopers, is again thwarted when Pig Pen and Spider Mike crush his vehicle between their rigs. Additional independent truckers join them to form a mile-long convoy in support of Rubber Duck’s vendetta against the abusive Wallace. The truckers communicate with each other via CB radio, and much CB jargon is sprinkled throughout the film. As the rebellious truckers evade and confront the police, Rubber Duck becomes a reluctant hero.

It becomes apparent the truckers have a great deal of political support and the Governor of New Mexico, Jerry Haskins, meets Rubber Duck. About the same time, Wallace and a brutal Texas sheriff arrest Spider Mike in Alvarez, Texas. He had left the convoy to be with his wife after she gave birth to their son. Wallace’s plan is to use Mike as «bait» to trap Rubber Duck. A janitor at the jail, aware of the plan, send messages by CB radio that Spider Mike has been wrongfully arrested and beaten. Various truckers relay the message to New Mexico.

Rubber Duck ends the meeting with Haskins and leaves to rescue Spider Mike. Several other truckers join him and head east to Texas. The truckers eventually destroy half of the town and the jail and rescue Spider Mike. Knowing they will now be hunted by the authorities, the truckers head for the border of Mexico. On the way, Rubber Duck gets separated from the rest of the convoy when the others get stopped by a traffic accident. The film culminates with a showdown near the United States-Mexico border where Rubber Duck is forced to face Wallace and a National Guard unit stationed on a bridge. Firing a machine gun, Wallace and the Guardsmen cause the truck’s tanker trailer to explode, while Rubber Duck deliberately steers the tractor unit over the side of the bridge, plummeting into the churning river below, sending Duck presumably to his death.

A public funeral is held for Rubber Duck. Haskins promises to work for the truckers by taking their case to Washington, D.C. Disgusted with the politics of the situation, Pig Pen abruptly leaves the funeral. A distraught Melissa is led to a school bus with several «long-haired friends of Jesus» inside. There she finds Rubber Duck in disguise sitting in the back. He asks, «You ever seen a duck that couldn’t swim?» The convoy takes to the road with the coffin in tow, abruptly ending the politicians’ speeches. As the bus passes Wallace, he spots the Duck and bursts into laughter.

Cast[edit]

Production[edit]

Convoy was filmed almost entirely in the state of New Mexico.^[3] Production began in 1977 when the CB radio/trucking craze was at its peak, made during the same period as such films as Smokey and the Bandit (1977), Handle with Care (1977), Breaker! Breaker! (1977) and High-Ballin’ (1978), as well as the television series Movin’ On (1974–1976) and B. J. and the Bear (1979–1981).

During this period of Sam Peckinpah’s life, it was reported he suffered from alcoholism and drug addiction. His four previous films, Cross of Iron (1977), The Killer Elite (1975), Bring Me the Head of Alfredo Garcia (1974), and Pat Garrett and Billy the Kid (1973), had struggled at the box office and the director needed a genuine blockbuster success.^[4] Unhappy with the screenplay written by B. W. L. Norton, Peckinpah tried to encourage the actors to re-write, improvise and ad-lib their dialogue, with little success.^[5] In another departure from the script, Peckinpah attempted to add a new dimension to the film by casting a pair of black actors as members of the convoy: Madge Sinclair as Widow Woman and Franklyn Ajaye as Spider Mike.^[6]

Peckinpah’s original rough cut of Convoy, assembled by Peckinpah and his long time editor Garth Craven in early 1978, had an estimated running time of 220 minutes. According to the book If They Move … Kill ‘Em!: The Life and Times of Sam Peckinpah by David Weddle and the Convoy documentary Passion & Poetry: Sam’s Trucker Movie, Peckinpah’s rough cut did not have any musical score other than the title song and «Blow The Gates To Heaven» by Richard Gillis (who had previously worked with Peckinpah on The Ballad of Cable Hogue). Jerry Fielding, who composed music for many of Peckinpah’s previous films, was also hired to do the score for Convoy.^{[citation needed]}

After a second screening of Peckinpah’s rough cut, EMI executive Michael Deeley fired Peckinpah and Craven from the film in mid-March 1978 and promoted editor Graeme Clifford to supervising editor, to drastically reduce the running time of the film for a June 1978 release. Garner Simmons, author of Peckinpah: A Portrait in Montage, said that EMI and Clifford’s version of Convoy «cut the guts out of it».^{[7][8][verification needed]}

Questioned about the production of Convoy during an interview in July 1978 Peckinpah is quoted as saying “In preparing Cross of Iron I kept hearing on Armed Forces radio this song about “We’ll hit the gate goin’ 98, Let them truckers roll, Ten-Four!” and I said “By God, I’d like to be out on that highway!” And so I got out there, but I ended up not being there at all.”

The picture finished eleven days behind schedule at a cost of $12 million, more than double its original budget.

The famous scene where the tanker truck goes off a bridge and explodes was filmed in Needles, California, on a one-way bridge over the Colorado River between Arizona and Needles. The Needles City Fire Department provided fire protection during this scene. The bridge was removed soon after as a new span connected the two sides of the river.

Peckinpah has a cameo as a sound man during an interview scene.^[9] Rubber Duck’s truck is generally represented in the film as a 1977 Mack RS712LST although several other Mack RS700L series trucks were used as a double and as stationary props.^[10] The original 1977 Mack truck, its on-road movie double, and the only original remaining tank trailer are on display at the National Museum of Transportation outside St. Louis, Missouri.

Release[edit]

The film was released in Japan in mid-June 1978 before opening in 700 theaters in the United States and Canada on June 28, 1978.^[11][12]

Critical reception[edit]

Though Convoy was a commercial success and maintains a robust cult following, it received mixed reviews from critics upon its initial release. It holds an approval rating of 50% on Rotten Tomatoes, based on 16 reviews.^[13]

Vincent Canby of The New York Times wrote that the film «has been made before much less expensively and much more entertainingly by directors with no aspirations to be artists. ‘Convoy’ is a bad joke that backfires on the director. He has neither the guts to play the movie straight as melodrama nor the sense of humor to turn it into a kind of ‘Smokey and the Bandit’ comedy. The movie is a big, costly, phony exercise in myth-making, machismo, romance-of-the-open-road nonsense and incredible self-indulgence.»^[14] Arthur D. Murphy of Variety wrote, «Sam Peckinpah’s ‘Convoy’ starts out as ‘Smokey And The Bandit,’ segues into either ‘Moby Dick’ or ‘Les Miserables,’ and ends in the usual script confusion and disarray, the whole stew peppered with the vulgar excess of random truck crashes and miscellaneous destruction … Every few minutes there’s some new roadblock to run, alternating with pithy comments on The Meaning Of It All. There’s a whole lot of nothing going on here.»^[15] Gene Siskel of the Chicago Tribune gave the film 1.5 stars out of 4 and wrote, «Save for a car sailing through the roof of a barn, ‘Convoy’ is sluggish entertainment, the first road race film in which I rooted for the cops against the good guys. Kristofferson’s getting caught would have made a shorter and better picture.»^[16] Charles Champlin of the Los Angeles Times called the film «a multivehicle wreck of a movie» and «slack stuff, missing as a sizzling love story, missing as the kind of funny anti-authoritarian statement the song was, arriving well past the peak of the CB phenomenon, making no statement one way or the other about trucks or truckers.»^[17] Gary Arnold of The Washington Post wrote that the film «suggests a shotgun misalliance of ‘Billy Jack’ and ‘Smokey and the Bandit,'» and all Peckinpah could do with the «stupid material» was «to pretend he’s getting somewhere by noisily spinning his wheels. More often than not even his visual pyrotechnics falls short, and he’s left trying to rationalize nonsensical characters and conflicts by imposing his sentimentalities about men of war on them.»^[18] John Pym of The Monthly Film Bulletin was generally positive, writing, «What sets this apart from other recent citizen-band road movies is the skill with which Peckinpah redefines the artifacts of the Western, which is what Convoy transparently remains. It has lines of cavalrymen, a cattle drive, a secret trail to Mexico, a circular camp site, innocent bar-room fisticuffs and a hero who, while caring nothing for women, at the same time reveres the married man and his homestead … The adroitness of mood is perhaps best characterized by the moment when, his audience having been softened by the surrounding exuberance, Peckinpah slips into place such a poignantly sentimental moment as the departure of Spider Mike for his hometown.»^[19]

