Somebody has to say it. Richard Pryor and Pam Grier give Oscar worthy performances as Wendell Scott and Mary Jones in this biopic about the first Black NASCAR race winner. The problem is too many cooks spoiling the soup. What with four different writers stirring the pot, the narrative meanders between being a steamy gumbo or a hot mess. It is not that Leo Capetanos, Laurence DuKore, Melvin Van Peebles of SWEET SWEETBACK'S BADASSSSS SONG (1971), and Kenneth Vose are not capable storytellers. But their four different viewpoints never really seem to mesh, with the result that the story fails to establish a clear vision for itself.
While this story about a colorful speed demon breaking through racial barriers roars around the track, it mainly suffers from an unhighlighted embarrassment of riches. These add up to not a few subtle missed opportunities in the end. Make no mistake, this film contains some of Pam Grier's finest moments as an actress. Comparisons to Ursula Andress and inevitably Sophia Loren come to mind. Richard Pryor is noticeably less the comedian here and continues to develop a sort of James Dean persona that he first revealed playing Piano Man in LADY SINGS THE BLUES (1973). The couple is supported by a diverse cast of talents. Cleavon Little is a wonderful character of interest as Peewee, Wendell Scott's hometown boyhood friend. Vincent Gardenia also does some hilarious scenery chewing as the outfoxed racist Sheriff Cotton and Bill Cobbs as the elder Mr. Jones along with Georgia Allen as Mrs. Jones, father and mother to Mary, are comfortable presences enriching the down home atmosphere. But to see Richie Havens under the hood with Pryor and Julian Bond giving Pam a whirl on the dance floor are welcome surprises. Both are competently involved in this social drama, but one wishes more back story was revealed through their exchanges of dialogue. Beau Bridges as Hutch is also particularly appealing as the good ole boy reforming his cultural biases.
The moonshine chase sequences and scenes are a bit too much like the Keystone Cops and strain at the limits of disbelief. Hard to believe Wendell Scott actually got away with his illegal activities for five years in quite this manner. The chase and escapes needed a lighter, defter race car touch without sacrificing the requisite 'ZIP!' and 'POW!'. As it is, it bogs the narrative down below less than a breakneck pace. This is unfortunate as there is never a decided sense that the story is shifting into higher gears and accelerating. This is particularly true when Wendell Scott's family and friends come to his rescue to help him soup up his customized vehicle to something that smacks of a winning ride. Some extensive storyboarding to create this scene as an effective montage could have solved this problem.
Have you ever wondered what a garage mechanic is fiddling with when you see him probing the undercarriage of a vehicle on a two post hoist? Or perhaps while sliding under a ride on a wheeled mat with socket wrench in hand? Ever wonder what makes one engine go faster than another? Ever seen for yourself how a car will keep on accelerating even after you've taken your foot off the accelerator? Well, you will not see how an ordinary automobile is transformed into a championship vehicle here. You'll have to imagine that pretty much on your own.
That being said, the maturing and aging of the characters into something like greater racial tolerance, albeit slight, is credibly done. You really come to believe Richard Pryor and Pam Grier are growing older and wiser and more loving as the passing years register on their faces. Beau Bridges as Hutch, Vincent Gardenia as Sheriff Cotton now running for Mayor and Earl Hindman as Wendell Scott's perennial race car rival Beau Welles, finally come to have a sincere or grudging respect for the strength of character Scott has displayed throughout his largely unheralded racing career. I wish the ending were more extravagantly celebratory as I think the labors of this motley crew of characters deserved this. And yes, a little more 'grease' slathered over the 'lightning' would have been in keeping with the largely neglected central motif of this tale.
