I can only imagine what it must have been like to be standing in the eye of the calamitous storm that was the woebegone production of Convoy. Total seventies hubris. Wild times. If you take life and cinema seriously in a kind of cloying self-righteous way, this will not be for you. But it is for me. It is berserk, and though those who made it clearly have reservation, it radiates something grandly unapologetic.
Quando si dice Cult non a caso. Peckinpah si muove come un leprotto nel suo "giardino western",modernizza un pò il mito della Frontiera ma non perde nulla per ambientazione,fascino e movimenti. Grandioso lo sceriffo,bella la protesta politica che fà tanto Easy Rider e ottimo il finale in salsa epica. Mette nostalgia ma fà ammirare un grande del passato, quello zio Sam che ha lasciato il segno in molteplici pellicole.
Apart from pretty road scenery, only thing that (somewhat) works is the overall rhythm of the film. Slowly accelerating, reaching peak of enjoyment and turning explosively dangerous from then on. Everything else was like it met a director with his day off. Sour preaching about nothing, uneventful already-seen action and bland comedy.
The Sam Peckinpah directing Smokey & the Bandit description isn't far off but that doesn't make this a good movie. For me, watching Convoy was like seeing your childhood hero at a bar, slumped over and obliviously pissing himself. Some of the cast was amusing (namely Borgnine & an out of place Burt Young) but like Ali McGraw's hairstyle its mostly just really, really unfortunate.
So precipitous was Peckinpah's decline that it's hard to believe this dispiriting mess was made just a few years after the glorious sadness and anger of "Alfredo Garcia" and -best of all- the noble but clear-eyed mythos of "Pat Garrett". A half-assed effort that seems a million years in both quality and ambition from Katy Jurado staring tearfully at Slim Pickens -the river in their world was endless and mysterious...
The biggest and arguably best of its kind, most likely due to Peckinpah at the helm. Likable characters, a palpable counter-culture spirit, and plenty of energetic actions scenes embellished with Peckinpah's trademark slow-mo/fast-cutting. Unfortunately, it starts to take itself too seriously in the second half, getting bogged down in political messages that dampen some of the energy.