The title of the movie refers to the linear perspective in which parallel lines travelling away from the viewer converge at a point in the distance called the “vanishing point”. In fact, it is the road how it is seen towards the horizon from the perspective of a speeding car. Kowalski is the ‘rebel without a cause’ hurtling to an unknown destiny at that horizon. This cult classic is often called one of the ultimate car-chase movies and although the white Dodge Challenger is seen racing throughout the whole movie, it is not about the car as much as it is about the man driving it and what he symbolizes.

It is a story that has been told several times by the likes of ‘Easy Rider’ and the more recent ‘Thelma and Louise’. They are called road movies not only because of the amount of road being covered, but also because of the symbolic road that is travelled. This is a typical 70’s movie and it obviously shows its age. It also has the obligatory existential feel to it and plenty of references to the ‘vibe’ of that time. Central is the constant struggle of the individual against the amorphous mass of society and his reluctance to fit in. In this movie Kowalski tries to flee from all this by driving his white Dodge from Denver to San Francisco in 15 hours, engaged in a ongoing ‘cat-and-mouse’-game with the police. Also drugs have a prominent role as another means of escaping reality and obtaining freedom. The symbolism is completed by the character of the blind (black) radio DJ who guides Kowalski through the hostile states, making him immensely popular with the public. His freedom of speech is also being threatened by the oppressive forces.

The unknown actor Barry Newman gave face to the reluctant hero who cannot fit in. His character has a history of several careers -most of them spectacular- where he tried to find his place in society. What his real motives are for his flight are not explicitly told, but in this case the flight seems a purpose on its own. His voyage is also reminiscent of Homer’s Odyssey, since he meets several strange people that have an effect on his journey. He comes across a religious snake wrangler, a hippie biker who lives in the desert, two gay highway robbers and a naked girl on a bike. She reminds him of a woman he had and the life he had before and it obviously brings back the pain he felt when he lost her. Although the real reason for his flight may even be vague to Kowalski himself, he knows that he cannot escape his destiny.

This kind of symbolism and innuendo give room for a broad interpretation to everyone. At that time it was allowed to let the people fill in the blanks as where now we expect a fully rounded story. One could call the blanks holes in the script or maybe it just appealed to the vibe of that era. It is funny though that the movie became known as a typical car-movie like Bullit, Le Mans and stunt-laden flicks like Ronin and Cannonball Run. But it is not. It could’ve also been a bike or a plane that Kowalski used to flee with but the point is the journey he makes, not his mode of transportation. Situated in America with its long stretching roads, a car is the obvious choice. Apart from the hippie vibe most of the themes are still relevant: racism, censorship and conservatism are still issues of these days. For the rest the movie shows its age and could by some be perceived as ‘weird’ or as cult. I would rather call it a document of its time with a specific feel and a thought-provoking message. Whatever that message may be.