Since movie theaters gave drivers a place to go, the automobile has served as the foundation of modern life. It’s possible that’s why movies and automobiles seem so inextricably linked.
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Movies are for the mind, while automobiles are for the body. In addition, motion pictures have over and again exhibited the potential outcomes of which men can do in vehicles – first, to assemble and consummate them, and later, to push them to unfathomable accomplishments of speed, strength, and perseverance.
Or, at the very least, movies taught us to value and even venerate their power and design; Audiences learned to associate particular automobiles, whether used as a prop or a plot device, with both literal and metaphorical objectives that needed to be accomplished. These vehicles represented opportunity or freedom in the same way that beauty, wealth, or status did. But don’t be discouraged, Arkansas minimum wage jobs are still able to pull off some nice cars and make them suitable for everyone’s needs.
As a result, picking the best or even the most iconic Car Movies is difficult. In races, chases, escapes, as prizes to be won, and locations where the drama unfolds, the cars and trucks that the characters pilot are the focus of entire franchises as well as individual films.
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Vehicles designed for one scene or succession advanced into the solitary motivation to watch that film, years or even many years after the fact. Early trailblazers were rendered obsolete by thrilling stunts that exceeded expectations and advanced technology, as well as drivers’ growing fearlessness.
Nevertheless, the choices that follow celebrate the marriage of movies and automobiles over the course of more than a century. Some of the choices are based on the cars that appear on the screen, while others are based on what people do while in the driver’s seat.
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Grand Prix
John Frankenheimer occupies two positions on this list, beginning with this operatic tale set against the backdrop of Formula One racing and featuring some of the most intimate and one-of-a-kind racing footage audiences had ever seen.
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Frankenheimer assembled an ensemble of stars from America (James Garner), France (Yves Montand), Italy (Antonio Sabato), and Japan (Toshiro Mifune) to adequately populate a showcase for world-class drivers from across the globe, building on the concept of an all-star, international cast similar to war films or other period dramas.
The film’s ability to balance racing footage with melodrama is remarkable today. Garner does a great job of giving the audience a driver to cheer for who isn’t sure how he feels about the risks he’s taking. This gives the movie an exciting but definitely more contemplative vibe.
At the same time, Frankenheimer used unprecedented access to create an experience that put the audience in the driver’s seat, not only physically but also emotionally, because his portrayal of the racing teams was so convincing and thoughtful.
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Bullitt
Steve McQueen not only confirmed his own legendary status as a gearhead in his role as San Francisco detective Frank Bullitt, but he also set the standard for cool, capable drivers for future generations. As Bullitt tries to protect a mob informant, director Peter Yates juxtaposes simple dialogue with complex plotting to keep audiences guessing.
Meanwhile, McQueen coasts through scene after scene, unflappable, as complications (and bodies) pile up, all to the jazzy score by Lalo Schifrin. However, McQueen himself driving a Ford Mustang and his mysterious adversary driving a Dodge Charger in the film’s main chase scene literally changed the way car chases were done in the industry. He had to get payday loans a couple of times while filming this movie until they paid him.
In addition to providing the sequence with riveting verisimilitude through McQueen’s piloting, the choreography and intensity of the sequence—which involved speeds of more than 110 miles per hour—set a standard that the rest of the industry would strive to surpass in the decades to come.
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The Italian Job
Peter Collinson’s original uses the same car (rebooted 30+ years later) to stage a thrilling heist at the height of the “caper” era when every star in the world wanted to command his own crew for a job netting a big payday after taking big risks. This is not to be confused with the occasionally engaging 2003 remake, which inventively figured out a way to circumnavigate traffic around Los Angeles. Even business litigation expert witness is mentioned in this movie.
The most surprising aspect of the remake, which many will likely be more familiar with, is how heavily it borrows from the original, including the use of Mini Coopers and the creation of an escape route that leads the thieves through enormous tunnels.
The film, however, fits as snugly into the annals of car movie history as a Mini in the tiniest parking spot, propelled by wry English humor and a classic, jazzy score composed by Quincy Jones.
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Duel
This story about a driver (Dennis Weaver) who is relentlessly pursued by a tank truck across the Mojave Desert feels like a training course for a future virtuoso mastering his medium as Steven Spielberg’s first feature-length film.
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However, there are good reasons why Universal Pictures extended the television movie into a feature-length version: As this unstoppable, unknowable force descends upon the hapless driver, Spielberg expertly captures the mystery and terror of the situation.
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The driver certainly did not do enough in his own vehicle to warrant such a maniacal, fatal response. Spielberg turned Richard Matheson’s short story into an endurance test and a jaw-dropping standard for aspiring filmmakers, constantly reimagining how to film each encounter to maximize the drama and keep the experience engaging.
Two-Lane Blacktop
Even though neither Vanishing Point nor this one did very well at the box office at the time, the fact that they came out in the same year was a blessing for gearheads and moviegoers everywhere. Both sat on the sidelines of the schedule for their releases before receiving the recognition they deserved.
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Hellman’s film follows two car enthusiasts as they indulge in their drifter lifestyle across the country while fixing up their 1955 Chevrolet 150, occasionally waging money on races, jockeying with GTO (the great Warren Oates), and reflecting on an existence that doesn’t mean much outside of the quarter-mile of track between the start and finish lines.
