Also known as: Frankensteins Todesrennen (Austria)
Release Date: April 27th, 1975
Directed by: Paul Bartel
Written by: Robert Thom, Charles Griffith
Based on: The Racer by Ib Melchior
Music by: Paul Chihara
Cast: David Carradine, Simone Griffeth, Sylvester Stallone, Sand McCallum, Louisa Moritz, Don Steele, Mary Woronov, Roberta Collins, Martin Kove, Joyce Jameson, Paul Bartel, Leslie McRae
New World Pictures, 80 Minutes
“As the cars roar into Pennsylvania, the cradle of liberty, it seems apparent that our citizens are staying off the streets, which may make scoring particularly difficult, even with this year’s rule changes. To recap those revisions: women are still worth 10 points more than men in all age brackets, but teenagers now rack up 40 points, and toddlers under 12 now rate a big 70 points. The big score: anyone, any sex, over 75 years old has been upped to 100 points.” – Harold
When Roger Corman stepped away from directing to start New World Pictures, it really opened the door for young filmmakers to usher in a new era of outside-the-box indie pictures. Paul Bartel was one of the premier guys to come out of the Corman camp and while he made a few really good films, none of them had as big of an impact on me as the super stylish and insane Death Race 2000.
The film is about a transcontinental race from New York City to Los Angeles, a race where the drivers earn points for killing human targets. The more offensive the target, the higher the points. So babies and old people are prime meat for the sadistic drivers and their high octane killing machines.
The movie takes place in a not-too-distant future where society has kind of evolved similar to those more modern Purge movies. America is a fascist state and this grand motor race is patriotic. Those who die, as victims of the drivers, are considered heroes and their sacrifices usually come with rewards for their loved ones.
Within this severely screwed up America is a group of rebels who are trying to end the race and overthrow the sick and twisted president in an effort to reestablish an America that is closer to what the Founding Fathers fought for. There is a lot of political and social commentary sprinkled in throughout the film and it almost exists as a response to the American government’s expansion into the world and its quest for occupation and control. It makes sense that this was made at the tail end of the Vietnam War.
The film stars David Carradine as Frankenstein, the most elite of all the racers. He is a literal living legend but he has his own ideas on the race and his government’s politics, which play out subtly as the film progresses, leading to a big rebellious crescendo at the end.
The rest of the cast is rounded out by a very young Sylvester Stallone, who was a year away from Rocky fame, as well as Paul Bartel’s favorite collaborator, Mary Woronov. We also get Roberta Collins, who spent a large part of her career in exploitation films, a young Martin Kove, a decade before becoming the iconic John Kreese from The Karate Kid films, Joyce Jameson, who was a part of a lot of Corman’s ’60s horror productions, Don Steele, a charismatic and over the top shock jock from the ’70s, as well as two beautiful ladies: Simone Griffeth and Louisa Moritz, both of whom play navigators to the two top drivers. Paul Bartel even has a small cameo as Frankenstein’s doctor when the iconic racer is first introduced in the film.
One thing that makes this picture work so well, is that it is a tongue in cheek critique on the government and society but it doesn’t beat you over the head because of how ridiculous and stylized everything in the film is. Every character is more or less a caricature, every car has some sort of bizarre and hokey gimmick and things are so over the top and goofy that you don’t find yourself buried in serious subject matter. And maybe the political statements are sort of lost in this circus of a film but the sentiment seems pretty clear, even if it’s not fine tuned enough to be specific.
Bartel would follow this up with another action car picture for Roger Corman called Cannonball. That one also starred David Carradine and is enjoyable but it doesn’t stick out in quite the same way Death Race 2000 does.
This would also spawn a horrible remake that had even worse sequels. Eventually, a true sequel to this was made called Death Race 2050. I haven’t seen that one yet but I plan to give it a watch in the very near future.
Pairs well with: Any Paul Bartel directed film but most notable Cannonball!