Der Anhalter

Though I've seen the suspenser before, I still had a sweat bucket handy for this latest go-round. Great job all-around. It's the kind of B-movie old movie fans savor, that is, if you don't mind your knuckles turning white. Talman delivers a career performance as the psychotic hitchhiker Emmett Myers. He'd just as soon shoot you as shake your hand. So who do you suppose average guys Lovejoy and O'Brien give a ride to.

That's it, the whole story--- two nice guys at the mercy of an escaped lunatic with neither a tree nor a girl in sight. But the suspense seldom lets up. Sure, a critical eye could wonder why the two hostages don't try to turn the tables more than they do. Wisely, however, the script suggests that neither wants to endanger the other with a false move. Besides, Talman's one scary dude. Producer Lupino better have three of the industry's best actors because their interaction's the whole story. Fortunately she got them.

Two inspired touches-having Myers (Talman) unable to close one eye gives him a subtly gruesome appearance, plus filming in a hellish desert perfectly mirrors the situation. The lonely traveling car is like a one-way trip to Hades. I doubt that any film has gotten more out of a dollar-eighty budget than this little suspense gem. I love it when a cheap-jack production like this delivers more goods than the Technicolor biggies of the day. Thanks be to the versatile Ida Lupino and her company of three outsized talents for this minor triumph.

Thanks to modern technology, another film noir classic has escaped from Hollywood's vault of too-often-overlooked or forgotten films. Albeit a minor classic, "The Hitch-Hiker," directed by Ida Lupino, is a taut drama notable for it's realism, as well as a haunting performance by William Talman.

Reputedly based on a true incident ("Penned from the headlines"), the story traces the movements of a hitch-hiker, Emmett Myers (Talman), who repays his highway hosts by robbing and murdering them. Initially, we are shown mere glimpses of Myers and his victims, which successfully sets the stage for the introduction of Roy Collins (Edmond O'Brien) and Gilbert Bowen (Frank Lovejoy), two friends on their way to a fishing trip in Mexico, when, unawares, they pick up Myers.

What follows is a realistic depiction of what most likely would transpire when ordinary people are suddenly faced with such extraordinary circumstances. And the strength of the film lies in the fact that when Collins and Bowen are kidnapped, held at gunpoint and forced to do the bidding of their captor, they react and behave in a manner that is both consistent with their current state of affairs and believable. There are no feigned heroics or superhuman contrivances that allow the two captives to effect an escape; instead, the story plays out in much the way one would, in reality, expect in such a situation, which, when extrapolated, effectively drives home the true horror of Collin's and Bowen's circumstance.

The lion's share of the credit for the success of this film must go to director Ida Lupino, whose almost documentary-style approach to the story lends it the necessary grit and intensity. She scores double points, as well, for not only delivering a memorable film, but doing so at a time in which few women were afforded the opportunity to perform at such a level behind the camera. Lupino's success no doubt helped pave the way for the likes of Jane Campion, Jodie Foster, Gillian Armstrong, Allison Anders and a host of other women who have since proved that gender alone does not equate to excellence and ability in the director's chair.

In arguably his best performance, character actor William Talman turns in a memorable performance as the sociopath, Myers. Forget your Freddys and Jasons; Talman's portrayal creates the kind of character that nightmares are really made of. Myers is a guy you could pass on the street, or-- yes, even give a lift to if you saw him with his thumb out on the highway-- without giving him a second thought. And that's what makes him so scary; his disguise is that he doesn't have a disguise, and it's so much more effective than having a hockey mask or hands with steel fingers could ever be.

O'Brien and Lovejoy also turn in credible performances, creating characters who, like Talman's Myers, are real. Watching them, you believe that Collins is, indeed, an auto mechanic, and Bowen a draftsman; two friends off together to do some fishing.

The supporting cast includes Jose Torvay (Captain Alvarado); Jean Del Val (Inspector General); Clark Howat (Government Agent); and Natividad Vacio (Jose). The 71 minute running time is perfect for this film; rather than resort to superfluous filler, Lupino stays on task without ever straying, and in the end makes "The Hitch-Hiker" a ride that will leave you wondering what you would do in a like situation, and hoping that you'll never have to find out. It's the magic of the movies.