Empire gave the film a 3 out of 5 stars, stating «A noisy but enjoyable destruction derby of a film, sadly with none of the subtlety, invention or skill of Spielberg’s Duel.»^[20]

Box office[edit]

The film grossed $4 million in Japan in its first 9 days.^[11] Convoy was the highest grossing picture of Peckinpah’s career, grossing $45 million at the United States and Canada box office.^[1]

Home media[edit]

On April 28, 2015, Kino Lorber released Convoy on DVD and Blu-ray.

Soundtrack[edit]

Features:

• «Convoy» by C. W. McCall (a new version, written especially for the film, with saltier language)
• «Lucille» by Kenny Rogers
• «Cowboys Don’t Get Lucky All the Time» by Gene Watson
• «Don’t It Make My Brown Eyes Blue» by Crystal Gayle
• «I Cheated on a Good Woman’s Love» by Billy «Crash» Craddock
• «Okie From Muskogee» by Merle Haggard
• «Southern Nights» by Glen Campbell
• «Blanket on the Ground» by Billie Jo Spears
• «Keep on the Sunny Side» by Doc Watson
• «Walk Right Back» by Anne Murray

Novelization[edit]

A paperback novelization of the film by screenwriter B.W.L. Norton (ISBN 9780440112983) was published in 1978. A more serious edge and less humor was given to the film’s story and there are some changes and additions, such as no mention of Spider Mike being African-American, a definite hatred between Rubber Duck and Wallace, a fight between Rubber Duck and Wallace after Spider Mike is broken out of jail, Widow Woman getting married (for the fifth time) and a background story given to Melissa.

References[edit]

External links[edit]

• Convoy at the American Film Institute Catalog
• Convoy at AllMovie
• Convoy at Box Office Mojo
• Convoy at IMDb
• Convoy at Rotten Tomatoes
• Review by Scott Vondoviak
• Convoy The Movie
• C.W. McCall: An American Legend

