Truck Turner (1974)

When talking about Blaxploitation films recently, I pomdered as to what it was that made them uniquely 'black', (which, after all, was their unique selling point compared to other exploitation movies), when many had white writers, directors, producers and crews.  Were they really capable of interpreting the 'black experience' and putting it on film?  Truck Turner (1974) is a case in point - one of the best known of Blaxploitation pictures (mainly due to the presence of Isaac Hayes in the title role), not only did it have a white director in Johnathan Kaplan, (who would go on to direct a number of high profile mainstream movies), but it didn't even start life as a Blaxploitation film.  The script was originally written with an established star like Lee Marvin or Ernest Borgnine in mind for the lead role.  The film, however, ended up being financed and distributed by AIP who knew that they couldn't afford such names, so instead decided to rewrite the script as a Blaxploitation picture, a genre they had enjoyed considerable success with.  As filmed, Truck Turner is pure Blaxploitation, with a pretty much all black cast - the most notable non-black actor in a significant role is AIP regular Dick Miller as a dodgy bail bondsman - and a distinctly black milieu.  

In his second starring role after Tough Guys (1974), Issac Hayes this time doesn't have to share either top billing or too much screen time with rival leads.  Here he's tough modern day bounty hunter 'Truck' Turner who, with his partner, Jerry (Alan Weeks), is employed by Dick Miller to bring in violent pimp Gator, before he loses the bail bond he put up for him.  Much mayhem ensues.  At least, that's the first half of the film, which moves at a blistering pace, involving car chases around LA, fist fights, gun fights and lots of colourful characters and equally colourful banter between the two main characters.  It is all extremely well staged and shot against some suitably sleazy LA locations, made to seen even seedier by being photographed in brilliant California sunshine.  The problem is that it all abruptly ends and the pace slows down for some further plot development - something the film never really recovers from.  While the second half of the film, in which Gator's madam, having taken over his stable, tries to get his fellow pimps to take out a hit on Turner - with only Yaphet Kotto taking up the challenge - has a lot of incident, it just isn't as compelling as what had preceded it, feeling somewhat anti-climactic.  That said, it does include a typically sinister performance from Yaphet Kotto (fresh off of Live and Let Die (1973)) and a climactic and bloody gunfight in a hospital, but these just can't match the first half of the film.

The second half of Truck Turner also involves more character development for Hayes' character, in the form a sub-plot involving his girlfriend, newly released from jail, and their relationship which, again, slows things down, but does flesh out his character, compared to the film's first half, where he mainly beats up and shoots people.  Hayes himself is just as charismatic as he was in Tough Guys, but with the advantage that, this time, he doesn't have to compete with any stars of similar magnitude until the film's latter half, when Kotto appears.  He is, however, surrounded by an excellent supporting cast of character actors, including the afore mentioned Miller, Scatman Crothers, Paul Harris and Sam Laws.  Alan Weeks puts in a good turn as Turner's easy going sidekick, while Nichelle Nicolls puts in a memorable performance as Gator's tough as nails and foul mouthed madam.  Her profane tirade against her fellow pimps is a highlight of film.  Despite its problematic structure, which takes much of the heat out of the film, Truck Turner remains a hugely enjoyable film, particularly the breathlessly paced first half.  So, forget the uneven pacing and focus on the positives: it is the early seventies, it's California and the sun is out, there are lots of cool cars (including a '73 Dodge Charger), lot's of great dialogue and Hell, you're in good company - it's Isaac Hayes for God's sake, (who also provides a pretty cool soundtrack).