Duel

This expertly sustained 1971 suspense classic established Steven Spielberg's reputation as a director. [23 Dec 1993, p.E7]

This is a film stripped back to its bare essentials, and Spielberg thrives in having to get creative to make each moment feel as fresh and energised as the last.

A haunting study of middle-class paranoia scripted by seasoned horror author Richard Matheson, it established Spielberg in Europe as a name to be reckoned with before he'd been heard of in the States. [03 Oct 2004, p.83]

An exquisite piece of streamlined suspense and action that clearly demonstrates that the 24-year-old filmmaker was already in full control of his vision.

A made-for-TV movie that proved so remarkable it received a theatrical release (first in Europe, then 10 years later in the US), Spielberg's calling card is as distinctive a piece of visual storytelling as you're ever likely to see.

The existential allegories are pretty blunt—star Dennis Weaver’s character, a symbol for all mankind, is literally named Mann—but the filmmaking is electric, an early testament to Spielberg’s prowess.

A slim Richard Matheson story that Spielberg padded into a 90-minute feature by artfully assembling a string of insert shots.

Personally, i think Duel, Steven Spielberg's first film before Jaws, feels even more menacing than the shark itself, the non-stop terror that keeps on going throughout the film, it's fascinating. What impressed me the most is the filmmaking, especially the camera work, from the long opening sequence shot from the car perspective to the sudden cuts and slow, tension building movements, everything is handled with precision, it creates this uneasy feeling that just keeps tightening, and there were moments where my heart was genuinely pounding because of the uncertainty. I also want to give credit to Dennis Weaver, who completely sells the performance, he carries the film in a way that makes every reaction feel real, and honestly, whoever handled the truck deserves recognition too, the vehicle itself feels like a character. What's impressive is that, despite being mostly set on the road and centered around a continuous chase, it never feels boring, the film grabs your attention early and doesn't lose it. My only issue is that at times David Mann could have tried a few smarter or more creative ways to escape or uncover the driver identity, still, that's a small complaint, overall, Duel is a fantastic film, even when you don't consider it as Spielberg's debut, it's an intense, uncomfortable 90-minute ride that keeps you on edge the whole time.

Duel is an interesting film to say the least. The protagonist is layered enough to make us care about him, but he makes so many mistakes that usually makes me hate characters like this. But in this film, it's perfectly balanced by a disgusting antagonist. Steven Spielberg is definitely before his prime at this point, but he showed many of his capabilities in this film. The use of sound and score create tension perfectly. The cinematography is good and the editing is really great. It feels a lot like the first two Mad Max films. I thought this would be a small budget film and it certainly isn't a big budget one, but some of the shots looked better than they should've. The stunt work is amazing and the performances are very convincing. Duel is the first film Steven Spielberg directed alone and he showcases much of his talent so early on.

The simple story of a traveling agent engaged in a terrifying game of cat and mouse has its functional moments of suspense, enough to be watched for a weekend. And it serves to know the humble origins of the director of Jaws and Schindler's List.

Movie is simple, solid, and intense all the way. You can really see Spielberg's burgeoning talent in every shot. But also credit Dennis Weaver's committed performance, as an Everyman, who is literally driven to extremes.

This movie moves at a snail's pace. 90% of the runtime could be removed and it wouldn't have any effect on where the plot went. Don't waste your time with this one.