«Конвой», третий полнометражный фильм Мизгирева, снят на все те же характерные для него темы ужасов российской жизни что в провинции, что в столице. Начинающийся со сцены пробежки армейского капитана, вдоль сетчатого забора спортплощадки и этой сценой вызывающий воспоминания о «Марафонце» (1976) Шлезингера. Так же как и сам сюжет фильма — офицер и сержант-контрактник конвоируют из Москвы обратно в часть солдата-дезертира — напоминает о «Последнем наряде» (1973) Эшби. Но знаковые фильмы Нового Голливуда всплывают тут только на уровне фабулы. «Конвой» плоть от плоти продюсера Павла Лунгина в чистом виде перестроечная «чернуха», что так прекрасно принималась на зарубежных фестивалях или становилась хитами местного проката — «Маленькая Вера» (1988), «Воры в законе» (1988), «Астенический синдром» (1989), «Такси-блюз» (1990). Но в этот раз на Берлинском фестивале вставали иностранные журналисты и задавали неприятные вопросы про антимосковскую мизантропию и странную для столь критичного фильма господдержку. Странными выглядят тут сами вопросы журналистов — как будто никогда не видевших фильмов модных сейчас Ханеке, Мендозы, Дарденнов, Дюмона, Мунджиу, да всего антитэтчеровского по духу британского кино 80-х или традиционно полных насилия японских фильмов.
«Конвой» это история взаимоотношений, а его столь отталкивающий урбанизм не более чем честная фиксация среды, куда занесло главных героев. Что страдающего припадками капитана, что хитрована-сержанта, что дезертира, коренного москвича со среднеазиатскими корнями — всех их эти зимние серые полупромышленные московские задворки настраивают на сложные невротические взаимоотношения между командиром и подчиненным, между конвоем и конвоируемым, наконец просто между мужчинами разных возрастных категорий. В этом смысле «Конвой» суровый и сентиментальный мужской фильм, где жесткий городской фон и некоторое количество сцен насилия лишь второй план для прояснения в главных героях даже не жизненных позиций, а того чем они на психологическом уровне цепляются за жизнь в этой студеной российской темноте. У каждого есть свой внутренний конвой, который хорошо или плохо бережет их по жизни — армейский долг капитана, корыстный расчет сержанта, салажья наивность солдата.
И тут стоит отметить просто шикарную игру всего актерского состава и подбор исполнителей. Невысокий, с механистичными движениями и лицом платоновского героя капитан (Васильков), рыжий увалень сержант (Куличков), солдат-дылда с круглым лицом и вечной улыбкой (Нигманов) — Мизгирев уже на уровне типажа и актерской пластики обрисовывает весь расклад характеров. И эта режиссерская проработка распространяется на любого, самого второстепенного героя, хотя бы случайного торговца мясом с грузовика или дезертира-психопата, обреченно мечущегося с шилом в руке (Антропов). И в дальнейшем Мизгирев ведет своих героев через специфическую часть московской жизни — город приехавших на заработки, город коррумпированной полиции, вокзалов и отделений, настоящий московский андерграунд, не через Большой театр же их вести, не «Мимино» (1977) ведь. Но Москва, город создающий и разрушающий иллюзии, ничуть не поменялась. Москва, пусть и такая вот не открыточная, не центровая, хорошенько встряхивает, перепахивает, калечит — возвращает к реальности как капитана, провоцирует сержанта, жестоко учит самого молодого.
«Конвой», пусть и немного старомодный своей перестроечной эстетикой, мне представляется очень профессиональным, сложившимся, случившимся фильмом. Он не застывает в одной пронзительной интонации, как можно представить из его синопсиса, он необычайно разнообразен в житейских наблюдениях, чаще смешит и удивляет чем ужасает, точен, мрачно романтичен и необычайно фактурен блестящей операторской работой Яниса Эглитиса. А характерная для перестроечного кино критика системы в «Конвое» актуализируется нелицеприятным показом малоэффективной и полуразложившейся в своей невостребованности армии, важной части каждодневно декларируемого сегодня правительством «социального государства».

(Еще любопытный момент, отраженный в фильме, шериф задерживает Паука Майка за отсутствие у него определенной суммы денег, как бродягу. Это нормальная история для США того периода. Нет денег — в каталажку)

В ближайшем придорожном кафе шоферы натыкаются на вредного шерифа, и вот уже между дальнобойщиками и полицейскими завязывается драка. Драка со служителями закона — дело уже намного серьезнее, чем превышение скорости, и вся шоферская братия быстренько разбегается по машинам и отправляется в сторону границы штата, надеясь отвязаться от преследователей. Однако старик Уоллес оказался намного упорнее и изобретательнее, чем ожидали приятели.

Вот, собственно, и весь сюжет фильма, хотя в нем есть намного больше, чем банальная погоня за проштрафившимися дальнобойщиками. Стоит начать с того, что Утенок, Паук и Свинарник не друзья, хотя и может так показаться, но водители оказываются настоящими рыцарями дорог, готовыми прийти на помощь попавшему в беду собрату. Именно поэтому за тягачом Утенка быстро выстраивается автоколонна из коллег, а сам Утенок в одиночку, чтобы не подставлять товарищей под удар, отправляется вызволять Майка из тюрьмы.

Водители просто хотели скрыться, но разросшуюся колонну приняли за какую-то акцию в знак протеста. Налетели журналисты, даже сам губернатор Нью-Мексико прилетел лично встретиться с Утенком, надеясь использовать ситуацию для своего продвижения в Сенат.

Действительно, колонна для кого-то стала возможностью заявить о произволе полицейских и опротестовать ограничение скорости в пятьдесят пять миль в час, мешающее дальнобойщикам нормально работать, для кого-то это шанс побороться за права негров, для других это всего лишь приключение, еще один повод весело провести время и покататься, а то и показать голую задницу в камеру. Что еще думать, если к колонне присоединились автобус с хипповатым священником и такой же паствой и дед в электромобиле.

