Convoy, Sam Peckinpah’s penultimate film, may not be as well-regarded, but dammit if it’s not a hell of an entertaining ride. Starring Kris Kristofferson in the most laconic that Kristofferson has ever been (it must be said, laconic is Kristofferson’s vibe, so it’s saying a lot) and a truly game for anything Ernest Borgnine, the action comedy isn’t as bad as its rep would have you think. In fact, Convoy, maybe second only to Smokey and the Bandit in the trucker movie subgenre, though White Line Fever does give it a run for its money. The only thing missing from the film is Jerry Reed in a role.
Rubber Duck (Kristofferson) begins a battle with Dirty Lyle (Borgnine), an Arizona Smokey, bent on getting as much graft from the truckers coming into his particular stretch of the highway. Having been cleaned dry of cash from Lyle, Rubber Duck, and his fellow drivers, Pig Pen (Burt Young) and Spider Mike (Franklyn Ajaye) play a trick on the Smokey that ends in a restaurant brawl to end all brawls. Now Duck, Pig Pen, and Spider Mike are on the run from Lyle and much of the Arizona law enforcement. Their cause turns into much bigger than they could ever think as a convoy of truckers begins to fight back against the Smokeys and stand up for Duck in a crusade the truckers never intended.
To be clear. This isn’t The Wild Bunch or Bring Me the Head of Alfredo Garcia. This isn’t Peckinpah making grand statements about men and masculinity and the death of the West and honor. This is Sam having fun and getting as unruly as Sam has ever gotten. Convoy is a mess of a film, tonally all over the map, that can’t decide what it wants to say … if anything. The film shifts from action comedy to social drama to serious action film, often in the same scene, without much of an indicator of what it wants. The script by Bill Norton is a hodgepodge of all the tropes of the subgenre and then some. This has to do with the fact that the film is based on a song, and a song that was a satire of the songs that Jerry Reed used to sing.
All that considered, Convoy is a blast of a movie. An action film that we never see anymore. One where the stunt work is truly dangerous (because it fucking was) and the results of which are often kept on screen because the results are once-in-a-lifetime. Peckinpah’s visual eye for composition and visceral nature of his specific brand of stylish action is very present. From the restaurant brawl to the ending truck explosion on a bridge to everything in between, there is a jaw-dropping spectacle on display that could have only happened in the 1970s.
The film is aided by two central performances by Kristofferson and Borgnine that elevate the doldrums of the film to a level befitting a Peckinpah film. Borgnine seems to be having the time of his life as Dirty Lyle. The acting legend, even when he’s doing the most despicable things, seems to relish the role and working with Peckinpah one last time. Kristofferson is vibing hard here as Rubber Duck. There isn’t a scene that he’s in that the actor doesn’t come off as the coolest man on screen. One would love to say something great about Ali McGraw, but unfortunately, the script, the film, and Peckinpah give her nothing, and the less said the better about her in the film. The rest of the cast seems to be having a great time.
A great time is the perfect summation of the chaos that is Convoy. One cannot look too hard into this piece of pop entertainment as one would normally look into a Peckinpah film. This is the director at his most commercial and most chaotic. If one is attuned to the specific brand of filmmaking that Peckinpah usually offers, one will find a delightful surprise in Convoy.
The Transfer
The all-new HDR/Dolby Vision Master by StudioCanal – From a 4K Scan of the 35mm Original Camera Negative is a magnificent and beautiful 4K image that mimics the lush 35mm origins of the film. The transfer is sharp with a beautiful patina of film grain. The color reproduction and contrast levels are the standout here, with the Dolby Vision encoding upping the values to a beautiful degree. The image and its saturated blacks and deep colors are as impressive as this film has ever looked, probably better than it looked during its initial theatrical run. Kino’s collaboration with StudioCanal continues to produce amazing 4K UHD discs.
