DREAM PALACE - THE FILMS THAT CINEMAS WERE BUILT FOR

Car Wash

USA, 1976, 97 mins
Director: Michael Schultz


Introduced by director Gurinder Chadha (Friday 21 May screening only).

‘Car Wash’: a contemporary review

At a time when many of the old-style forms of community-minded entertainment have virtually vanished from American cinema – a demise unwittingly highlighted by such Bogdanovich séances as At Long Last Love and Nickelodeon – the special euphoria of Car Wash carries a particularly welcome charge.

Harking back to the spirited flavour of some Thirties musicals, it remains specifically ‘local’ in its form of address, shaped by the contours of Afro-American culture and thus not always exportable in some of its nuances. The comedy of a barking dog in one of the customers’ cars, for instance, refers to the recent practice of whites training dogs for ‘protection’ against blacks, while the sharp satire of the Daddy Rich episode – directed conversely against the religiosity and middle-class values of the black community, with portraits of John Kennedy and Martin Luther King subtly integrated as relevant emblems – alludes to too many indigenous institutions and attitudes to be fully intelligible in an alien context. More generally, the proliferation of scatological gags, undoubtedly as ‘vulgar’ as the breaking of comparable taboos in Numéro deux [1975], along with the parodic stereotyping of white characters, supply potential obstacles of another kind; and it must be admitted that, as isolated units, the script and music of Car Wash are in the main unexceptional. Yet thanks to the overall brilliance of the direction and performances, these factors operate more as challenges successfully met than as obtrusive drawbacks.

The exhilarating synchronising of car-washing, dancing, editing and mise en scène to the title tune; the inspired delivery of insults and comebacks (‘Ain’t nothin’ lower than fly shit, man – not camel shit … not chicken shit,’ or Lindy’s gay riposte to Duane: ‘Honey, I’m more man than you’ll ever be and more woman than you’ll ever get’); the graceful handling of slow-motion and fragmented editing to chart the descent of a bottle of urine (in the generally sophomoric Mad Bomber episode) and Calvin’s skateboard trajectories; the sly introduction of ‘white’ music to accompany and affectionately kid Marsha’s romantic yearnings; the ingenious Altmanesque use throughout of surrealist disc jockey patter – all testify to the emergence of Michael Schultz as an uncommonly assured and gifted director.

Proceeding nimbly through an open narrative form of recurring and developing gags, the film falters only when certain running themes and details begin to acquire the status of obligatory and non-comic mini-plots, as in the two perfunctory scenes allotted to Justin and Loretta. Even here, however, the banality of the dialogue (‘No college, no marriage’) assumes a song-like aspect which crops up elsewhere-for example, in exchanges between Mona and T.C. (‘What’ll it be?’ ‘You and me’), enhancing the musical feel of the film throughout.

If the resolution of various dramatic conflicts involves a deliberate postponement of certain issues – Justin promises to discuss leaving work with Loretta ‘next week’, just as Mr B promises to consider Lonnie’s request for a raise ‘tomorrow’ – the gradual exposition of the crucial roles of Lonnie and Duane suggests a development of focus and emphasis that is less evasive. Initially shown as silent and sinister, and subsequently revealed as an ex-con, the former takes on an entirely different aspect when his children arrive, and by the end of the film, in his confrontation with Duane, clearly becomes the film’s central father figure, a positive contrast to the pathos of the exasperated Mr B. Duane, who has been typed from the start as the movie’s only black militant, emerges more ambiguously – but no less decisively – as the most sensitive and traumatised character, in a comparable contrast to the ludicrous parody of Maoism represented by Irwin. Initially a figure of ridicule, he gradually becomes the film’s only spokesman for protest and despair – his denouncing of Daddy Rich, shown in ambivalent terms, is the pivotal point – so that a subsequent scene in which he plays his saxophone reveals a side of him that culminates in his final tears, at which point he becomes, after Lonnie, the movie’s most sympathetic figure.