Ida Lupino was a very good actress, but she was even a better director and movie executive. She really understood all the elements of film and film noir and put them into this masterpiece made for chump change. The twenty best films of the 21st century that feature suspense and tension (Speed and others), cannot come close to this film. Edmond O'Brien and Frank Lovejoy give outstanding performances; with Lovejoy doing his best work ever in this film. The real star of the film, however, is the underrated actor William Talman, in the best work of his career (and one that deserved an Oscar nomination) as the psycho killer. It was a shame that Hollywood at this time considered this genre subpar and not worthy of Academy Awards, when in fact, several mediocre films received much higher praise (like the sappy The Greatest Show On Earth and the corny An American in Paris). This is a perfect film for a film professor of Cinema 101 to use as an example of how to create suspense and hold it for an hour. How to keep tension for an hour is not an easy feat to achieve, and it is seldom found in the vast majority of films. But Lupino did it; not just once, but several times after this great effort. A film not to be missed by any serious film buff.

"The Hitch-Hiker" is an excellent little independently produced film-noire thriller directed by Ida Lupino. It is essentially a three character story about two pals on a fishing trip (or is it?) who stop to pick up a hitch-hiker whose car has apparently broken down, What they don't realize is that the hitchhiker is a crazed killer.

The two buddies are played by two of the best character actors of the period, Edmond O'Brien and Frank Lovejoy. The hitcher, in the role of his career, is played by William Tallman (of TV's Perry Mason fame).

The story covers their trek across the desert back roads of Mexico in an effort to evade the law. Most of the film takes place within the claustrophobic confines of O'Brien's car as he and Lovejoy remain at the mercy of loose cannon Tallman never knowing where or when he might decide to shoot them. Lupino gives us a compact, tense and suspenseful thriller. Shot in black and white, it runs a brief 71 minutes and delivers an excellent drama on a limited budget.

Rarely seen today, this movie is a buried little treasure.

Out of RKO Radio Pictures, The Hitch-Hiker is directed by Ida Lupino and jointly adapted to the screen by Lupino, Collier Young and Daniel Mainwaring. It stars Edmond O'Brien, Frank Lovejoy & William Talman. Nicholas Musuraca photographs the film and Leith Stevens scores the music.

"This is the true story of a man and a gun and a car. The gun belonged to the man. The car might have been yours, or that young couple across the aisle. What you will see in the next seventy minutes could have happened to you. For the facts are actual".

The above opening salvo from the film is not without merit, tho due to the Hays Office requirements Lupino had to tone down her initial plans for the film. The story is based on the true story of murderer Billy Cook, who in 1950 posed as a hitch-hiker and murdered a family of five and a travelling salesman. The film picks up with the aftermath of that, where Cook then kidnapped two friends out hunting and forced them at gunpoint to drive him across the border into Mexico. Lupino researched her subject well, even interviewing the principals in the kidnapping.

Something of a cult favourite these days, The Hitch-Hiker is a brisk, lean and tight film showing how to get the maximum amount of suspense out of the simplest of set-ups. Practically a three character piece, the film thrives on claustrophobia and an impending sense of dread. Even when the characters come out of the confines of the car, we still feel stifled during the sequences that feature the men out in the desert. There's a sense of desolation in the landscape that marries up with the emotional state of our two kidnapped men. It's fine work by Lupino, who never lets the mood slip. She in turn is aided considerably by her writers and Musuraca's photography. The former cleverly only lets the kidnapped men's personalities unfold once they are seized by Talman's psychopath, the latter brings film noir agoraphobia to the Alabama Hills, Lone Pine, location: A place that was often shown to be gorgeous in many a fine Western in the 50s.

All three lead actors do good work under Lupino's direction, with Talman particularly menacing, all lazy eye and snarly grins. While Stevens' music sits nicely with the tone of the story. Credit Lupino, too, for not letting her male driven movie contain any machismo posturing, or heaven forbid, testosterone fuelled bravado. Where the film does fall down is with its rather anti-climatic finale. For although the real life finale involving Billy Cook was genuinely mundane, the film's ending is also a bit of a damp squib. It's one of those cases where some poetic licence wouldn't have gone amiss. Still, it's far from a deal breaker, the film remains a taut and moodily enjoyable experience. 7.5/10