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There's an interesting little notion out there, proffered by some of our more politically correct, but perhaps less skilled Safe Driving advocates, that driving fast -- is dangerous. "Okay."

Most wouldn't disagree that "Speed Kills". We could suggest however, that the concept of speed will mean different things to different drivers. Yes, it's true that hitting a bridge abutment at ninety miles per hour is going to cause some serious hurt, but hitting it at forty or fifty five isn't exactly going to leave the rest of your day intact, either. 

 

So how fast is fast? How fast is dangerously fast?

 

Asking this rhetorical question is like asking, "How rich is rich"? To some, having a couple of hundred thousand in the bank might be considered fairly well off. To others it could be nearing abject poverty. It's all relative. More importantly, it's all relative as to who's answering the question. 

 

We're cooking down our highway at the average speed of seventy. We glance in our rear view mirror and suddenly, we see her -- bearing down on us. In another heart beat she goes flying by. "Sheesh -- she must have been doing ninety five or a hundred." "She's going way too fast!" "She's a danger to everyone else on the highway!"  But wait! Suddenly, as the car fades quickly into the future, we notice the overheads. It was a State Trooper! Hmmm. Was she still going too fast? Is she still a danger? 

 

Most would suggest, "Probably not". Not because she's a cop who has the right to go fast, but rather because she's a cop and she's been trained to go fast. She has the skills to go fast - and go fast safely. Sure, if she hits something it's going to be curtains, but that's not very likely to happen. And while she certainly knows she's moving, she doesn't feel unsafe at her high speed. It's second nature to her. She's comfortable up there.

 

Next of course there's the "speed limit" issue. Some will suggest that if we're breaking the speed limit, we're going too fast. Hmmm again. When even our slow lane drivers are comfortably buzzing along at limit plus ten or fifteen, it should become kind of obvious that, for an extreme majority of our drivers, the speed limit is at best an unrealistic guideline - posted by bureaucrats who may never have even seen the road - or even worse, a steering wheel.

 

If "Slow Down" is the best suggestion we can come up with, to advocate for safer driving and if eighty percent of our drivers are ignoring limits, then "Guess what, folks." "It ain't working!" Maybe we need to come up with something better. Something a little more realistic.

 

How fast is too fast? Again, who's answering the question?

 

Is it a skilled, experienced highway driver? There are plenty of them out there. They understand a higher rate of speed. They "forward look" for miles. They know their vehicle and exactly how it will react to an emergency lane change or a panic stop - before it happens. They're smooth. They take driving seriously. They've developed their driving skills to the max. They are totally comfortable at their chosen speed. If you suggest that they're driving too fast, they're going to roll their eyes and acknowledge you as just another unskilled Road Hazard.

 

Are you asking a less qualified driver - perhaps a driver who simply hasn't learned yet (or never will), that there's more to highway driving than putting the car in gear and aiming it down the boulevard. Sure they're uncomfortable. Their knuckles "glow white" as they tightly grip the wheel. For this driver, the others whizzing by him are all crazy and driving way too fast. This driver judges others by his own limitations.

 

You may also be asking a driver who only thinks he knows how to drive. Yeah, he's found the gas pedal, but he's never actually taken a car sideways and wouldn't have a clue how to control it if it started to go there. Under steer, Over steer and Throttle steer are completely foreign concepts to him - but he's still the best driver on the road. How fast is fast to him?

 

A theme begins to emerge here. It's about "comfort". If you're not comfortable at you chosen speed, or if the adrenaline is racing through your veins, you're probably driving too fast - maybe not for the race track, but certainly for the highway. 

 

How fast is too fast? Let your body answer the question.

 

How do we stop the road carnage? How do we get comfortable? By constantly developing the skills that will make us safer drivers.

   

"Unskilled Driving Kills." Not quite as catchy, perhaps, as "Speed Kills," but a far more realistic approach to safe driving advocacy.

I am the author of the blog "Driverthink" at http://www.driverthink.com

I can be reached at my Email - Driverthink@optonline.net

My day job is that of a Reverse Mortgage Consultant and I am also an Army Vietnam Veteran. I have been involved in the field of finance for almost forty years - and have been driving just a wee bit longer!

I very much enjoy writing and am a published book author.

Each week Driverthink offers unique articles that focus on Driving Tips, Skills and Ideas for the Everyday Driver.

Please feel free to drop by "Driverthink" and offer your comments. Thank you.

