Car Wash is about a close-knit group of employees who one day have all manner of strange visitors coming onto their forecourt, including Richard Pryor as a preaching 'wonder-man' who is ...
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Richard Pryor is playing three different roles here. The first being a poor orange picker named Leroy Jones who gets laid off when by mistake he joins the worker's union during one of their... See full summary »
Joe Braxton is an ex-con who has been given a second chance to freedom after violating his probation. He has been hired by a school teacher named Vivian Perry to repair and drive an old ... See full summary »
Angel Ramirez Jr.
Tired of the slave-like treatment of his team's owner, charismatic star Negro League pitcher Bingo Long takes to the road with his band of barnstormers through the small towns of the Midwest in the 1930's.
Billy Dee Williams,
James Earl Jones,
Dave Anderson and Manny Durrell are two high-class sneak thieves who have never been caught. Joshua Burke is a retired detective who has enough evidence on the both of them to put them ... See full summary »
James Earl Jones
In 1964, a group of high school friends who live on the Near North Side of Chicago enjoy life to the fullest...parties, hanging out, meeting new friends. Then life changes for two of the ... See full summary »
Goldie returns from five years at the state pen and winds up king of the pimping game. Trouble comes in the form of two corrupt white cops and a crime lord who wants him to return to the ... See full summary »
Car Wash is about a close-knit group of employees who one day have all manner of strange visitors coming onto their forecourt, including Richard Pryor as a preaching 'wonder-man' who is loved by most but loathed by one, and a man who looks like a thief by the way he is holding his bottle, but it is really his urine sample as he is off to the hospital. T.C's love life takes a turn for the better and the songs keep coming. Written by
Graeme Huggan <email@example.com>
Even though Danny Devito's scenes were cut from theatrical release you can still see him in the "Kenny meets Marsha" scene. If you watch behind "Kenny" as he is approaching the office and the intro to the "I Wanna' Get Next to You" starts you will see Devito's back as he appears to be storming off from a woman (Brooke Adams) and slaps a newspaper vending machine on the way out of view. This was following a deleted scene where Kenny flirts with Brooke Adam's character of Terry when he kisses her right hand after paying his bill at the Dog House eatery, and Danny DeVito's character of Joe begins an argument with her about it and storms off. See more »
It is possible that in a hundred years a film like 'Car Wash' will have lost part of its comic effect, but of one thing we can be sure: because of its value as a document of an era, it will aspire to the term of 'classic' more than futile but pretty recreations of the past, such as 'Barry Lyndon' and the Ivory-Merchant productions, all of which may be more efficient technically-wise, but are all lacking a heart. 'Car Wash' is a collective and populist film about the spirit of community. It is also a motion picture with a few symbols thrown in, probably unconsciously. Since their creation, cars have always been a symbol of status: you are what you drive. The happy-go-lucky car washers offer a 'de luxe' service for all: they give the business a 'special touch' with their multi-racial hands --not only Negroes, but also Chicanos and native Americans--, through another symbol: water, the classic icon of purification and universal conscience. Surrounded by a group of very well defined characters (especially, since they are drawn by single strokes, or have very little screen time to develop psychological traits: they are characterized by their actions), three persons stand out: Mr. B (capital), Abdullah (revolution) and Lonnie (kindness.) The greed and neglect of the lustful and amiable car wash owner is contrasted with the anger and resentment of the dry and humorless political activist. In the middle comes the ex convict, who ultimately will settle things around the film's central issue: work. We cannot forget most of the issues referred to in the film in a casual way, as we normally do in daily life, and related to the multiple characters: love, religion, prostitution, parenthood, homosexuality, social climbing, class rejection, money, class struggle, sex, and above all, music, which is the unifying element. Norman Whitfield did such a good job, that he not only established the rhythm of the action, but its atmosphere, tone and feel. It generates such positive energy, that in the end all of the virtues that appear combined with the vices of the fast, consumerist and violent urban life, as well as the suffering of some of the characters, come to the fore: love, compassion, tolerance, patience, solidarity, friendship, happiness. That makes 'Car Wash' a joyful and universal parable of survival in the latter days of capitalism. And that is not an easy achievement for a little film, directed by an African-American and aimed at a very reduced population.
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