The greatest movies never made: Brian De Palma, Robert Zemeckis, and Steven Spielberg’s ‘Carpool’ was ‘Rear Window’ on four wheels
(Credits: Far Out / Alamy / Press) Wed 15 January 2025 4:30, UK As far as dream teams go, they didn’t come much more impressive in the mid-1980s, or ever, than Brian De Palma, Steven Spielberg, and Robert Zemeckis.The first two had planted their feet firmly in the industry as part of the ‘New Hollywood’ era when the movie brats began to take over the industry and rework it in their own image. While Zemeckis wouldn’t make his feature-length directorial debut until 1978’s Beatles-inspired comedy I Wanna Hold Your Hand, he quickly found a career-long ally in Spielberg, who was already a friend of De Palma’s.The auteur behind Obsession, Carrie, Blow Out, Scarface and Body Double was already regarded as one of the most distinctive and provocative auteurs in Tinseltown, toeing the line between risque cinema and crowd-pleasing entertainment by delivering a string of critically and commercially successful features that refused to bow to convention yet still always managed to find an audience.Having reshaped the complexion of the business with Jaws, Spielberg continued going from strength to strength by helming Close Encounters of the Third Kind, launching one of the most popular franchises on the planet with Raiders of the Lost Ark, directing the highest-grossing release of all time once again with ET the Extra-Terrestrial, and segueing into producing, which proved to be very beneficial for Zemeckis.Spielberg executive produced his first film and its follow-up, Used Cars. He was also the one power player in Hollywood who backed Zemeckis and writing partner Bob Gale when they unsuccessfully pitched an ambitious sci-fi adventure called Back to the Future around town and were greeted with nothing but disinterest and rejection.To put things into context: in 1986, Zemeckis and Gale’s two most recent screenplays were Romancing the Stone and the first instalment in Michael J Fox’s time-bending trilogy; Spielberg was fresh from steering The Color Purple to 11 Academy Award nominations and lending his EP expertise to Richard Donner’s beloved The Goonies, and De Palma was gearing up for the Oscar-winning The Untouchables.Take three heavyweight talents at the top of their game, unite them on the same project, and have them put their heads together on a high-concept premise that was described as Alfred Hitchcock’s Rear Window on four wheels, and there was no chance the end result was going to be anything other than top tier.That was the plan, anyway, after it was announced in early 1986 that De Palma would wield the megaphone on Carpool, working from a script authored by Zemeckis and Gale, which had Spielberg on board to produce. Those three names alone were about as close to a guarantee of quality as anyone could hope to find when the triumvirate were all working on a level above almost anyone else, but it wasn’t to be.The Rear Window comparisons were incredibly apt, considering the cues it was set to take from Hitchcock’s masterpiece were less than subtle, but if Shia LaBeouf’s Disturbia can go to a court of law and prove that it’s not an unofficial remake after being sued, then Carpool wouldn’t have been in any danger of litigation.Body Double displayed De Palma’s knack for homaging the ‘Master of Suspense’, and the story was right up a similar street. The plot follows a man injured in a car crash who ends up witnessing a murder while waiting for the emergency services and authorities to attend to his predicament. Once his safety is secured, he mounts a one-man investigation into the killing the culprit has no idea he saw with his own eyes, dragging him into a web of mystery and danger that threatens to do a lot more damage to his wellbeing than an automotive incident.Post-Scarface De Palma, post-Color Purple Spielberg, and post-Back to the Future Zemeckis joining forces on Carpool had the potential to add yet another riveting slice of cinema to three individual filmographies that were already overflowing with excellence in the ’80s, only for the entire thing to go up in a puff of smoke.[embedded content]Related TopicsSubscribe To The Far Out Newsletter