The Extras
They include the following;
DISC 1 (4KUHD):
NEW Audio Commentary by Filmmaker/Historian Steve Mitchell
Audio Commentary by Sam Peckinpah Historians Paul Seydor, Garner Simmons and Nick Redman
Audio Commentary by Peckinpah Scholar Mike Siegel
DISC 2 (BLU-RAY):
NEW Audio Commentary by Filmmaker/Historian Steve Mitchell
Audio Commentary by Sam Peckinpah Historians Paul Seydor, Garner Simmons and Nick Redman
Audio Commentary by Peckinpah Scholar Mike Siegel
DISC 3 (SPECIAL FEATURES BLU-RAY):
Passion & Poetry – Sam’s Trucker Movie
The Lost Convoy: 2024 Video Essay by Mike Siegel
Three Lost Scenes: Deleted Scenes Illustrated with Rare Photos
Injokes, Friends & Cameos: Featurette
Trucker Notes from Norway: Featurette
The Duck Trucks: Featurette
Promoting Convoy: International Posters & Lobby Cards
Convoy in Color: A Selection of 125 Color Stills
Filming Convoy 1: A Rare Selection of 360 Production Stills
Filming Convoy 2: A Rare Selection of 360 Production Stills
Filming Convoy 3: A Rare Selection of 360 Production Stills
Theatrical Trailer Widescreen
TV Spot
4 Radio Spots
The first of three Audio Commentaries is an all-new track by Filmmaker/Historian Steve Mitchell opens with a quote by Peckinpah, then goes into the first film he saw of the director, which was The Wild Bunch. Some of the details include the first screening of the film he saw, which was at the first New York Critics Screening, and the reactions (including his own) to the film; the surprise Box Office success of the film, becoming Peckinpah’s biggest hit; how Convoy came to be after EMI (who produced this and his previous film Cross of Iron) suggested he direct this in the wake of the success Smokey and the Bandit; Peckinpah developed the film as a protest film, a larger discussion of the protest films in the 1960s; the development on Convoy with actor James Coburn (who had eyes on beginning a directing career) and a great story about Japan and a famous Japanese super star; New Mexico courting Peckinpah and the production; how the improvision onset caused a lot of issues with the film during production; the casting what-if’s for Rubber Duck and Dirty Lyle; a discussion of the actual production, including anecdotes just how difficult it was including how difficult the director made it for himself; the local town problems that caused delays for the production; the issues that arose dealing with the trucks; the way that the truck shots of the set pieces were achieved, mostly achieved by the 5 assistant directors; multiple quotes by Peckinpah about the film, his process, filmmaking, and other points of interest; additionally, there are quotes from correspondence between not just Peckinpah but others from the cast and crew; quotes from other members of the cast and crew from interviews at the time and about Peckinpah; and much more.
The second of the Audio Commentaries is an archival one by Sam Peckinpah Historians Paul Seydor, Garner Simmons, and Nick Redman open with the trio’s bona fides before diving into their respective thoughts on the opening title sequence. Some of the details include their respective first viewings and their thoughts on the film, including Peckinpah’s first cut of the film (which was 2.5 hours long); how the film came together, which was based on a hit country/pop song; how Peckinpah’s drug use affected both Convoy and The Killer Elite which he was not using during Cross of Iron; the problems they have with shifting tones and shifting storytelling, and how that affects the film itself; the reasons why the production shut down; the reasons why EMI/Producer Michael Deeley made the film, including how huge a hit it was in the US and across the world; the issue with Ali McGraw’s character and Kristofferson’s character’s romance; the issues with the performance of McGraw; the production shutdown mid-way through the film and what prompted it; how and why James Coburn became involved as the second unit director; the reasons why this film feels like a lesser Peckinpah film – including discussion how this was based on a song, the populist nature of the subgenre, and Peckinpah making a commercial film; the massive amount of exposed film that was shot for the film, which leads to the discussion of editing of the film and other Peckinpah films and their editing style; a larger discussion of the various stunts, set pieces, and gags throughout the film and how they were accomplished; a larger discussion of what works tonally and what does not in the film, which speaks to the larger work of Peckinpah; a larger discussion of the various actors and crew that contributed to the film and their history of their work with Peckinpah; and much more.
