Vanishing Point Reappears

FOX TV Movie releasing to DVD in March
By David Codrea

PRESS RELEASE:
“Charles Robert Carner’s action-packed remake of the cult classic 'Vanishing Point' roars onto DVD from Anchor Bay Entertainment, March 8, 2005. Viggo Mortensen (“The Lord of the Rings”) stars as Kowalski, the lone hero in the Dodge Challenger who leads an army of lawmen on a wild car chase across the American West…”

Viggo Mortensen in VANISHING POINT
Produced by Alan C. Blomquist
Directed by Charles Robert Carner
Screenwriter Charles Robert Carner
“Vanishing Point” also stars Jason Priestley, Christine Elise, Keith David, Steve Railsback, John Doe and Peta Wilson
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HISTORY
Back when I was young and immortal, I fancied myself fast behind the wheel. But this was the era of muscle cars, and as proud as I was of my old Buick V-8, it fell short of the "gold standard"--it wasn't a Mopar.

As if to remind boys like me of our place in the food chain, the movie “Vanishing Point” came screaming into theaters, featuring Barry Newman as the pill-popping Kowalski, who leads police on an interstate chase over a bet. But for me, the real star of the film was the white 1970 Dodge Challenger R/T with the 440 Magnum engine.

“Vanishing Point” became a hit with a cult following, for many, the benchmark for car chase movies. There was no way for me to know at the time that a generation later it would bring a friend into my life, resulting in collaborative efforts on GunTruths.com and the Citizens of America national advertising campaign for gun rights.

When I first heard of Charles Robert Carner I was producing a newsletter for the Westside Los Angeles NRA Member’s Council, 2nd Amendment West, my first foray into gun rights commentary. Because he was a nominal member of the Council and wanted to publicize the film to gun owners, Charlie contacted me about his soon-to-be-broadcast television movie for 20th Century-Fox, a remake of the Newman classic.

“What is this guy,” I remember thinking to myself, “nuts?”

Besides, what did a car movie have to do with guns?

As it turned out, not that much--at least, not as it applies to We the People. But it had plenty to do with the main reason we have guns. It had plenty to do with freedom.

What follows is not going to be a “movie review” per se, as much as a series of observations. You can read a review I am told is good here. I informed Charlie I didn’t want to read it until after I had finished this article, to avoid any influence on what I wanted to say.
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THE FILM (and why gun owners/liberty activists should care)
First impressions: Gentle guitar notes set a sad, serene mood. A horned toad establishes the terrain. Machine sounds invade—bulldozers, it turns out, doing what? Squad car lights are flashing. Helicopter blades thud. Other instruments have joined the guitar; the music is more urgent now, and ominous. A Man in Black directs activities. The bulldozers have formed a roadblock. A white Challenger appears over a rise, pursued by flashing police cars.

Protestors carry signs on the sidelines. One, just briefly visible, reads “Don’t Forget Mt. Carmel.”

This is a “mainstream” television movie?

“If you do not stay back,” a bullhorn blares, “you will be arrested.”

The Challenger stops. We see a close up shot of Kowalski, the driver. His face looks grim, determined, resigned.

It is Easter Sunday in Riddle, ID.

Basic Plot/Synopsis:
Former Army Ranger and racer Kowalski restores vintage muscle cars and delivers them to customers. While in transit to deliver a 1970 Dodge Challenger R/T, he learns his pregnant wife, who suffers from Lupus, has been admitted to the hospital and is gravely ill. Unable to schedule a flight at the local airport, he decides to take advantage of the awesome machine at his disposal and drive from New Mexico to the hospital in Boise. Cops stop him for speeding. They won't listen to him and want to take him in to process his citation, which will result in a long delay. Desperate, Kowalski takes off and the chase is on. And then the feds get involved.

In Carner's words, "The story is also a spiritual quest." It explores Kowalski's religious awakening, thanks to his wife, as well as the deep bond and commitment the two have made to each other. Faith and the sanctity of marriage--there are two concepts Hollywood doesn't beat to death.

Important Differences:
The car looks the same as it did in the Newman classic. There is a difference, we learn--the 440 Magnum has been replaced with a 426 Hemi.

One big difference is with Kowalski. Mortensen's has a first name (Jimmy), and unlike the pill-popper in the original, the new Kowalski has a purpose.

There's another big difference. This remake focuses its lens on the government's War on Freedom, and the evil tactics they employ.

"In the 25 years between Richard Sarafian's original and my remake," Carner writes, "the right and the left had switched places. It was deep in the Clinton era. The 'counter-cultural' 'anti-establishment' attitude of the original gave it a hip, '60's left-liberal-nihilism. In my remake, it's the small businessman (once the backbone of America) who has become the outcast - and that neo-fascist state is populated by Leftists. The FBI = the Gestapo. The theme - the individual vs the state - is the same; it's just that the state is now the former '60's radicals in power."

Memorable Characters:
That's why my favorite character in the new VP is The Man in Black, sinister FBI supervisor Warren Taftley, played as the Javert to Mortensen's Valjean by Tony-winning stage star Keith David. We first meet him when the camera pans down from portraits of Bill Clinton and Janet Reno, as he is instructing a subordinate to tie Kowalski's flight in with drugs and guns.