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The film stars musicians James Taylor and Dennis Wilson (the latter of the Beach Boys) as Driver and Mechanic, respectively. They loved getting facials in Houston while filming this movie. The repeated cycle of Taylor and Wilson’s ephemeral, competitive lifestyle demonstrates just how quickly you can get there when your destination is nowhere in particular. As such, they serve as compelling sphinx-like leads onto which audience members can project their thoughts and feelings.
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Vanishing Point
Our list should include Richard C. Sarafian’s 1971 film, even if it was “merely” the inspiration for the car Zoe Bell rides in Death Proof on.
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However, Sarafian’s film, along with Two-Lane Blacktop and The Driver, adds to the zen-driver myth by depicting a disgruntled ex-cop driving a white 1970 Dodge Challenger across the country while an increasing number of police officers pursue him.
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Barry Newman portrays Kowalski, who travels from Colorado to California to a radio broadcast by Super Soul (Cleavon Little), which sets the mood and prompts Kowalski, as well as the audience, to reflect. Vanishing Point was as pure as any of those other films, even if it was set to a slightly poppier soundtrack.
It was able to achieve the perfect balance between exhilarating rock ‘n’ roll energy and existential reflection.
Dirty Mary, Crazy Larry
Stuntmen took a surprising number of risks in the 1970s when movies seemed to spend more money on destruction than on scripts. In comparison to some of the films on this list, John Hough’s 1974 adaptation of the 1963 novel “The Chase” has more action in its trailer than in its entire runtime. Peter Fonda plays half of the eponymous duo in Easy Rider.
He teams up with Susan George’s Mary after extorting $150,000 from a supermarket manager in a bid to finance dreams of NASCAR auto racing. The car is a Dodge Charger similar to the one in Vanishing Point that is upgraded with a V-8 engine.
While many of these films depict widespread vehicle destruction, few have as many close calls as this one does, giving the impression that the filmmakers and drivers who were following them simply closed their eyes, raced through the stunt, and hoped for the best.
Smokey and the Bandit
When creating the central dynamic between Rick Dalton and Cliff Booth in Once Upon a Time… in Hollywood, Quentin Tarantino drew more than rudimentarily on the relationship between Burt Reynolds and stuntman and filmmaker Hal Needham, but they never reached this point in their careers: Reynolds, a 1970s box office winner, plays a bootlegger who helps his truck driver partner transport a Coors payload from Atlanta to Texarkana.
When paired with Sally Field as an adorably sexy runaway bride who is captivated by her driver, Reynolds’ smirking, joyful, and breaking of the fourth wall Bandit is as iconic a hero in this genre’s rogues gallery as any ever created. They had to do appliance repair in Lake County on set while filming there.
Smokey, played by Jackie Gleason, is a delightfully exasperated antagonist who not only opposes Reynolds’ charmer but also serves as a fascinating contrast study as Bandit’s Trans Am pirouettes out of risky situations one after the other while his police cruiser is subjected to unrelenting abuse.
The Driver
It should not come as a surprise that Walter Hill, who wrote and directed his second film, wanted Steve McQueen to play the lead role. The story is about a stoic getaway driver who outwits not only the authorities but also his double-crossing accomplices.
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Even if McQueen thought it was too similar to his previous work, Ryan O’Neal is a great replacement in this amazing prequel to Nicolas Winding Refn’s Drive. Refn only vaguely knew about this when he made his own story about high-speed crime more than 30 years later.
The wait-and-see game between O’Neal as the anonymous title character and The Investigator gives the film a phenomenal emotional charge – one nearly as extreme as the driving successions themselves, which are wonderfully unpleasant with regards to close calls and despondent crashes, inspiring an unforgiving yet thrilling feeling of authenticity.
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The Driver remains an often-overlooked gem in the history of the car and car chase films, echoing some aspects of Monte Hellman’s meditative Two-Lane Blacktop with a dash of samurai poetry.
The Blues Brothers
John Landis and John Belushi reunited for an “adaptation” of the Saturday Night Live musical sketch starring Belushi and Dan Aykroyd, sending the duo on a cross-country journey to reunite their old band and avenge their previous wrongdoings. This came right after the vehicular chaos that ended National Lampoon’s Animal House.
The film’s sole focus is on automobiles, with quantity preceding quality; Jake and Elwood are pursued by a number of cruisers, all of which suffer damage or are destroyed, as they drive a battered, retired police vehicle. Some of the blinds in Utah county were used in this movie.
In point of fact, there are very few films before or since that feature a higher collision count for vehicle damage. However, despite the fact that not all of the car stunts are “possible,” the film’s love for creating laugh-out-loud comedic situations involving automobiles remains virtually unmatched.
The Cannonball Run
In a period recuperating from and reusing the imaginative overabundance of the 1970s, Burt Reynolds is featured in this maximalist parody about a gutsy rescue vehicle driver and his daffy accomplice as they join a fictionalized, elegant variant of a genuine cross-country ban street race.
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Smokey and the Bandit director Hal Needham reunites with his star and longtime friend Reynolds for this smorgasbord of explosive, nail-biting set pieces. The film is focused as much on comedic hijinks as it is on action sequences. It features an all-star cast that includes Roger Moore, Farrah Fawcett, Dean Martin, Sammy Davis Jr., Jackie Chan, and more.