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I also really enjoyed the lighter moments Plummer gets, whether demonstrating that he is not completely defenseless when rejecting a revolver from Watson or sharing a carriage ride with him. While the tone of this story does not allow for many overtly humorous scenes, when we do get one it helps provide a bit of tonal balance and reminds us that Holmes is invigorated by the act of investigation. What I like most about the performance though is the sense of affection for Watson that is present throughout the picture.
It is a splendid rendering of the character that I think may well be my favorite take on the part I have come across so far (which is all the more impressive given some of the others to have played the role). I found myself wishing that there had been further films with Plummer and Mason given how well the pair worked together.
Where I do have complaints is with some aspects of the direction and editing. To be clear, there are some wonderful moments that I think show skill and imagination in how they are constructed. I already referenced the effectiveness of the steady-cam photography and there are similarly effective shots in the lengthy carriage ride Holmes and Watson take and in the dockland scenes (particularly one in which Holmes talks with an unseen informant). There are also some really effective attempts to recreate some locations, most notably the location of the final murder.
I recall ASiT being more garish. And I think I had a bit of a prejudice against it because I liked how the novel was sort of an Ellery Queen version of The Daughter of Time, and I missed that aspect of the story.
Steven Spielberg made the move from episodic television direction to the burgeoning form of made-for-television movies in late 1971 with Duel, based on the story and teleplay by genre stalwart Richard Matheson (The Twilight Zone) and concerning David Mann, a milquetoast suburbanite on a drive to a business meeting through rural roads, randomly targeted by a killer in a 18-wheeler tanker truck.
Matheson's short story "Duel" was published in the April 1971 issue of Playboy. The idea came to Matheson in 1963, on the already tense day when President Kennedy was assassinated, when a trucker dangerously cut him off on a California freeway. By Matheson using this personal near-death experience, he tapped into an auto-obsessed society's fear of destruction of the self on the road at the hands of a mad motorist.
Dennis Weaver, then starring in Universal Television's series McCloud, was cast as Mann, the henpecked businessman caught in the inexplicable events of the film when he is cut off on a California desert road by a rusty hulking truck. From this early point on, the entire thrust of the film is man vs. beast in a struggle for survival. The plot of the film is simply the story of a trucker progressively stepping up Mann's paranoia and fear, through toying to outright attempts at murder. Such a sparse, tight narrative serves the film well, and Spielberg plays the basic story to the hilt for thrills, plain and simple.
With a mere sixteen-day shooting schedule, the guerrilla pace of the production really lends to the film itself. To help keep his focus on the picture as a whole during the quick shoot, Spielberg had a giant overhead illustrated map of the desert roads they shot on hung around his hotel room walls during production. Each day the production captured more footage, he would tick completed shots off his storyboards and map, helping him keep track of the work he had ahead of him, and helping him visualize the film throughout the short, grueling shooting schedule.
For such an early effort, in hindsight, Duel displays a number of very important themes that would carry through Spielberg's filmography: an ordinary man in extraordinary circumstances, man, often out of his element vs. a force larger than himself, and to a lesser extent, the story of a man struggling to find his identity as a head of a family that is coming apart at the seams (this latter theme being seem in the added theatrical scenes).
Duel was later released theatrically in Europe and other international territories in 1972-1973 to much critical acclaim for the young director. Film critic Dilys Powell of London's Sunday Times, wrote of Duel, "You would hardly think that so slight, indeed, so seemingly motiveless a plot would be enough for a film of ninety minutes. It is plenty. It is plenty because the increase in tension is so subtly maintained, because the rhythm and the pace of movement is so subtly varied, because the action, the anonymous enemy attacking or lying in wait, is shot with such feeling for dramatic effect."
While touring Europe with the theatrical edit of "Duel" in 1972, Spielberg had the good fortune to meet with Italian filmmaker Federico Fellini, a self-professed admirer of the younger director's film.
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