Running time74 minutes (TV)89 minutes (theatrical)CountryUnited StatesLanguageEnglishBudget$450,000Duel is a 1971 American film written by, which is based on his own short story. It is the feature full-length directorial debut of American director, producer, and screenwriter, and is distributed by.portrays David Mann, a business commuter from California driving a while on his way to meet a client. He soon finds himself chased by the mostly unseen driver of a rusted who chases and terrorizes Mann after Mann overtakes him.Originally aired as a as part of the series on November 13, 1971, Duel later received an international theatrical release in an extended version featuring scenes shot after the film's original broadcast.It has since become a. Contents.Plot David Mann is a middle-aged salesman driving on a business trip. He encounters a dilapidated in the. Mann passes the truck, but the truck speeds up and roars past him.

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When Mann overtakes and passes it again, the truck blasts its horn. Mann leaves it in the distance.Mann pulls into a, and shortly afterward the truck arrives and parks next to him. Mann phones his wife, who is upset with him after an argument the previous night. The station attendant tells Mann he needs a new, but Mann declines the repair. David Mann (Dennis Weaver) being chased by the truckBack on the road, the truck catches up, passes, then blocks Mann's path each time he attempts to pass. After antagonizing Mann for some time, the driver waves him past but Mann nearly hits an oncoming vehicle.

Mann then passes the truck using an unpaved next to the highway.The truck tailgates Mann at increasingly high speed. Beowulf the game promo. Mann loses control and crashes into a fence across from a diner.

The truck continues down the road, then Mann enters the restaurant to compose himself. Upon returning from the restroom, he sees the truck parked outside. He studies the patrons and confronts one he believes to be the truck driver.

The offended patron beats Mann and leaves in a different truck. The pursuing truck leaves seconds later, indicating that its driver was never inside the diner.Mann leaves the diner and later stops to help a stranded school bus, but his front bumper gets caught underneath the bus' rear bumper. The truck appears at the end of a tunnel, then Mann and the bus driver free his car and Mann flees. Shortly after, down the road, Mann stops at a railroad crossing waiting for a freight train to pass through. The truck appears from behind and pushes Mann's car towards the oncoming freight train. The train passes, and Mann crosses the tracks and pulls over. The truck continues down the road and Mann slowly follows.In an attempt to create more distance between him and the truck, Mann drives at a very leisurely pace, as other motorists pass him.

Once again, he encounters the truck, which has pulled off to the side of the road ahead, intentionally waiting for Mann. He pulls out in front of him and starts antagonizing him again.Mann stops at a gas station/roadside animal attraction to call the police and replace his radiator hose, but when he steps into the, the truck drives into it, but Mann jumps clear just in time. The station owner cries out as the truck destroys her animals' cages. Mann jumps into his car and speeds away.

Around a corner, he pulls off the road, hiding behind an embankment as the truck drives past.After a long wait, Mann heads off again, but the truck is waiting for him again down the road. Mann attempts to speed past, but it moves across the road, blocking him. Mann seeks help from an elderly couple in a car, but they flee when the truck backs up towards them at high speed. The truck stops before hitting Mann's car; Mann speeds past the truck, which begins pursuing.

Mann swerves towards what he believes is a police car, only to see it is a pest-control vehicle. The truck chases him up a mountain range. The faulty radiator hose of Mann's car breaks, causing the strained engine to overheat and begin failing. Losing speed, he barely reaches the summit but then coasts downhill in neutral as the truck follows.Mann spins out and crashes into a cliff wall, barely escaping being crushed by the truck. He manages to restart his car, then drive up a dirt road with the truck following him. He turns to face the truck in front of a canyon, locks the accelerator using his briefcase, then steers the car into the oncoming truck, jumping free at the last moment.

The truck hits the car which bursts into flames, obscuring the driver's view. The truck plunges over the cliff, along with the car. Above the wreckage, Mann celebrates. He then sits at the cliff's edge and throws stones into the canyon as the sun sets.Cast.

