This very funny, lively and engaging comedy hoot offers a slice-of-life seriocomic cinematic snapshot of a single frantic day at an inner city Los Angeles car wash. Michael Schultz directs with great galvanizing zeal and panache, stringing together a wacky and enjoyable series of freewheeling vignettes with a positively breathtaking sense of smoothness and assurance. Joel Schumacher's witty and colorful script offers plenty of warmth and humanity along with the often uproariously raucous humor. The varied and personable cast have a field day with their vivid characters: Bill Duke as an angry Muslim, Ivan Dixon as a wise, hard-working parolee, Sully Boyar as the harried owner, Franklyn Ajaye as an amiable dreamer, Tracy Reed as a sweet waitress, Antonio Fargas as a flamboyant homosexual, Lorraine Gary as a stuck-up upper class white lady, Jack Kehoe as an affable cowboy, Pepe Serna as a jovial Hispanic, George Carlin as a flaky cab driver, Lauren Jones as a sad hooker, Professor Irwin Corey as a middle-aged guy who's mistaken for a pot bottle bomber, Garrett Morris as a jivey hipster, Melanie Mayron as the sexy cashier, Tim Thomerson as a handsome hunk, Richard Pryor as slick hustler reverend Daddy Rich, and the Pointer Sisters as Daddy Rich's gospel singers. Frank Stanley's polished, sparkling cinematography, Norman Whitfield's funky, dynamic, syncopated soul score, Christopher Holmes' snappy rhythmic editing, and Rose Royce's fabulously groovy classic hit theme song add further bounce and energy to the infectiously frothy, playful and sprightly proceedings. Best of all, there's a constant joy and vibrancy evident throughout which makes this movie an absolute uplifting treat to watch.

"Car Wash" is a film that is really hard to describe when it comes to plot. In some ways, it's a lot like the later "Barbershop" films but with a lot less depth as well as a bit like "American Graffiti" for Black Americans. However, the film is great for anyone who remembers the 70s--especially if they love the soul music of the time. That's because Rose Royce's soundtrack is VERY enjoyable and you can't help moving your feet as you watch the film.

The picture is a semi-plot less story about a single day at a car wash in Los Angeles. It's made up of LOTS of little vignettes--s few which were pretty funny and one or two that were poignant. While a few of the bits fell pretty flat (such as the Richard Pryor cameo),overall the good outweighs the bad. Particular standouts in the film are Ivan Dixon (a fine, fine actor who is great here but also is unfortunately known most for "Hogan's Heroes" and not fine films like "Nothing But a Man" as well as the many shows he directed) and Franklin Ajaye--though they were all pretty enjoyable. My feeling is don't try to look for a lot of depth or story--just sit back and soak it all in, as it's like a flashback to the funky 70s. In other words, a nice glimpse into the time and a wide array of ethnic characters with a wide array of hopes and dreams.

I've seen this film a few times (the last time was tonight) and for folks my age or a bit older (I'm nearly 50),it's a nice bit of nostalgia.

By the way, look for the character 'Lloyd' (part of a singing duo)--this is Otis Day from "Animal House"! It's also a treat seeing Antonio Fargas (Huggy Bear from "Starsky & Hutch") as a gay transvestite! It's also nice to see the old-time actor Clarence Muse in the film as well in one of his final films.

It's a day in the life of Dee-Luxe Car Wash in L.A. It's a group fun loving wacky employees. There's Lonnie in charge, angry Duane actually Muslim Abdullah, T.C. trying to win a radio contest and others. The boss Mr. B is having a fling with the receptionist Marsha. His son is a Maoist who wants to work with the proletariat. There are others like George Carlin as a cabbie, Richard Pryor as the slick Daddy Rich and The Pointer Sisters as his backup singers The Wilson Sisters.

The movie struggles to have a plot for 90% of the time. It's just a bunch of guys running around, talking trash and working. There isn't actually a plot. The movie is a mile wide and an inch deep. It's hard to connect with the characters when there are so many of them and none of them is the lead. Everybody is a bit wacky. There are some interesting possibilities like Lonnie, Abdullah and T.C. but they don't expand on their stories. That's why the ending is so abrupt. It turns dark and completely different from the rest of the movie. Richard Pryor often gets headline billing but he only has an unfunny ten minute cameo. The writer needs to cut out a few employees and add an actual plot. The song is really cool though. It's noteworthy that Joel Schumacher is the writer. He's not most noted as a good writer.