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Cochran drove an old green "woody" side-paneled station wagon that became a lasting symbol of the show, along with cool bell-bottoms! The show was a top ten hit when it ran on ABC from 1968-1973. They wore some of the grooviest fashions ever from that period along with the styling of the Afro. Pete, Linc and Julie were the kids of their generation. The concept of this show was to deal with social issues as it did crime in the streets. Out of all the Aaron Spelling shows that he ever produced this was one of my favorites. Now they help others by solving crimes with the help of the Lieutenant (Tige Andrews). It is about three teenagers from different backgrounds who had been in trouble with the law.
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The classic TV show The Mod Squad (1968-1973) was one of the "grooviest" shows ever.
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But it has since found a second life with movie buffs who admire Friedkin's virtuosic direction of the explosive truck trek and are drawn to his existential approach to the tale. It was pronounced dead on arrival on its original release as critics labeled it a disappointing remake. It's easy to see why it did not appeal to the same moviegoers who made Star Wars the biggest hit of 1977. With its downbeat tone and unlikable characters, Sorcerer looks as if it was made in the late 1960s or early 1970s when films like Easy Rider dominated the theaters. He already is dead emotionally, so his eventual destiny is just a formality.
But the money really means nothing, for Scheider's character has nowhere to go and no one who cares about him.
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He wants the money-to the point that he gets excited about his share increasing if the other drivers die on a swinging bridge. The film's only American star, Scheider, plays a man with no meaning in his life. However, in terms of visual power, nothing can match the mesmerizing image of Roy Scheider's truck tilted at an uncanny 45-degree angle as it inches across the crumbling bridge. The trucks look like bizarre wingless dragons, with their grills for teeth, hood vents for nostrils, and headlights for eyes. Friedkin brilliantly combines visual and aural elements to create a chaotic mixture of howling winds, booming thunder, creaking timbers, and slashing torrents of rain. The second half of the film focuses on the gripping, tension-filled journey-the highlight being the crossing of a dilapidated swinging bridge during a savage storm. An oil company needs the explosives to "blow out" a raging oil fire. Desperate for money, they agree to drive two trucks, each loaded with three boxes of nitroglycerin-leaking dynamite, over 200 miles of jungle, bumpy roads, sharp ravines, and temporary bridges.
The first half traces how three men-a French business executive, a terrorist, and an insignificant gangster-wind up down on their luck in a squalid Latin American town. Once Friedkin overcomes a disjointed first half, he transforms his film into an astounding rollercoaster ride where death stands in plain sight around every corner and across every bridge. Sorcerer can't stack up to Clouzot's masterpiece, but it deserves a second look. Therefore, it is unfortunate for William Friedkin that Henri-Georges Clouzot adapted the novel The Wages of Fear into a 1952 international film success and almost-instant classic. Remakes face the inevitable fate of being compared to the original version-even when they're not a remake, but rather another interpretation of an existing novel, play, or factual incident.
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