Spielberg did not care what kind of car was used in the film, but insisted the final chosen model be red to enable the vehicle to stand out from the general landscape in the wide shots of the desert highway.Spielberg had what he called an 'audition' for the truck, wherein he viewed a series of trucks to choose the one for the film. He selected the older 1955 over the current flat-nosed ' style of trucks because the long hood of the Peterbilt, its split windshield, and its round headlights gave it more of a 'face', adding to its menacing personality. Additionally, Spielberg said that the multiple license plates on the front bumper of the Peterbilt subtly suggested that the truck driver is a serial killer, having 'run down other drivers in other states'. For each shot, several people were tasked to make it uglier; each successively adding oil, grease, fake dead insects and other blemishes.The truck had twin rear axles, a CAT 1674 turbocharged engine with a 13-speed transmission, making it capable of hauling loads over 30 tons and top speeds reaching 75–80 mph. During the original filming, the crew only had one truck, so the shots of the truck falling off the cliff had to be completed in one take. For the film's theatrical release, though, two additional trucks were purchased in order to film the additional scenes that were not in the original made-for-television version (the scene where David telephones his wife, the school bus scene and the railroad crossing scene).One of these, a 1964 Peterbilt 351, virtually identical to the original truck except for its air intake, roof mounted horn position, brake lines between the tractor and trailer, mud flaps on the back of the twin rear tyres and a support shelf for the air conditioning unit, was later destroyed in another movie production.

Only one of those trucks has survived, a 1960 Peterbilt 281 that was kept and prepared as a back up truck for the 351 truck, but wasn't used.Apart from a few mechanical differences, the trucks also exhibited visual differences. The older Peterbilt 281 had more dents and bumps, while the Peterbilt 351 had less wear and tear and straighter edges all round. The Peterbilt 351 was weathered slightly darker, with more of a rust effect. It also has a Peterbilt maker's badge on both sides of the bonnet nose, while the Peterbilt 281 seen in the film does not carry such a badge.Stock footage of both vehicles was later used in an episode of the television series, titled 'Never Give a Trucker an Even Break'. Spielberg was not happy about this, but the usage was legal, as the show was produced by Universal and the Duel contract said nothing about reusing the footage in other Universal productions.The 1960 Peterbilt 281 truck was purchased several times. It is currently owned by a truck collector and is on display at Brad's Trucks in. Use of Sound Throughout the film, there is very little dialogue given to Matheson's character, David Mann and absolutely none whatsoever to the antagonistic truck driver, instead, as stated in his post-film documentary, Spielberg wanted to let the vehicles and setting 'speak' for themselves.

Duel, being filmed on a tight schedule and based on a short story, needed to fill in the 75 minute time space for the television debut, therefore the film was centered on the visuals and menacing audio. There was a break, however, in the silence and heavy roar of the two vehicles after the initial chase scene when Mann had crashed into a fence post just outside of Chuck's. Mann went inside to use the restroom and the audience was now introduced to his inner thoughts while he was simultaneously washing up from the crash. This diegetic use of sound was explained by Spielberg as Mann wanting to 'physicalize' and 'emote' his feelings, giving the audience an intimate relationship now with Dennis Weaver's character. The use of sound, or lack thereof, was a tactic used by Spielberg to 'keep the audience in suspense' throughout the entirety of the film, a trait that he said he was inspired to use from Alfred Hitchcock. According to Spielberg, 'sound has to fit like a glove.it makes everything scarier', which was applied towards the end of the film when Mann is asleep at the wheel but he is awakened at the sound of what appeared to be the truck, but was revealed to actually be a passing train, giving the audience the anxiety that this was going to be a major turning point. Along with the natural sounds kept in the film, Steven Spielberg also incorporated a minimal score, composed by Billy Goldenberg.Music The film's original score was composed by, who had previously written the music for Spielberg's segment of the Night Gallery pilot and his episode 'Murder by the Book,' and co-scored Spielberg's The Name of the Game episode 'L.A.

Spielberg and Duel producer told him that because of the short production schedule, he would have to write the music during filming, and Goldenberg visited the production on location at to help get an idea of what would be required. Spielberg then had Goldenberg ride in the tanker truck being driven by stunt driver Carey Loftin on several occasions; the experience terrified the composer, although he did eventually get used to it. Goldenberg then composed the score in about a week, for strings, harp, keyboards and heavy use of percussion instruments, with Moog synthesiser effects but eschewing brass and woodwinds. He then worked with the music editors to 'pick from all the pieces (they) had and cut it together (with the sound effects and dialogue).' Much of his score was ultimately not used in the finished film. In 2015 released a limited edition album featuring the complete score, plus four radio source music tracks composed by Goldenberg.Release Duel was initially shown on American television as an installment. It was the 18th highest-rated TV movie of the year with a of 20.9 and an audience share of 33%.It was eventually released to cinemas in Europe and Australia; it had a limited cinema release to some venues in the United States, and it was widely praised in the UK.