The final Audio Commentary is by Peckinpah Scholar Mike Siegel opens with his credentials and how he became a Peckinpah biographer, having covered 13 commentaries for his films (including 7 in German). Some of the details include how this film was in part made because of the Yom Kipper War in 1973, which had a rolling effect on Gas Prices and Nixon’s lowering of the speed limit to caused truck drivers to go on strike because it stressed the trucking and shipping businesses – which culminated in truckers stopping in the middle of the highway which through CB radio became a nationwide independent trucker strike; these events became CW McCall’s song, a breakdown how the song came to be written by two Ad men not someone named McCall; the various films that came out of the trucker film subgenre, including the biggest of these films Smokey and the Bandit; the various films that are based on song like Alice’s Diner, Jail House Rock, et. al.; a discussion of the career of screenwriter Bill Norton; a discussion of the career of producer Robert Sherman; a side discussion of Peckinpah’s film before this Cross of Iron; the success of the film, which leads to a larger discussion of Peckinpah’s not concerned with money throughout his life; how the cast came to be on the film; a discussion of the various actors and cast and crew appear in the film with personal and professional asides by Siegel; and much more.
Passion & Poetry – Sam’s Trucker Movie (70:44) – this making-of documentary from director Michael Siegel is one of the best of recent memory. Recut for the release with some added footage in 2024 from its original 2013 form, it does a great job at discussing the chaotic shoot that went down. From the restaurant brawl that almost fired Sam Peckinpah, and how a 5-day shoot took 30 days, it’s all downhill from there. The documentary does take on the drug use of Peckinpah, something that began during The Killer Elite and made for the darkest of times for the director and the shoot of Convoy. The documentary tracks some great stories and ideas from Peckinpah and Kristofferson took inspiration from the film Viva Zapata and real-life figure of Ceaser Chavez for the themes of Convoy, to Steve McQueen showing up to set Peckinpah straight on his abusive ways towards McGraw, to James Coburn was helping out beyond just the second unit directing, actually covering and shooting the main unit for Peckinpah in some instances. Explaining in more detail about things like James Coburn was helping out beyond just the second unit directing, actually covering and shooting the main unit for Peckinpah in some instances. The chaos doubles down on the film when Kristofferson left for touring, and his return, how they cut the production schedule, and what that did. The post-production and the first cut of the film vs. the release cut and the fight over the film, including Deeley’s firing of Peckinpah (sounds familiar if anyone knows Deeley and his shenanigans on Bladerunner). The infighting ensues with the DGA and Deeley. The recutting of the picture and how that ultimately changed the very nature of the film. The eventual release and huge success of Peckinpah’s career (other than The Getaway) and the cultural impact around the world it had. Luckily, Peckinpah’s voice is heard, so it wasn’t so one-sided with Deeley discussing the finer points of what Peckinpah was doing throughout. Deeley for his point gives a very sobering look at the commerce side of things and why they went so hard on Peckinpah and his specific ways of directing and imbuing chaos into everything. Though it is not always dark and brooding as Ernest Borgnine brings the lightness and humor, always having great stories about the production and Peckinpah that make one laugh as much as he makes himself laugh. Featuring interviews with director Sam Peckinpah (archival), stars Ali McGraw, Kris Kristofferson, Ernest Borgnine, producer Michael Deeley, Peckinpah Biographer Garner Siummons, Peckinpah Associate Katy Haber, second unit director James Coburn, and others.
