Crash! (1977)

PG | 85 mins | Horror | 24 August 1977

Director:

Charles Band

Writer:

Marc Marais

Producer:

Charles Band

Cinematographer:

Andrew Davis

Editor:

Harry Keramidas

Production Company:

Charles Band
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HISTORY

The Summary for this unviewed film has been compiled from various sources, including contemporary reviews and modern commentary.
       The 30 Jul 1976 DV noted that the title of The Transfusion, which was currently filming in Los Angeles, was changed to Crash! Principal photography began 28 Jul 1976 in Los Angeles, according to the 16 Aug 1976 Box.
       In an inteview in the 24 Sep 1977 LAT, producer-director Charles Band described himself as a low-budget filmmaker and claimed that each of his films took only “100 days between its inception and release.” ... More Less

The Summary for this unviewed film has been compiled from various sources, including contemporary reviews and modern commentary.
       The 30 Jul 1976 DV noted that the title of The Transfusion, which was currently filming in Los Angeles, was changed to Crash! Principal photography began 28 Jul 1976 in Los Angeles, according to the 16 Aug 1976 Box.
       In an inteview in the 24 Sep 1977 LAT, producer-director Charles Band described himself as a low-budget filmmaker and claimed that each of his films took only “100 days between its inception and release.” More Less

GEOGRAPHIC LOCATIONS
BIBLIOGRAPHIC SOURCES
SOURCE
DATE
PAGE
Box Office
16 Aug 1976.
---
Box Office
9 May 1977.
---
Cinefantastique
Spring 1977.
---
Daily Variety
27 Jul 1976.
---
Daily Variety
30 Jul 1976.
---
Los Angeles Times
24 Sep 1977
Section B, p. 8.
DETAILS
Alternate Titles:
Crash Akaza the God of Vengeance
The Transfusion
Death Ride
Release Date:
24 August 1977
Premiere Information:
Los Angeles opening: 24 August 1977
Production Date:
began 28 July 1976 in Los Angeles, California
Copyright Claimant:
Charles Band, Ltd.
Copyright Date:
9 February 1989
Copyright Number:
409071
Physical Properties:
Sound
Color
Eastmancolor
Lenses
Panavision®
Duration(in mins):
85
MPAA Rating:
PG
Country:
United States
Language:
English
SYNOPSIS

Marc Denne, an expert in antiquities, relives in a dream the crash that put him in a wheelchair: He and his much younger wife, antique jewelry dealer Kim Denne, ride in a van when a black sports car runs them off the road and down a steep embankment. Marc blames Kim, who was uninjured, for the crash. One day at a flea market, Kim buys her husband a small, ancient sculpture of the Hittite god Akaza, certain that he'll appreciate it. Instead, Marc rejects the gift and orders Kim to leave the house. Distraught, she drives away in her black Chevrolet Camaro convertible, and Marc exacts his revenge on her by sending his trained Doberman Pinscher to leap into her car. When the dog attacks, Kim swerves off the road and crashes. In the hospital, she lies in a coma for days, unidentified, her face in bandages. She clutches the sculpture and mutters the name "Akaza." Meanwhile, her wrecked Camaro repairs itself and speeds driverless through mountain highways, terrorizing motorists and running some of them, including policemen, off the road. When Kim awakes, her eyes glow and she loosens her grip on the totem. The statue flies across the room, attaching itself to a wheelchair, which moves by itself and smashes into things. Later, Akaza takes control of Marc's wheelchair, kills the Doberman Pinscher, and tries to run Marc down, but he fights it off with a crutch. Since Kim has amnesia and does not know who she is, her doctor, Gregg Martin, lets her recuperate at his house. Intrigued by the sculpture and convinced it will lead him to Kim's identity, Gregg takes it to an anthropologist, and ... +


Marc Denne, an expert in antiquities, relives in a dream the crash that put him in a wheelchair: He and his much younger wife, antique jewelry dealer Kim Denne, ride in a van when a black sports car runs them off the road and down a steep embankment. Marc blames Kim, who was uninjured, for the crash. One day at a flea market, Kim buys her husband a small, ancient sculpture of the Hittite god Akaza, certain that he'll appreciate it. Instead, Marc rejects the gift and orders Kim to leave the house. Distraught, she drives away in her black Chevrolet Camaro convertible, and Marc exacts his revenge on her by sending his trained Doberman Pinscher to leap into her car. When the dog attacks, Kim swerves off the road and crashes. In the hospital, she lies in a coma for days, unidentified, her face in bandages. She clutches the sculpture and mutters the name "Akaza." Meanwhile, her wrecked Camaro repairs itself and speeds driverless through mountain highways, terrorizing motorists and running some of them, including policemen, off the road. When Kim awakes, her eyes glow and she loosens her grip on the totem. The statue flies across the room, attaching itself to a wheelchair, which moves by itself and smashes into things. Later, Akaza takes control of Marc's wheelchair, kills the Doberman Pinscher, and tries to run Marc down, but he fights it off with a crutch. Since Kim has amnesia and does not know who she is, her doctor, Gregg Martin, lets her recuperate at his house. Intrigued by the sculpture and convinced it will lead him to Kim's identity, Gregg takes it to an anthropologist, and in turn is directed to Marc Denne, who recognizes the image as Akaza. Now that Marc knows where Kim is, and that she is suffering from amnesia, he contacts her to arrange an antique sale for him. When Kim arrives, she remembers neither her former home nor Marc. As he shows her the house, he guides her to his sauna and pushes her inside. Locking the door, he turns up the heat. Meanwhile, Gregg realizes that it was Marc who caused Kim's accident and races to Marc's house to save her. While melting in the sauna, the possessed Kim remotely controls her convertible so that it pushes Marc off a cliff. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.