A gigantic "working class" type of vehicle vs. a deluxe middle-class car. A class conflict alongside a road across the United States? perhaps! the Dennis Weaver character reaches a certain level of conscience, thanks to the grace of this unplanned threat. He learns that there's "a spectre haunting" the road; so here's the way out... get rid of your shiny car, save yourself and "Walk" the road as a free man.
An impressive and exciting technical exercise, but I usually prefer those to be in the form of short films. I also bristle at the film's take on masculinity. Still, Spielberg brings some crafty and thoughtful touches to this (such as the personification of the evil truck) that become recognizable in his later films.
Se il romanzo di Matheson angosciava fino all'inverosimile la trasposizione cinematografica di Spilberg non è da meno.Una corsa senza sosta,senza via d'uscita,se non la distruzione di uno dei due contendenti,in un turbinio di momenti ora adrenalinici ora drammatici.Il pezzo delle riflessioni nel bar e quello nello spiazzo con gli animali sono quelli che ho apprezzato di più,insieme al finale.Un grande Steven,da 4*.
The brilliant idea of Duel is to have matched not two men nor two vehicles but a man and a truck. The sole weak point of the screenplay is in my opinion the reason why Dennis Weaver doesn' just give up the duel and come back home : a business rendez-vous. But, all in all, recommended.
During this movie you might ask yourself occasionally "why didn't he (...)?" - which is fair enough. However, we're talking about over one hour of film with basically two vehicles, one guy - who's afraid to face another man clearly flirting with his wife in front of him - and the open road... so, given the resources: it's a win and a thrilling road movie.