The Lost Convoy: Video Essay by Mike Siegel (21:20) – this all-new visual essay from Peckinpah biographer/documentarian Mike Siegel looks into the Peckinpah film and the three versions of the film: The original screenplay vs. Peckinpah’s first cut of the film vs. the theatrical cut of the film. Siegel does an excellent job of going into the details of the differences between the three and just how radical the changes made from each are. The featurette uses screenplay excerpts, production stills, and footage from both the theatrical and the newly found footage from the Japanese World Premiere 35mm Print (which had many of the extended scenes from Peckinpah’s original cut).
Three Lost Scenes: Deleted Scenes Illustrated with Rare Photos (6:08) – this featurette reconstructs three lost scenes that show how Peckinpah would often improvise during the production, making scenes and the film in general often better. As the featurette explains, these types of scenes that were cut from the footage were often destroyed, lost to time. Using the script and production stills, the featurette reconstructs The Hitchhiker, The Aftermath of Alvarez, and The Governor of Texas.
Injokes, Friends & Cameos: Featurette (6:05) – this archival featurette looks at the cameos and in-jokes that Peckinpah placed throughout the film.
Trucker Notes from Norway: Featurette (3:19) – this archival Interview with Norwegian Trucker Expert Anders Loefaldli discusses his love for the film and why the film has grown in esteem amongst truck drivers.
The Duck Trucks: Featurette (8:35) –this all-new featurette looks at the work done in restoring many of the trucks/vehicles from the film that Frank Bruhn provided to the production.
Promoting Convoy: International Posters & Lobby Cards (9:50) – this video-based photo gallery plays over needle drops from various classic tracks of the 1970s, not only includes posters and lobby cards, but also other ephemera from the promotion of this film, like models and toy cars, from the US, UK, Germany, France, Belgum, Spain, Italy, Japan and many more. Note: these photos are scanned in at such a beautifully high resolution that one can pause at any still or image and take in the detail and writing (when applicable) without any issue. Something that should be complimented, as not all galleries allow for such review and inspection.
Convoy in Color: A Selection of 125 Color Stills (11:04) – another video-based photo gallery plays over needle drops (Southern Nights from Allen Toussaint, and songs by CW McCall and the Convoy score by Chip Davis) of various production stills and behind-the-scenes photos. Note: these photos are scanned in at such a beautifully high resolution that one can pause at any still or image and take in the detail and writing (when applicable) without any issue. Something that should be complimented, as not all galleries allow for such review and inspection.
Filming Convoy 1: A Rare Selection of 360 Production Stills (10:32) – the first of three-part video-based photo gallery is titled “Part 1 White Sands & the Truck Stop”. The gallery of various behind-the-scenes photos plays over needle drops and score from the film. Note: these photos are scanned in at such a beautifully high resolution that one can pause at any still or image and take in the detail and writing (when applicable) without any issue. Something that should be complimented, as not all galleries allow for such review and inspection.
Filming Convoy 2: A Rare Selection of 360 Production Stills (11:06) – the second of three-part video-based photo gallery is titled “Part 2 The Trucks are Rolling”. The gallery of various behind-the-scenes photos plays over needle drops and score from the film. Note: these photos are scanned in at such a beautifully high resolution that one can pause at any still or image and take in the detail and writing (when applicable) without any issue. Something that should be complimented, as not all galleries allow for such review and inspection.
Filming Convoy 3: A Rare Selection of 360 Production Stills (11:19) – the third and final of three-part video-based photo gallery is titled “Part 3 Showdown in Alvarez”. The gallery of various behind-the-scenes photos plays over needle drops and score from the film. Note: these photos are scanned in at such a beautifully high resolution that one can pause at any still or image and take in the detail and writing (when applicable) without any issue. Something that should be complimented, as not all galleries allow for such review and inspection.
TV Spot (1:08) – one 60-second TV spot.
4 Radio Spots (3:32) – these 4 radio spots (two 60-second and two 30-second spots) play over various production stills and behind-the-scenes photos, along with a clever video of a vinyl.
