In Steven Spielberg’s early film ‘Duel’, he masterly utilizes many continuity tricks in quick order to create drama and emotion. During the ending scene, the success of these edits builds the scene to a dramatic climax and conclusion.
The final 4 minutes begin with a ‘Motivated POV’ shot of the protagonist, David, as he sits in his car, staring out. He watches the empty road, waiting for the Peterbilt truck that’s been chasing him to emerge. This second shot, waiting for the truck, is an ‘Empty Frame’. This builds the viewers tension as they wait for the inevitable.
The ‘Motivated POV’ repeats as the truck starts barreling down the road towards him. This is also a ‘Shot Reverse Shot’, as David sees and then reacts to the truck.
There is then a ‘Match on Action’ edit of the truck, zooming in dramatically with a shaking camera. The viewer sees David again from the front, before switching to a shot of him from behind, following the ‘180-degree rule’. These dramatic changes of framing maintain the intense and quick pace of the plot.
Spielberg then uses ‘Parallel action / Crosscut’ edits of David’s car and the truck speeding towards one another from the front, which could be considered a ‘Graphic Match’(?) of the trucks front and the cars.
The shots shown of David’s car as it collides with the truck follow the ’30-degree rule’, changing from the front right to the far back left of the car as it is struck. This allows the viewer to see the collision more clearly, while maintaining a sense of positioning relative to the car.
By using these editing skills throughout the ending, Spielberg builds and maintains the intense and frightening pace and tone that has been built throughout the film. This is necessary for creating a climax and conclusion that can satisfy a viewer who has been made tense alongside David for the entirety of their viewing experience.