As I write, “Much has been deservedly written on Richard C. Sarafian’s existential road movie Vanishing Point (1971), a shambling, glorious wreck of a film that nevertheless manages to achieve a certain sort of ragged splendor in its countercultural tale of loner driver Kowalski (Barry Newman), who takes on a nearly impossible drive from Denver to San Francisco to deliver a Dodge Challenger in less than 24 hours.
Based on two true life stories; one of a San Diego police officer who was kicked off the force in disgrace, and a separate story of a man who died after a high speed chase when he crashed into a police roadblock, Vanishing Point is pure twentieth century high octane nihilism – but with a twist. The archetypal loner, Kowalski (no first name is ever given) has a checkered past; at various times a race car driver, a policeman kicked off the force for stopping his partner from raping a woman during a routine traffic stop, and a Vietnam veteran, Kowalski has clearly given up on life, and seeks only speed and escape.
On his way out of Denver late Friday night, Kowalski stops by a biker bar to score some speed from his pal Jake (Lee Weaver), and bets him he’ll make it to San Francisco by Saturday at 3PM – way ahead of schedule. Jake is skeptical, but Kowalski is on a mission – indeed, when he first pulls into the garage on Friday night to pick up the Challenger, we have no idea when he’s last slept at all, if ever. Like a shark, Kowalski has to keep moving or die, constantly in motion, and constantly evading those who would seek to knock him out of the game.
For, not surprisingly, Kowalski’s epic speed trip soon attracts the attention of the police in the various states he crisscrosses on his way to the West Coast, and as he crosses one state line after another, the cops play tag team with him, each group hoping to stop him for good. From Colorado to Utah to Nevada and finally to California, Kowalski has got the cops on the run – but they’re gaining on him, and with each new state line, the obstacles get tougher and tougher to deal with.
But something’s missing, and it’s only available on the initial US release of the DVD, which presents two versions of the film with almost no fanfare; the 98 minute standard US version, and the 105 minute cut featuring a key, lost sequence with none other than Charlotte Rampling – absolutely assured as usual – as a mysterious hitchhiker in the dead of night, suitcase in hand.”