Rounding out the special features are trailers for Convoy (3:48); High-Ballin’ (2:39); Vigilante Force (2:50); White Lightning (2:26); Electra Glide in Blue (3:37); Mad Max (2:10);
The Final Thought
Kino Lorber’s 4K UHD Edition of Convoy is in contention for one of the top ten discs of the year, with an amazing 4K Restoration and close to 15 hours of special features. Highest Possible Recommendations!!!
Kris Kristofferson and a bunch of truckers face off against Ernest Borgnine and the racist cops in Sam Peckinpah’s action-comedy Convoy. This massive 3-disc set comes with a full 4K UHD restoration of the film and special features!
The Film
Convoy, Sam Peckinpah’s penultimate film, may not be as well-regarded, but dammit if it’s not a hell of an entertaining ride. Starring Kris Kristofferson in the most laconic that Kristofferson has ever been (it must be said, laconic is Kristofferson’s vibe, so it’s saying a lot) and a truly game for anything Ernest Borgnine, the action comedy isn’t as bad as its rep would have you think. In fact, Convoy, maybe second only to Smokey and the Bandit in the trucker movie subgenre, though White Line Fever does give it a run for its money. The only thing missing from the film is Jerry Reed in a role.
Rubber Duck (Kristofferson) begins a battle with Dirty Lyle (Borgnine), an Arizona Smokey, bent on getting as much graft from the truckers coming into his particular stretch of the highway. Having been cleaned dry of cash from Lyle, Rubber Duck, and his fellow drivers, Pig Pen (Burt Young) and Spider Mike (Franklyn Ajaye) play a trick on the Smokey that ends in a restaurant brawl to end all brawls. Now Duck, Pig Pen, and Spider Mike are on the run from Lyle and much of the Arizona law enforcement. Their cause turns into much bigger than they could ever think as a convoy of truckers begins to fight back against the Smokeys and stand up for Duck in a crusade the truckers never intended.
To be clear. This isn’t The Wild Bunch or Bring Me the Head of Alfredo Garcia. This isn’t Peckinpah making grand statements about men and masculinity and the death of the West and honor. This is Sam having fun and getting as unruly as Sam has ever gotten. Convoy is a mess of a film, tonally all over the map, that can’t decide what it wants to say … if anything. The film shifts from action comedy to social drama to serious action film, often in the same scene, without much of an indicator of what it wants. The script by Bill Norton is a hodgepodge of all the tropes of the subgenre and then some. This has to do with the fact that the film is based on a song, and a song that was a satire of the songs that Jerry Reed used to sing.
All that considered, Convoy is a blast of a movie. An action film that we never see anymore. One where the stunt work is truly dangerous (because it fucking was) and the results of which are often kept on screen because the results are once-in-a-lifetime. Peckinpah’s visual eye for composition and visceral nature of his specific brand of stylish action is very present. From the restaurant brawl to the ending truck explosion on a bridge to everything in between, there is a jaw-dropping spectacle on display that could have only happened in the 1970s.
The film is aided by two central performances by Kristofferson and Borgnine that elevate the doldrums of the film to a level befitting a Peckinpah film. Borgnine seems to be having the time of his life as Dirty Lyle. The acting legend, even when he’s doing the most despicable things, seems to relish the role and working with Peckinpah one last time. Kristofferson is vibing hard here as Rubber Duck. There isn’t a scene that he’s in that the actor doesn’t come off as the coolest man on screen. One would love to say something great about Ali McGraw, but unfortunately, the script, the film, and Peckinpah give her nothing, and the less said the better about her in the film. The rest of the cast seems to be having a great time.
A great time is the perfect summation of the chaos that is Convoy. One cannot look too hard into this piece of pop entertainment as one would normally look into a Peckinpah film. This is the director at his most commercial and most chaotic. If one is attuned to the specific brand of filmmaking that Peckinpah usually offers, one will find a delightful surprise in Convoy.