"How do you figure guns?" the agent asks.

"Idaho. Extremists. Right-wing militias," Taftley replies. "That's our way in--domestic terrorism, high explosives, planning another Oklahoma City."

"It could be--but we don't have any evidence," the agent cautions.

"We'll get it," Taftley confidently assures him. "He's run across four state lines. It's gotta be something big."

In the minds of those corrupted by power, there can be no innocent explanation for a subject exercising freedom. We are all suspects. And evidence is just a formality.

Carner did something cool here in the casting, breaking away from sterotypes--having a black man represent corrupt authority to the point of being an enthusiastic persecutor. That had to be a very liberating role to play, and Mr. David does it well.

"We worked Keith's shooting schedule around a play he was doing," Charlie tells me. "He was great and he really enjoyed playing a guy who assumed his own righteousness to the point of absolute dictatorship."

There are other great characters as well--Kowalski is assisted in evading his pursuers by a happenstance ally, a libertarian/Constitutionalist talk radio broadcaster known as "The Voice," portrayed by Jason Priestley, in another bit of inspired casting that certainly helps break the sterotype of a Beverly Hills 90210 heartthrob.

Replacing the hip "SuperSoul" role Cleavon Little played so well in the original VP, The Voice warns Kowalski about his pursuers so that he can take alternate routes, all the while decrying tyrannical abuses and philosophizing to his listeners about liberty-oriented themes, and how "The Bill of Rights is as forgotten as the Dead Sea Scrolls."

"Once upon a time," The Voice laments, "the police would have given this man an escort, instead of trying to run him into the ground!"

Another good portrayal is turned in by Steve Railsback, playing Sgt. Preston of the New Mexico State police.

"It takes a Mopar to catch a Mopar," Preston explains to his deputy, abandoning his squad car for a black '68 Charger R/T in a subtle tribute to another great car chase film, Bullitt. (The Charger should have blown the doors off Steve McQueen's 390 fastback Mustang).

The rest of the cast acquit themselves nicely as well. Christine Elise as Raphinia, Kowalski's wife, provides a moral anchor and spiritual mentor for Jimmy, and the gorgeous Peta Wilson, as the Motorcycle Girl, plays a provocative temptress and then ally.

The Ending:
I won't reveal it here-- you'll have to get the DVD and see it for yourself. I will say that Carner doesn't let up on his freedom theme. We see the protestors more clearly now. In addition to the "Mt. Carmel" sign, there's one that reads "Remember Ruby Ridge."

How did he get away with it on Establishment TV?

"You can tell I had a lot of fun on the movie," he tells me. "When I wrote the script, I just ranted away - went for it. I figured when the network started whining, I could pull back a little and still respect myself in the morning. But when Viggo signed on - and was only available right this minute - that first draft got green-lit. And the network never squawked. I kept all the politics in the final cut."

Carner's is an important voice in the film industry for principles of freedom that are almost universally ignored. "Vanishing Point" is a good example of popular art we could use a lot more of.
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CHARLES ROBERT CARNER FILMOGRAPHY
Chicago-born Charles Robert Carner began working in the entertainment industry after graduating valedictorian of his class at Columbia College, where he directed the film Assassins, starring Joe Mantegna, which was named Best Student Film at the Chicago International Film Festival.

Carner then went to work as a story editor for director Tony Bill, writing screenplays in his spare time. His first produced script was Seduced, starring Gregory Harrison and Cybill Shepherd. He followed that with the action-adventure feature Gymkata; Let's Get Harry, with Mark Harmon, Robert Duvall and Gary Busey; and the telefilm Eyes of a Witness, starring Jennifer Grey and Daniel J. Travanti. Carner expanded into producing on the feature film Blind Fury, with Rutger Hauer. He then began realizing his lifelong dream of directing his own scripts. He began with episodes of "Midnight Caller", "Reasonable Doubts" and "The Untouchables", before moving on to such television movies as A Killer Among Friends and One Woman's Courage.

Carner's list of television movies continued to expand, with such titles as Vanishing Point, starring The Lord of the Rings’ Viggo Mortensen, and The Fixer, starring Jon Voight, both of which went on to win several awards. In July 2000, his film Who Killed Atlanta's Children?, starring Jim Belushi and Gregory Hines debuted on Showtime and became that network's highest rated movie of the year. Carner made a huge splash on basic cable when he wrote the TNT Western Crossfire Trail, the highest-rated cable movie in television history, starring Tom Selleck. He wrote, directed and executive produced the holiday hit Christmas Rush for TBS Superstation, starring Dean Cain and Eric Roberts, and directed Red Water, the highest-rated basic cable movie in history, starring Lou Diamond Phillips and Kristy Swanson for TBS Superstation. His last network directorial effort, Judas, aired on ABC Television in 2004.

Mr. Carner is a Life Member of both the National Rifle Association and the Sierra Club, serves on the Executive Committee of Catholics in Media, and is a biographee in Who's Who in America.

You can read his gun commentaries here. (Click on "GunTruths Correspondents")

--Report compiled from various sources including Mr. Carner.