From the vibrant streets of 1970s Los Angeles comes “Car Wash,” a 1976 film directed by Michael Schultz that offers a day-in-the-life snapshot of the Dee-Luxe Car Wash and its colorful employees. More than just a comedy, this film, often categorized as a blaxploitation film due to its predominantly Black cast and funky soundtrack, provides a sharp and insightful commentary on American society, class, and community. Originally reviewed in the Monthly Film Bulletin in 1977, “Car Wash” stands as a unique cinematic experience, blending humor with social observation, and showcasing the directorial talent of Schultz, who some argue was the true auteur behind this lively and memorable movie.
The film opens with Lonnie arriving to unlock the Dee-Luxe Car Wash, setting the stage for a day filled with eccentric characters and comical situations. We are quickly introduced to a cast of memorable personalities: T.C., nicknamed “Fly,” the smooth-talking dresser with his eyes set on Mona, the waitress across the street; Scruggs, dealing with the aftermath of a night away from his wife; the flamboyant Lindy; and the energetic Hippo, Justin, Chuko, and Goody. The arrival of Duane, an angsty and militant worker, adds another layer to the dynamic, contrasting with the well-meaning but out-of-touch white owner, Mr. B, and his hippie son Irwin, whose Maoist leanings are met with amusement and ridicule by the car wash crew.
Throughout the day, a series of vignettes unfold, painting a vivid picture of life at the car wash. A frantic woman arrives with a vomit-covered Mercedes, only for her son to repeat the performance moments later. T.C.’s attempts to win concert tickets in a radio contest and woo Mona provide ongoing comedic threads. The flamboyant Daddy Rich, a capitalistic evangelist, makes a grand entrance in a gold limousine, much to the delight of most workers, except for the skeptical Duane. Pranks and personal dramas intertwine as Loretta, Justin’s fiancée, urges him to return to college, and Scruggs faces the wrath of his wife Charlene. A subplot involving a hooker and a stolen transistor radio adds to the film’s episodic and energetic pace. Even a “mad bomber” scare turns out to be a comical misunderstanding, highlighting the film’s blend of slapstick and social observation.
As the day progresses, we see Mr. B’s awkward attempts to flirt with his cashier Marsha, who in turn catches the eye of a handsome stranger. Lonnie, seemingly a quiet and steady presence, receives visits from his parole officer and his children, hinting at a more complex backstory. When Mr. B fires Duane for absenteeism, Lonnie’s unsuccessful attempt to intervene and request a raise for himself reveals the power dynamics at play. Ultimately, T.C. wins the radio contest and finally convinces Mona to go on a date, while Justin and Loretta reconcile, and Charlene dramatically confronts Scruggs. The film culminates in a tense moment when Duane attempts to rob the car wash, only to be disarmed and comforted by Lonnie, highlighting a surprising depth beneath the comedic surface.
What makes “Car Wash” stand out as a Car Wash Film is its ability to capture the spirit of a community in a time of social change. In an era where traditional forms of community entertainment were fading, “Car Wash” offered a fresh and energetic cinematic experience. It harkens back to the lively spirit of 1930s musicals but is deeply rooted in Afro-American culture, making it both universal and specific in its appeal. Some of its humor, like the barking dog in a customer’s car, is a direct reference to the racial tensions of the time, where dogs were sometimes trained for “protection” against Black people. Similarly, the satire of Daddy Rich targets the commercialization of religion and middle-class values within the Black community, subtly referencing figures like John Kennedy and Martin Luther King Jr. as contrasting emblems of societal values.
The film doesn’t shy away from “vulgar” humor, embracing scatological gags and stereotypical portrayals of white characters, which, while potentially challenging for some audiences, contribute to its boundary-pushing comedic style. While the script and music of “Car Wash,” when considered in isolation, might be seen as unexceptional, it is the film’s direction and performances that elevate it to brilliance. Schultz’s masterful direction is evident in the exhilarating synchronization of car-washing, dancing, editing, and music, particularly in the iconic title sequence. The film is filled with memorable lines and inspired comedic delivery, such as Lindy’s sharp retort to Duane, “Honey, I’m more man than you’ll ever be and more woman than you’ll ever get,” showcasing the film’s witty and often subversive humor.
Schultz’s directorial flair is further highlighted by his inventive use of slow-motion, fragmented editing, and surrealist disc jockey patter, creating a unique and dynamic cinematic rhythm. The film’s narrative structure, built around recurring gags and developing character moments, keeps the energy high and the audience engaged. While some mini-plots, like Justin and Loretta’s relationship, might feel somewhat perfunctory, even these moments contribute to the film’s overall musical and episodic feel, enhancing the sense of a day unfolding with its natural ebbs and flows.
The film subtly shifts its focus towards Lonnie and Duane as central figures. Lonnie, initially presented as enigmatic and even sinister, transforms into the film’s moral compass and father figure, particularly in his poignant confrontation with Duane at the film’s climax. Duane, initially stereotyped as the angry Black militant, evolves into a more complex and sympathetic character, representing the frustrations and traumas of the era. His denouncement of Daddy Rich and his emotional breakdown at the end reveal a depth and vulnerability that challenges initial perceptions.
The ending of “Car Wash,” where farce gives way to drama as Duane breaks down in tears and Lonnie offers comfort, might seem abrupt to some. However, it serves as a powerful culmination of the film’s underlying social commentary. “It’s all fallin’ apart, man,” Duane sobs, to which Lonnie replies, “We’ll work it out together.” This exchange encapsulates the film’s blend of humor and heart, acknowledging the social anxieties of the time while offering a glimmer of hope and community.
“Car Wash” is more than just a funny car wash film; it’s a vibrant and insightful snapshot of 1970s Los Angeles, filled with memorable characters, infectious music, and sharp social commentary. Often considered a sophisticated and accomplished example of blaxploitation cinema, “Car Wash” remains a relevant and entertaining film that captures the complexities and spirit of its time, making it a classic for audiences to discover and enjoy today.