The Transfer
The all-new HDR/Dolby Vision Master by StudioCanal – From a 4K Scan of the 35mm Original Camera Negative is a magnificent and beautiful 4K image that mimics the lush 35mm origins of the film. The transfer is sharp with a beautiful patina of film grain. The color reproduction and contrast levels are the standout here, with the Dolby Vision encoding upping the values to a beautiful degree. The image and its saturated blacks and deep colors are as impressive as this film has ever looked, probably better than it looked during its initial theatrical run. Kino’s collaboration with StudioCanal continues to produce amazing 4K UHD discs.
The Extras
They include the following;
DISC 1 (4KUHD):
DISC 2 (BLU-RAY):
DISC 3 (SPECIAL FEATURES BLU-RAY):
The first of three Audio Commentaries is an all-new track by Filmmaker/Historian Steve Mitchell opens with a quote by Peckinpah, then goes into the first film he saw of the director, which was The Wild Bunch. Some of the details include the first screening of the film he saw, which was at the first New York Critics Screening, and the reactions (including his own) to the film; the surprise Box Office success of the film, becoming Peckinpah’s biggest hit; how Convoy came to be after EMI (who produced this and his previous film Cross of Iron) suggested he direct this in the wake of the success Smokey and the Bandit; Peckinpah developed the film as a protest film, a larger discussion of the protest films in the 1960s; the development on Convoy with actor James Coburn (who had eyes on beginning a directing career) and a great story about Japan and a famous Japanese super star; New Mexico courting Peckinpah and the production; how the improvision onset caused a lot of issues with the film during production; the casting what-if’s for Rubber Duck and Dirty Lyle; a discussion of the actual production, including anecdotes just how difficult it was including how difficult the director made it for himself; the local town problems that caused delays for the production; the issues that arose dealing with the trucks; the way that the truck shots of the set pieces were achieved, mostly achieved by the 5 assistant directors; multiple quotes by Peckinpah about the film, his process, filmmaking, and other points of interest; additionally, there are quotes from correspondence between not just Peckinpah but others from the cast and crew; quotes from other members of the cast and crew from interviews at the time and about Peckinpah; and much more.
The second of the Audio Commentaries is an archival one by Sam Peckinpah Historians Paul Seydor, Garner Simmons, and Nick Redman open with the trio’s bona fides before diving into their respective thoughts on the opening title sequence. Some of the details include their respective first viewings and their thoughts on the film, including Peckinpah’s first cut of the film (which was 2.5 hours long); how the film came together, which was based on a hit country/pop song; how Peckinpah’s drug use affected both Convoy and The Killer Elite which he was not using during Cross of Iron; the problems they have with shifting tones and shifting storytelling, and how that affects the film itself; the reasons why the production shut down; the reasons why EMI/Producer Michael Deeley made the film, including how huge a hit it was in the US and across the world; the issue with Ali McGraw’s character and Kristofferson’s character’s romance; the issues with the performance of McGraw; the production shutdown mid-way through the film and what prompted it; how and why James Coburn became involved as the second unit director; the reasons why this film feels like a lesser Peckinpah film – including discussion how this was based on a song, the populist nature of the subgenre, and Peckinpah making a commercial film; the massive amount of exposed film that was shot for the film, which leads to the discussion of editing of the film and other Peckinpah films and their editing style; a larger discussion of the various stunts, set pieces, and gags throughout the film and how they were accomplished; a larger discussion of what works tonally and what does not in the film, which speaks to the larger work of Peckinpah; a larger discussion of the various actors and crew that contributed to the film and their history of their work with Peckinpah; and much more.
