
One of King's traits as a storyteller is his refusal to allow his characters to become swallowed up in his wild plots, and here it's no exception. After that opening scene, we're introduced to Arnie (Keith Gordon) a high school senior who, despite a knack for some pretty good one-liners, wears big glasses, is socially awkward, and has few friends-a.k.a classic movie nerd. Despite the fact that his one true friend is a flashy, good looking football player who, despite his jock-status, always backs him up, Arnie fails to really find his footing until he comes across Christine.
The car, now 20 years old (it's 1978) is a wreck sitting out in the yard of a mysterious old man (played by Robert Blossom, who looks an awful lot like Richard Brody--and did I mention Arnie could be taken for Ben Sachs' twin?) who's willing to sell it to Arnie for $300. Despite talking about how its previous owner died in the car, and how when his wife tried to get rid of it, it "came back three weeks later," Arnie is hell-bent on having the car. Rarely has that adjective taken on such literal meaning.
To describe the rest of the film would be pointless since its greatest pleasure is seeing the unexpected directions the story takes. While the most accurate description of the film would be to call it an absurd horror movie that never undermines its characters, is presented with striking formal poise, and perfectly balances mood with schlock value (pretty much every great John Carpenter movie), I kept on wondering if there were deeper implications to the story. I haven't read King's novel, but based on his interest in American culture in his books that I have read, and assuming that Carpenter and screenwriter Bill Phillips are following the source material closely, there seems to be some underlying commentary going on here.
In many ways, this is a movie about America gone wrong; consider its presentation of the home, seen mainly in Arnie and his relationship with his parents. There is a lack of understanding in their home, a failure to communicate properly, which is an image often associated with the home in post-WWII America. In one scene, they are seated at the dinner table, framed in a medium shot-a classic portrait of the American family. The scene ends up with an explosion of emotion and Arnie insulting his father before running upstairs. Notice the red jacket he's wearing, exactly like the one James Dean sports in Rebel Without a Cause. In fact, Arnie and his parents reminded me a lot of the Starks from Nicholas Ray's classic. Connected to decline of the family is the consumption of products as a replacement for those values lost. Television comes to mind first, but right behind that is the American fetishism of cars and the way they replace human meaning, connection, and even morality. The logical conclusion is that a car replaces a human being all together. Despite its supernatural elements, Christine shows this horrifying possibility with alarming precision. It's a film that may very well be a whole lot smarter than it's often given credit for being.
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