The film's success enabled Spielberg to establish himself as a film director. Reception Critical response. This section needs expansion. You can help. ( June 2018)The film received many positive reviews and is often considered one of the greatest TV movies ever made. On the review aggregation website, Duel currently has a score of 88% based on 41 reviews, with an average rating of 7.8 out of 10, with the site's consensus stating that ' Duel makes brilliant use of its simple premise, serving up rock-solid genre thrills while heralding the arrival of a generational talent behind the lens'. Television critic in his 2016 book co-written with titled named Duel as the greatest American TV-movie of all time, stating that 'Almost fifty years after its initial broadcast, this stripped-down, subtly mythic action thriller retains a good deal of its power'.Interpretations of Duel often focus on the symbolism of Mann and the truck.

Some critics follow Spielberg's own interpretation of the story as an indictment against the mechanization of life, both by literal machines and by social regimentation.The film has been placed at #67 on on Bravo.Over the years, it has developed a strong cult following and a reputation as a cult film. I think when you make an action film, especially a road picture, it’s the best way to work, because it’s very hard to pick up a script and sift through five hundred words of prose and then commit them to memory. April 15, 1983.

Duel might almost have been a silent film, because it expresses so much through action and so little through the words that are here. ^ 'Richard Matheson: The Writing of Duel'. Duel Collector's Edition (DVD).

2004. ^ Duel: Special Edition DVD (2005). Retrieved January 9, 2009. June 18, 2012. Retrieved June 26, 2012. Wertheimer, Linda (January 5, 2013). Retrieved September 3, 2015.

Academy of Television Arts & Sciences Foundation. Retrieved August 15, 2010. ^ 'A Conversation with Steven Spielberg'.

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Retrieved August 12, 2017. October 1, 2014. Retrieved August 15, 2017.

Retrieved September 3, 2011. Jackson, Kathi (2007).

Steven Spielberg: A Biography. Greenwood Publishing Group. Archived from on March 17, 2010. Retrieved September 3, 2011. Jon Burlingame, pp. 297-298, TV's Biggest Hits: The Story Of Television Themes From ' To ', Schirmer Books, 1996,. 'Made-For-TV Movie Rankings'.

January 25, 1972. February 7, 2012.

Retrieved June 14, 2018.; (September 2016). TV (The Book): Two Experts Pick the Greatest American Shows of All Time (1st ed.). New York, NY:.

P. 372. Gordon, Andrew (1989) Empire of Dreams: The Science Fiction and Fantasy Films of Steven Spielberg.

The Film Spectrum. Retrieved February 29, 2020. Retrieved October 4, 2014. Television Academy. Retrieved October 4, 2014.

November 24, 2010, at the. Television Academy. Retrieved October 4, 2014.

Steven Spielberg: A Biography p. 107.

Toole, Mike (2012). (Why Mamo Matters). March 4, 2015. March 4, 2015. February 13, 2015.

Thill, Scott (June 16, 2011). Retrieved March 4, 2016. ‘Duel‘ and ‘The Hitcher‘ were both named after the classic car movies, of course.

Brother Bill (March 6, 2015). The Haunted Closet. Matthew, Bradley (2010). Richard Matheson on Screen: A History of the Filmed Works. P. 70.Sources. 'Steven Spielberg and Duel: The Making of a Film Career' by Steven Awalt, Rowman & Littlefield (2014). The Complete Spielberg by Ian Freer, Virgin Books (2001).

Steven Spielberg by James Clarke, Pocket Essentials (2004). Steven Spielberg The Collectors Edition by Empire Magazine (2004). The Steven Spielberg Story by Tony Crawley, William Morrow (1983). Duel by Richard Matheson, Tor Books Terror Stories Series (2003).External links.Wikiquote has quotations related to:. on. at the.

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