Что до Резинового утенка, он просто хочет убраться подальше, например в Мексику, протестовать и требовать не входит в его планы: «— Все эти люди едут за тобой. — Нет, я просто еду впереди». Но, как это часто бывает в кино, именно человек, которому ничего не нужно и который всеми силами пытается отвертеться от роли героя, в конце концов и спасает мир.

Так и в этот раз: Утенок из обычного водителя грузовика стал символом свободы, воплощением американского духа и бог знает чем еще, в общем, человеком, над гробом которого можно произносить пламенные речи о красивых, но абстрактных вещах, соблазняя потенциальных избирателей.

Зрители любят подобные истории: серьезные герои в конфликте с законом, романтика дорог и бескрайних просторов, немного любви, а тут еще присутствуют посрамленные служители закона, огромные блестящие машины и несколько головокружительных трюков с уничтожением машин поменьше и городских зданий.

Идеальный набор, приправленный режиссерской работой Сэма Пекинпа, пусть даже большую часть материала снимал не он, а его друг Джеймс Кобурн, личность в кинематографе не менее известная, и отличной актерской игрой Криса Кристофферсона, Эли Макгроу и Эрнеста Боргнайна.

Фильм был снят за 11 дней. Работа шла сложно. Режиссер Сэм Пекинпа переживал не лучшие времена. Алкоголь и наркотики мешали ему полноценно работать. Собственно работать он мог только до обеда, дальше надирался вдрызг. В определенный момент у Пекинпа вообще случилась белая горячка и работа встала. На помощь был прислан Джеймс Кобурн.

Он и Берт Янг фактически спали картину, досняв ее до конца. Фильм выстрелил в прокате, собрав 45 миллионов долларов. Фильм спасла работа оператора, «Конвой» снят смачно, монтаж и музыка C. W. McCal. Все вместе сгладило шероховатости фильма.

Не совсем понятно только, почему фильм «Конвой» пришелся по душе советскому зрителю. В Америке культ внушительных тягачей возник давно, больше чем полвека назад: тяжелые восемнадцатиколесные трейлеры будоражили умы подростков и мужчин постарше, а девушки мечтали о суровых, молчаливых парнях в кабинах, да и сама профессия обросла легендами, обычаями, обзавелась своим жаргоном, в общем, превратилась в настоящую культуру.

В СССР ничего подобного не было, как не было сверкающих хромом машин, дорог, впрочем, тоже не было. Судьба водил не сильно волновала советское общество, да и кому интересна жизнь какого-нибудь Васи, везущего картошку из ближайшего колхоза.

Хотя, может быть, именно потому, что у нас такого не было, потому, что у нас огромные грузовики не скользили по гладким дорогам, фильм и полюбился. От фильма веет детством, способным искренне восхищаться загорелыми до красноты, небритыми и потными водилами и их многотонными неповоротливыми машинами. Без сомнения «мы еще услышим голос Резинового утенка!».

Интересные факты:
— На дверце кабины грузовика главного героя фильма по прозвищу Резиновый Утёнок — надпись «R.D. Trucking» (очевидно, название компании-авто­пере­воз­чи­ка). «R.D.» — это первые буквы слов, составляющих имя главного героя в английском написании — Rubber Duck.

— Первая сцена фильма снималась на дороге 70, рядом с заповедником «Белые Пески» (White Sands National Monument, Alamogordo, New Mexico)

— Эпизод с дракой с полицией в закусочной Raphael снимался в городке Algodones, (New Mexico), закусочная к настоящему времени не сохранилась.

— Сцена фильма с расстрелом грузовика на мосту и падением в реку снималась в городке Needles (California), на мосту через реку Колорадо (мост в настоящее время построен новый, но остатки старого моста еще видны), а также частично (планы гор) на реке Колорадо в месте Havasu National Wildlife Refuge (штат Аризона, округ Мохаве)

— Тягач Резинового Утенка — Mack RS712LST