THE GUMBALL RALLY
US, 1976, 105 minutes, Colour.
Michael Sarrazin, Norman Burton, Gary Busey, Susan Flannery, Stephen Keats, Tim Mc Intyre.
Directed by Charles Bail.
The Gumball Rally is a rally of all kinds of cars, high powered and not so high powered, who take part in an illegal race across the United States. It is one of those no holds barred races.
The main interest is in the cars, the stunts, the action.
The film is directed by Charles (Chuck) Bail who directed Cleopatra Jones and the Casino of Gold) but worked mainly in television in direction but did a lot of acting and stunt work himself. It could be compared with such other films as The Cannonball Run as well as Cross Country Wreckers and Death Race 2000.
1. For what audience was this made? The nature of its appeal? The success of fulfilling its aims? The value of this kind of portrayal of cars, speed and violence? The detrimental effects? The appeal to audiences in countries where so many road accidents and injured occur?
2, How did the film reflect the atmosphere of the seventies? people's attitudes towards cars, a certain recklessness in people and the achievement to win? The tribute to the effectiveness of the car and its power, the effect on people of this kind of power, speed and competition?
3. How well did the film take account of the dangers of violence, recklessness, obsessions, lawlessness? Were these aspects exploited?
4. The tone of glamour given to the rally, to the cars, to the drivers, to their exploits and ingenuity? The use of Panavision, music, locations from New York to California, the stunt work?
5. Was there any depth in the portrayal of the rally, the characters, the effect of the rally on them, the issues?
6. The film's focussing on Bannen and the opening of the film? The boredom of the meeting, and the contrast with the summons to the rally? How effective was the quick build up of the different places and their being identified, the various people who would be involved in the rally? An effective collage? The audience getting to know the characters, gaining interest in them?
7. The solemnity of the dinner and the meeting, the discussion of the rally and its ethos and morale, the nature of having no rules, the tradition, records, trophies? The transition to all the hard work in the preparation of the cars?
8. The contrast with the police, the obsession of the main policeman? His continually being foiled, the lengths to which the drivers went to foil him, the intensity of his pursuit by plane, helicopter and car? The inevitability of his defeat? His admitting defeat? His vengeance in booking them for a parking offence? What attitude towards the police did the film take? Was it accurate, justified? were the police made to look too foolish and the drivers too heroic? Did this issue matter?
9. How exciting was the cinema presentation of the rally, the speed of the cars, the skill of the driving, the humour of the accidents, the various effects? Why do these ingredients appeal so much, especially to younger audiences?
10. The characters and any particular details of their personalities which emerged from the film: Bannen and his relationship to the professor, their skill in driving the car, winners? Smith and his ambitions to win? his relationship with the Italian? The Italian and the satire on sexuality? The man on the bike and his intensity? The two elder men and their enjoying of the rally?
11. The two girls and the emphasis on feminine liberation, the contrast with their encounter with the two men, the sexuality? The young boy and the hired car going to California. his relationship with his girlfriend and her hostility, her hoping for success in Hollywood? Their encounter with the gang? The humour of the non-starters in the garage? The man of guts and his co-driver? The two would-be policemen and their devices? especially the tricking of the Highway Patrolman into thinking he was being filmed? was the film too episodic or was it satisfying in giving enough of each character?
12. The build-up of the race, the pursuit by the police and the attempt to book them, the con-man and his double deal with the police, the arrival in Los Angeles and the irony of the traffic jam, the driving up the canals? The irony then of the repeat of the race on the way back to New York?
13. How valuable as entertainment? As a social document reflecting the trends of the seventies?