On the one hand, this conclusion seems simplistic and superficial, a last-minute shift of gears from farce to drama. Yet at the same time, given the wealth of social insight that has gone before, it is a powerful summation as well. Thanks to the expertise of Schultz and his vast, various characters and incidents – the loudmouthed cab-driver and his hilarious liberal pretensions; the hysterical Mercedes driver with Vuitton bag and vomiting son; the grand arrival of Daddy Rich in a long gold limousine out of Tex Avery; the ecstatic encounters of T.C. with Disco Dan, Mona and his own glorified self-image; the ‘Quittin’ time’ gag quoted from Gone with the Wind; the wonderful image of big Hippo on his little motorbike – the film creates a dense and coherent world supporting this conclusion. ‘It’s all fallin’ apart, man,’ Duane says, sobbing in Lonnie’s arms; ‘We’ll work it out together,’ Lonnie replies.

Conceivably the most sophisticated and accomplished ‘black exploitation’ film made to date, Car Wash expresses and embodies some of the complex truth of both sentiments, and for most of its running time is marvellously funny and inventive into the bargain.
Jonathan Rosenbaum, Monthly Film Bulletin, February 1977

CAR WASH
Director: Michael Schultz
Production Company: Universal Pictures
Producers: Art Linson, Gary Stromberg
Associate Producer: Don Phillips
Unit Production Manager: Bud Brill
1st Assistant Director : Phil Bowles
Script Supervisor: Barbara Amato
Casting: Don Phillips
Screenplay: Joel Schumacher
Director of Photography: Frank Stanley
Special Effects: Don Wolz
Editor: Christopher Holmes
Art Director: Robert Clatworthy
Set Decorator: A.C. Montenaro
Costume Designer: Daniel Paredes
Make-up: Chuck Crafts
Hairstylist: Robert Stevenson
Title Design: Michael Hamilton
Titles/Opticals: Universal Title
Music/Music Producer: Norman Whitfield
Songs Performed by: Rose Royce
Music Editor: John Caper Jr
Sound: Willie D. Burton
Sound: Robert L. Hoyt
Sound Editor: Peter Berkos

Cast
Darrow Igus (Floyd)
DeWayne Jessie (Lloyd)
James Spinks (Hippo)
Antonio Fargas (Lindy)
The Pointer Sisters (The Wilson Sisters)
Richard Pryor (Daddy Rich)
George Carlin (taxi driver)
Clarence Muse (Snapper)
Franklyn Ajaye (T.C.)
Tracy Reed (Mona)
Bill Duke (Duane)
Ivan Dixon (Lonnie)
Henry Kingi (Goody)
Pepe Serna (Chuco)
Ray Vitte (Geronimo)
Jack Kehoe (Scruggs)
Garrett Morris (Slide)
Leon Pinkney (Justin)
Ren Woods (Loretta)
Lorraine Gary (hysterical lady)
Lauren Jones (hooker)
Leonard Jackson (Earl)
Sully Boyar (Mr B)
Professor Irwin Corey (‘Mad Bomber’)
Richard Brestoff (Irwin)
Melanie Mayron (Marsha)
Arthur French (Charlie)
Michael Fennell (Calvin)
Antonie Becker (Charlene)
Erin Blunt (Lonnie’s son)
Carmine Caridi (foolish father)
Reginald Farmer (Daddy Rich’s chauffeur)
Ricky Fellen (hysterical lady’s son)
Ben Fromer (man behind)
Cynthia Hamowy (bandaged man’s wife)
John Linson (foolish father’s son)
Ed Metzger (arresting cop)
Antar Mubarak (Sonny Fredericks)
Derek Schultz (foolish father’s son)
Mike Slaney (bandaged man)
Al Stellone (Oldsmobile owner)
Jackie Toles (Calvin’s mother)
Janine Williams (Lonnie’s daughter)
Otis Sistrunk (Otis)
Timothy Thomerson (Ken)
Jason Bernard (parole officer)
Jay Butler (AM disc jockey)
J.J. Jackson (2nd PM disc jockey)
Rod McGrew (PM disc jockey)
Sarina C. Grant_,_ Billy Bass (newscasters)

USA 1976
97 mins

DREAM PALACE: THE FILMS THAT CINEMAS WERE BUILT FOR
Blow Out
Mon 17 May 17:45 (+ intro by Ben Roberts, BFI CEO); Tue 1 Jun 20:40
The General
Tue 18 May 18:10; Sat 29 May 12:45 (+ intro by Stuart Brown, BFI Head of Programme and Acquisitions)
The Shout + pre-recorded intro by Mark Jenkin
Wed 19 May 21:00; Thu 3 Jun
The Cook, the Thief, His Wife & Her Lover
Thu 20 May 17:30 (+ intro by Justin Johnson, BFI Lead Programmer); Thu 24 Jun 20:30
Footloose + pre-recorded intro by Francis Lee
Thu 20 May 20:45; Sat 29 May 18:00
Car Wash
Fri 21 May 18:00 (+ intro by Gurinder Chadha); Mon 31 May 18:50
David Byrne’s American Utopia
Fri 21 May 20:45 (+ intro by Tricia Tuttle, BFI Festival Director); Mon 14 Jun 18:00
Beginning + pre-recorded intro by Luca Guadagnino
Sat 22 May 11:30; Tue 22 Jun 20:30
Black Narcissus
Sat 22 May 14:20 (+ intro by Edgar Wright); Mon 7 Jun 17:50
The Wonders (Le meraviglie) + pre-recorded intro by Mark Cousins
Sat 22 May 15:15; Thu 3 Jun 20:30
Hair + pre-recorded intro by Kleber Mendonça Filho
Sat 22 May 20:30; Fri 28 May 17:45
Magnificent Obsession + Fear Eats the Soul (Angst essen Seele auf)
Sun 23 May 15:45 (+ intro by Heather Stewart, BFI Creative Director); Sun 6 Jun 18:40
Beau Travail + pre-recorded intro by Kirsten Johnson
Sun 23 May 18:40; Sun 30 May 18:20
Mirror (Zerkalo) + pre-recorded intro by Malgorzata Szumowska
Mon 24 May 17:50; Wed 9 Jun 14:30
Syndromes and a Century (Sang sattawat) + pre-recorded intro by Chaitanya Tamhane
Mon 24 May 20:30; Sat 19 Jun 17:50
Goodbye, Dragon Inn (Bú sàn)
Wed 26 May 18:10 (+ intro by Peter Strickland); Wed 2 Jun 20:50
The Gleaners & I (Les glaneurs et la glaneuse) + pre-recorded intro by Zhu Shengze
Thu 27 May 18:15; Fri 26 Jun 14:30
The Seventh Seal (Det sjunde inseglet)
Fri 28 May 20:50 (+ intro by Mike Williams, Editor Sight & Sound); Wed 30 Jun 14:30
Broadcast News
Sun 30 May 15:40 (+ intro by Sarah Smith); Sat 19 Jun 20:20
The Elephant Man + pre-recorded intro by Prano Bailey-Bond
Tue 15 Jun 17:45; Sat 19 Jun 12:00
The Warriors
Mon 21 Jun 18:00 (+ intro by Asif Kapadia); Mon 28 Jun 14:30

In partnership with
Sight & Sound















BFI SOUTHBANK
Welcome to the home of great film and TV, with three cinemas and a studio, a world-class library, regular exhibitions and a pioneering Mediatheque with 1000s of free titles for you to explore. Browse special-edition merchandise in the BFI Shop.We're also pleased to offer you a unique new space, the BFI Riverfront – with unrivalled riverside views of Waterloo Bridge and beyond, a delicious seasonal menu, plus a stylish balcony bar for cocktails or special events. Come and enjoy a pre-cinema dinner or a drink on the balcony as the sun goes down.

BECOME A BFI MEMBER
Enjoy a great package of film benefits including priority booking at BFI Southbank and BFI Festivals. Join today at bfi.org.uk/join

BFI PLAYER
We are always open online on BFI Player where you can watch the best new, cult & classic cinema on demand. Showcasing hand-picked landmark British and independent titles, films are available to watch in three distinct ways: Subscription, Rentals & Free to view.

See something different today on player.bfi.org.uk

Join the BFI mailing list for regular programme updates. Not yet registered? Create a new account at www.bfi.org.uk/signup

Programme notes and credits compiled by the BFI Documentation Unit
Notes may be edited or abridged
Questions/comments? Contact the Programme Notes team by email