The final Audio Commentary is by Peckinpah Scholar Mike Siegel opens with his credentials and how he became a Peckinpah biographer, having covered 13 commentaries for his films (including 7 in German). Some of the details include how this film was in part made because of the Yom Kipper War in 1973, which had a rolling effect on Gas Prices and Nixon’s lowering of the speed limit to caused truck drivers to go on strike because it stressed the trucking and shipping businesses – which culminated in truckers stopping in the middle of the highway which through CB radio became a nationwide independent trucker strike; these events became CW McCall’s song, a breakdown how the song came to be written by two Ad men not someone named McCall; the various films that came out of the trucker film subgenre, including the biggest of these films Smokey and the Bandit; the various films that are based on song like Alice’s Diner, Jail House Rock, et. al.; a discussion of the career of screenwriter Bill Norton; a discussion of the career of producer Robert Sherman; a side discussion of Peckinpah’s film before this Cross of Iron; the success of the film, which leads to a larger discussion of Peckinpah’s not concerned with money throughout his life; how the cast came to be on the film; a discussion of the various actors and cast and crew appear in the film with personal and professional asides by Siegel; and much more.
Passion & Poetry – Sam’s Trucker Movie (70:44) – this making-of documentary from director Michael Siegel is one of the best of recent memory. Recut for the release with some added footage in 2024 from its original 2013 form, it does a great job at discussing the chaotic shoot that went down. From the restaurant brawl that almost fired Sam Peckinpah, and how a 5-day shoot took 30 days, it’s all downhill from there. The documentary does take on the drug use of Peckinpah, something that began during The Killer Elite and made for the darkest of times for the director and the shoot of Convoy. The documentary tracks some great stories and ideas from Peckinpah and Kristofferson took inspiration from the film Viva Zapata and real-life figure of Ceaser Chavez for the themes of Convoy, to Steve McQueen showing up to set Peckinpah straight on his abusive ways towards McGraw, to James Coburn was helping out beyond just the second unit directing, actually covering and shooting the main unit for Peckinpah in some instances. Explaining in more detail about things like James Coburn was helping out beyond just the second unit directing, actually covering and shooting the main unit for Peckinpah in some instances. The chaos doubles down on the film when Kristofferson left for touring, and his return, how they cut the production schedule, and what that did. The post-production and the first cut of the film vs. the release cut and the fight over the film, including Deeley’s firing of Peckinpah (sounds familiar if anyone knows Deeley and his shenanigans on Bladerunner). The infighting ensues with the DGA and Deeley. The recutting of the picture and how that ultimately changed the very nature of the film. The eventual release and huge success of Peckinpah’s career (other than The Getaway) and the cultural impact around the world it had. Luckily, Peckinpah’s voice is heard, so it wasn’t so one-sided with Deeley discussing the finer points of what Peckinpah was doing throughout. Deeley for his point gives a very sobering look at the commerce side of things and why they went so hard on Peckinpah and his specific ways of directing and imbuing chaos into everything. Though it is not always dark and brooding as Ernest Borgnine brings the lightness and humor, always having great stories about the production and Peckinpah that make one laugh as much as he makes himself laugh. Featuring interviews with director Sam Peckinpah (archival), stars Ali McGraw, Kris Kristofferson, Ernest Borgnine, producer Michael Deeley, Peckinpah Biographer Garner Siummons, Peckinpah Associate Katy Haber, second unit director James Coburn, and others.
The Lost Convoy: Video Essay by Mike Siegel (21:20) – this all-new visual essay from Peckinpah biographer/documentarian Mike Siegel looks into the Peckinpah film and the three versions of the film: The original screenplay vs. Peckinpah’s first cut of the film vs. the theatrical cut of the film. Siegel does an excellent job of going into the details of the differences between the three and just how radical the changes made from each are. The featurette uses screenplay excerpts, production stills, and footage from both the theatrical and the newly found footage from the Japanese World Premiere 35mm Print (which had many of the extended scenes from Peckinpah’s original cut).