Frank Miller

"The Hurt Locker" Movie Review

He is the main character of Kathryn Bigelow's 2009 docudrama "The Hurt Locker" – the film that quite surprisingly gained the universal acclaim and became a multiple award-winner (including 6 Oscars in 2010) and thus gave a humiliating slap in the face of her ex-husband's "Avatar". Kathryn Bigelow is a world-renowned master of suspense and action, with such motion pictures as "Blue Steel", "Point Break" and "K-19: The Widowmaker" in her director's portfolio. Besides, in 2010 she became the first woman ever to receive the Oscar in "The Best Director" nomination.

"The Hurt Locker" was premiered at the Venice Film Festival back in 2008 where it was given a truly warm welcome. The whole audience stood and applauded Ms. Bigelow for 10 minutes. However, for quite a long time she could not find an appropriate film distributor in the USA, as the movie was feared to bring some unpleasant memories relating to the war in Iraq. That's why it was initially shown in only four cinemas, but having quickly won the public recognition, it soon captured the screens of the whole America. And actually it contained no bad memories – just good, romantically haloed reflections on the American über-soldaten peace dukes fearlessly bringing universal values and democracy to those who need them the most…

In this regard, probably, the main secret of movie's popularity lies in its simplicity and eye-appeal for an unsophisticated spectator who views cinema as nothing more than amusement and reiteration of the banal pseudo-humanistic truisms. And although one may say the setting deals with the largely abstract war in a largely abstract Near East country, all the same the "democracy-for-oil" story will reek strongly – no matter how hard we try to plug our noses and pretend we don't see the obvious.

And as for the alleged "realism" of the film – this part starts to piss you off from the very beginning. Mark Boal, the scriptwriter and producer, is said to have received the first-hand knowledge of the combat engineers' work specifics as he had been embedded as a journalist in 2004 with a US bomb squad in Iraq. Well, if you ask me, the whole "realism" here can be reduced to just two things: the abundant swearing and the film title itself. "The hurt locker" is the widely-used US Army slang-word referring to the protective suit the combat engineers wear on their missions. The subsequent 2-hour sequence has little to do not only with realism, but sometimes even with common sense itself. Just think by yourselves: will not a person, who has at least the nodding acquaintance with warfare and field operations specifics, be irritated with how carelessly W. James drags 7 landmines by the wires (btw, why are they connected by just 1 wire?) or by the totally absurd (though spectacular and almost perfectly cut) scene of the snipers' duel. The latter deserves our additional attention: the Arab sniper with the SVD (!) quite easily takes off the British trooper with the .50 cal Barrett M82, but in order to make an aimed shot he has to stretch himself out of the window. The Briton's "successor" doesn't even change the position, but the Arab starts missing for some reason… But there's more to it: another Arab who is supposed to cover the sniper, can't even make a decision to open fire! What is he doing all this time? Trembling in awe before the dreadful US ministers of death in shiny armors? Perhaps.

Nevertheless, in my opinion, the film is worth watching just because of this scene alone, as there is nothing better in this world when the .50 cal bullet breaks into your chest, quickly and painlessly tearing off the remnants of your worthless soul and granting you the long-sought oblivion… And then it is the sunset, the abating heat and the buzzing flies that sing their ode to the day that's burning down… Probably, this is what Jim Morrisson sang about: "…Bullet strikes the helmet's head / And it's all over / The war is over…".

Finally, Ms. Bigelow fails to divulge the reasons of her character's reckless behavior. From psychological point of view, such "death seekers" usually must have the complex background in the sense of existential or family drama. W. James has nothing of it at all: he has a family, a loving wife, a baby and (seemingly) the utmost faith in mankind. In this regard, to explain all character's actions (and then project them on humanity as a whole) with his overall war addiction is absolutely inadequate, and…well, it just sucks, if you ask me.

On the other hand, what the film does really possess – is its suspense and the "presence effect" achieved by means of the flawless operator's and editor's work, which in this sense absolutely justifies two Oscars for the Best Picture and the Best Film Editing. As for the rest – they were just given out of political considerations.

Verdict: yet another US-glorifying and war-romanticizing pretentious propagandistic pseudo-docudrama. What the film dramatically lacks, is the contemplative and non-judgmental nature akin to the unquestionable masterpieces of the genre – F. Coppola's "Apocalypse Now", S. Kubrick's "Full Metal Jacket" and to some extent O. Stone's "Platoon". Quite fortunately, it doesn't deteriorate to the level of dung "Rambos" either. Just bearing this only fact in mind, we must deliver our prayers to God, grab the last of our back-breaking labour earned money and initiate a 2-hour wallowing in the barfed jobbing of the deceased world cinematograph.

About the Author

About the author: Steve Stolarczyk has specialized in custom movie reviews for the past four years and has written a free movie review on "The Hurt Locker".

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