Death Race 2000 (1975)
by Steve Habrat
One of the better cult films to be produced by legendary B-movie producer Roger Corman would have to be the 1975 dystopian satire Death Race 2000, an ever colorful grindhouse thriller that appears to have no shortage of eye-grabbing characters, gory death scenes, and black humor. Amazingly well spoken for this type of sleazy genre pic, Death Race 2000 is clearly a drive-in cheapie fueled by razor sharp satire, but it also gets by on the spirited lead performances from David Carradine and Sylvester Stallone, both who seem to be having the time of their lives as the rival racers. Maybe the charms come from the DIY approach that hovers over the entire project, from the cars that look like they had painted styrofoam additions super glued on to them, to the red candle wax blood that erupts from heads mowed over by smoking tires, to the hilarious backdrops that look like giant billboards painted up to look like a futuristic city. It all feels like it was made in a week and if you’re familiar with how Corman liked to work, you probably wouldn’t doubt it. Under director Paul Bartel, the cheap production design is never allowed to overshadow the white-knuckle action, thrills, and wit that rocket at you at about 150 miles-per-hour. However, the film does a tailspin in the final five minutes, with a blowout ending that just doesn’t seem to fit the rest of the movie. It has been said that the filmmakers weren’t sure how to conclude the film and it sure is obvious once you see how they warp everything up.
In the year 2000, the United States has been destroyed by a financial collapse and is ruled over by a Bipartisan Party, which has unified church and state. It has become the United Provinces; a fascist police state ruled over by the mysterious “Mr. President” (Played by Sandy McCallum). The public is kept entertained by the brutal Transcontinental Road Race, a gladiatorial battle that finds five colorful racers battling to score points by running down innocent civilians with their spruced-up race cars. The star of this show is the fan-favorite Frankenstein (Played by David Carradine), the government’s champion that is part man and part machine due to the horrific wrecks from past races. As the nation gears up for the 20th race, Frankenstein finds himself stuck with a new navigator, Annie Smith (Played by Simone Griffeth), who he is immediately suspicious of. As the three-day race commences, Frankenstein finds himself pitted against his jealous rival, “Machine Gun” Joe Viterbo (Played by Sylvester Stallone), who will do whatever it takes to beat the fan favorite. In addition to competing against “Machine Gun” Joe, three other racers, Ray “Nero the Hero” Lonagan (Played by Martin Kove), Matilda the Hun (Played by Roberta Collins), and “Calamity” Jane Kelly (Played by Mary Woronov), are all out to dethrone Frankenstein. As the race gets underway, the five racers find themselves attacked by a mysterious rebel group led by Thomasina Paine (Played by Harriet Medin), who are determined to put an end to the savage race once and for all.
Death Race 2000 begins with a montage of jingoism, as marching bands and fans clad in red, white, and blue congregate for the massive race set to The Star Spangled Banner. It seems harmless enough until Bartel slips in an image of a man waving a swastika flag in support of Matilda the Hun. From there on out, Death Race 2000 is a rubber-burning satire on America’s fixation with violent entertainment and the media that enthusiastically sells it. The announcers happily explain the point system directly to the viewer; smiling as they explain how many points a rundown infant is worth compared to a pancaked man or woman. Things get even more twisted as the widow of the first victim of the race is brought onto live television, simultaneously sobbing and laughing as she is rewarded with a lavish vacation, all because her husband was the first to be gruesomely rundown in the street. It is not hard to see that Death Race 2000 is skewering the media’s love of all things blood and guts, all as Frankenstein reminds us that it is all about giving the fans what they want. Bartel does lighten the mood with a few scenes of black humor, mostly coming from Stallone’s “Machine Gun” Joe and his constant frustration with both Frankenstein and his busty navigator Myra (Played by Louisa Moritz). The highlight scene comes when an innocent fan (who is minding his own business) mistakes the cocky “Machine Gun” Joe for Frankenstein. Joe retaliates by chasing the man down a river and flattening him. Now THAT is some black humor.
While the action and satire are both finely tuned, Death Race 2000 achieves its cult classic status through must-see (and when I say must-see, I mean it) performances from Carradine and Stallone. Carradine rocks as the partly mechanical man Frankenstein, who dons a leather mask and zooms from coast to coast in an alligator race car complete with massive fangs. You can tell that Carradine is having an absolutely blast strutting around in his black leather outfit that is complete with a cape that he enjoys twirling around. He is the ultimate man of mystery, at least to his die-hard fans. You’ll thrill as he is always one step ahead of his plotting rival “Machine Gun” Joe, a mush-mouthed brute bitter over living in Frankenstein’s shadow. Outside of Rocky, this is probably the best Stallone has ever been (Okay, he was decent in Rambo). He just looks so outrageous speeding down a winding country road in a car with two tommy guns and a giant knife mounted on the front. He nabs most of the black laughs while bickering with his bombshell navigator Myra, who acts like a giant space cadet. As far as Frankenstein’s navigator Annie Smith is concerned, she is mostly there to get naked and seduce him behind closed doors, but wait for a surprising twist with her character near the end of the film. Another stand out is the deliciously evil Matilda the Hun, who is absolutely wicked as she shouts about the master race while tormenting her fellow racers. And I can’t forget Don Steele as the massively annoying announcer Junior Brace, who just beams over carnage of the race, and Joyce Jameson as the obsequious television personality Grace Pander.
Death Race 2000 may toss around a few heavy ideas, but it never fails to remember its audience. Being an exploitation movie, Death Race 2000 provides tons of gratuitous nudity and violence, which is interesting because the film appears to be wagging its finger at violence for entertainment. There are plenty of gruesome deaths, which are all accompanied by the trademark 70s candle wax blood. In between these nasty moments, there are plenty of adrenaline pumping chases, fistfights, and even a nifty sequence that finds Carradine’s Frankenstein trying to outrun a rebel fighter plane unleashing bullets and bombs. Death Race 2000 also can’t resist stripping almost all the ladies of their clothing, especially Moritz and Griffeth, which will please most of the male viewers. Overall, Death Race 2000 could have been a victim of its own cut-rate production, but the less-is-more approach really allows the film to come alive. It may botch it in the final moments with an unlikely and frankly unsatisfying climax, but it is something you will ultimately forgive because the other seventy-five minutes are just so cool. Come for the nonstop action and stay for the seriously awesome performances from Carradine and Stallone.
Death Race 2000 is available on Blu-ray and DVD.
Posted on April 14, 2013, in REViEW and tagged 1975, action, david carradine, don steele, drive-in movies, exploitation films, grindhouse films, harriet medin, joyce jameson, louisa moritz, martin kove, mary woronov, paul bartel, roberta collins, roger corman, sandy mccallum, science fiction, simone griffeth, sylvester stallone, thriller. Bookmark the permalink. 2 Comments.