Three Lost Scenes: Deleted Scenes Illustrated with Rare Photos (6:08) – this featurette reconstructs three lost scenes that show how Peckinpah would often improvise during the production, making scenes and the film in general often better. As the featurette explains, these types of scenes that were cut from the footage were often destroyed, lost to time. Using the script and production stills, the featurette reconstructs The Hitchhiker, The Aftermath of Alvarez, and The Governor of Texas.
Injokes, Friends & Cameos: Featurette (6:05) – this archival featurette looks at the cameos and in-jokes that Peckinpah placed throughout the film.
Trucker Notes from Norway: Featurette (3:19) – this archival Interview with Norwegian Trucker Expert Anders Loefaldli discusses his love for the film and why the film has grown in esteem amongst truck drivers.
The Duck Trucks: Featurette (8:35) –this all-new featurette looks at the work done in restoring many of the trucks/vehicles from the film that Frank Bruhn provided to the production.
Promoting Convoy: International Posters & Lobby Cards (9:50) – this video-based photo gallery plays over needle drops from various classic tracks of the 1970s, not only includes posters and lobby cards, but also other ephemera from the promotion of this film, like models and toy cars, from the US, UK, Germany, France, Belgum, Spain, Italy, Japan and many more. Note: these photos are scanned in at such a beautifully high resolution that one can pause at any still or image and take in the detail and writing (when applicable) without any issue. Something that should be complimented, as not all galleries allow for such review and inspection.
Convoy in Color: A Selection of 125 Color Stills (11:04) – another video-based photo gallery plays over needle drops (Southern Nights from Allen Toussaint, and songs by CW McCall and the Convoy score by Chip Davis) of various production stills and behind-the-scenes photos. Note: these photos are scanned in at such a beautifully high resolution that one can pause at any still or image and take in the detail and writing (when applicable) without any issue. Something that should be complimented, as not all galleries allow for such review and inspection.
Filming Convoy 1: A Rare Selection of 360 Production Stills (10:32) – the first of three-part video-based photo gallery is titled “Part 1 White Sands & the Truck Stop”. The gallery of various behind-the-scenes photos plays over needle drops and score from the film. Note: these photos are scanned in at such a beautifully high resolution that one can pause at any still or image and take in the detail and writing (when applicable) without any issue. Something that should be complimented, as not all galleries allow for such review and inspection.
Filming Convoy 2: A Rare Selection of 360 Production Stills (11:06) – the second of three-part video-based photo gallery is titled “Part 2 The Trucks are Rolling”. The gallery of various behind-the-scenes photos plays over needle drops and score from the film. Note: these photos are scanned in at such a beautifully high resolution that one can pause at any still or image and take in the detail and writing (when applicable) without any issue. Something that should be complimented, as not all galleries allow for such review and inspection.
Filming Convoy 3: A Rare Selection of 360 Production Stills (11:19) – the third and final of three-part video-based photo gallery is titled “Part 3 Showdown in Alvarez”. The gallery of various behind-the-scenes photos plays over needle drops and score from the film. Note: these photos are scanned in at such a beautifully high resolution that one can pause at any still or image and take in the detail and writing (when applicable) without any issue. Something that should be complimented, as not all galleries allow for such review and inspection.
TV Spot (1:08) – one 60-second TV spot.
4 Radio Spots (3:32) – these 4 radio spots (two 60-second and two 30-second spots) play over various production stills and behind-the-scenes photos, along with a clever video of a vinyl.
Rounding out the special features are trailers for Convoy (3:48); High-Ballin’ (2:39); Vigilante Force (2:50); White Lightning (2:26); Electra Glide in Blue (3:37); Mad Max (2:10);
The Final Thought
Kino Lorber’s 4K UHD Edition of Convoy is in contention for one of the top ten discs of the year, with an amazing 4K Restoration and close to 15 hours of special features. Highest Possible Recommendations!!!
Kino Lorber’s 4K UHD Edition of Convoy is out now.
Share this:
Like this:
Discover more from The Movie Isle
Subscribe to get the latest posts sent to your email.