Roadgames (1981)

dir. Richard Franklin


"You know, that's the trouble with you Australians, you take your games too seriously."
-Pat Quid

Although I prefer to write about flawed pictures (so as to ridicule them from atop my elitist pedestal), occasionally, I accidentally pick a legitimately good movie and then have to struggle with the task of writing a kind review. This is about as hard a thing for me to do as it is for Uwe Boll to not box one of his critics. As you all know, the sole purpose of my blog is to toss about witty one-liners at the expense of the hard work of those not fortunate enough to be able to make quality movies. Where am I without my snark? I'll tell you where—nowhere, that's where.

Throughout the course of my recent Australian exploitation phase, I've been blessed with the opportunity of viewing such bat-shit flicks as Turkey Shoot and Dead-End Drive In. Not to denigrate the thoroughly entertaining work of Brian Trenchard-Smith, but the appeal of these movies lies mainly in their camp value. This week I have met my match in Richard Franklin's genuinely decent Australian outback flavored Hitchcock homage Roadgames. Although I will try to keep this review on the respectful side, I can't guarantee my old habits will die.


Stacy Keach is Pat Quid, a poetry spouting American expatriate (and former soldier in the Persian Gulf and gun-runner in Africa) who is now working as a trucker in the outback. Just don't tell him that. As Quid says, "just because I drive a truck does not make me a truck driver." For him, this job is an opportunity to explore Australia and become acquainted with the backward locals. He is a world traveler, never happy to stay in one place. He is also an avid people watcher (i.e., peeping tom (hey that's the name of another movie)). Sitting atop the throne in his rig, he gets all Jimmy-Stewart-in-Rear-Window-voyeur, spying on the passengers in the cars he passes. Talking to his pet dingo Boswell, he constructs elaborate back-stories for all the people he spies on.

Although a fun time-passing activity at first, Quid's spy games (hey, that's the name of another movie) soon take a dark turn when they lead him to realize that a mysterious man in a green van may actually be a notorious serial killer stalking and killing girls in the outback. Seeing as this is Australia and he aint a local, Quid's wild-eyed theories are met with scorn from those he attempts to convince—not to mention outright ridicule from the authorities. In fact, Quid soon becomes person of interest numero uno after the real killer plays some games of his own. That's right, the green-van-man, aware that Quid is on his tail, soon plants evidence linking Quid to the crimes. Oh snap!

Quid is unable to find a sympathetic ear until he picks up American hitcher/heiress Pamela Rushworth (Jamie Lee Curtis). Young and looking for adventure, she happily and unquestioningly aids Quid in his quest to capture the Outback killer—that is, until their shenanigans accidentally gets her captured by the madman. Oops. Quid is now in a race against time to not only save Pamela, but also to expose the green-van-man, thus proving his own innocence.


Coming on the heels of the numerous Australian exploitation films I have seen recently, not to mention the documentary Not Quite Hollywood, Roadgames was something of a shock. Not only did this film not contain nudity, but it also lacked some of the more graphic depictions of violence present in so many of its genre's peers. One might call this suspense/thriller tasteful or even, gasp, artistic (despite what the disturbing poster might suggest).

This was no accident, of course. As with his previous feature Patrick, Richard Franklin made no attempt to hide his Hitchcock influence (with a little bit of Duel thrown in for good measure). Yes Franklin wanted to appeal to the drive-in crowd, but he also wanted to show he was capable of something more. Indeed, Roadgames is one of the best non-De Palma attempts at making a Hitchcock film.

Roadgames, of course, is not completely devoid of camp value. The ridiculously over-the-top staging of the climax is almost laughable (and yet somehow less outlandish than what Franklin had originally planned). The fact that this finale remains suspenseful and plausible (within the world Franklin has constructed, at least), is a testament to Franklin's film savvy. What is essentially an exercise in homage film-making, manages to be far better and more original than it needs to be.

[The trailer:]


Dave's Rating: