La racoleuse

It's pretty difficult to dismiss Haas as an 'sleazy, murky old guy' or 'The Bad Director' in his exile days (read US, later). He's trying hard and the pictures do have some bright moments, when you feel like as if it was a serious drama, or when you laugh hard. The problem is -- for some people -- that you get both in one package and that you might laugh at places where it wasn't intended. But I enjoyed this picture -- and I am not saying this only because of my hurt national pride or something.

The reviewer who said "Citizen Kane it ain't" got it right. This is lowbrow stuff to be sure, but for what it is, Haas demonstrates a surprisingly keen eye for both dialogue and characterization, two things supremely lacking in the cheaper and lesser BAIT produced a few years later. Best of all, this is a highly entertaining ride, with a solid and credible performance by Haas as the pigeon who all but begs for a plucking until he sees the light (or rather hears the dark) when he overhears the plotting and venomous bile directed at him by his conniving and venal wife, who believes him to be deaf.

Trumping all however is the bravura dominatrixesque performance of Ms. Michaels as the throaty pointy-bra'ed femme fatale. Here's one of the few broads I've ever come across who might be able to actually compete with Ann Savage's mouthy and devouring DETOUR chippie for supremacy over a castrated male race. And leave the male species begging for more.

Also in the movie's favor is a reasonably tight storyline which features some nice twists and reveals with great gusto the true depths of treachery to which Michaels gleefully stoops to get her $7300 out of Haas. Again, this isn't DOUBLE INDEMNITY and it certainly isn't Shakespeare but it's charmingly pulpy and has an agreeably creamy evil nougat centre.

Czechoslovakia-born Hugo Haas does a fantastic job of directing, writing the screenplay and enacting the main part in PICKUP. He certainly deserves top marks for that tripartite effort.

He is helped by excellent cinematography from Paul Ivano, sharp editing from WL Bagier, and a convincingly dissolute performance from beautiful, lanky, brooding Beverley Michaels. Howland Chamberlain also does well as the down and out intellectual who steals books from the town library and keeps quoting from them. He is the Jiminy Cricket, the conscience everyone finds irrelevant - even Jan Horak, who fails to listen to the intellectual's advice to get a dog at the beginning of the fim.

Instead, Horak (Haas) gets himself a beautiful wife who is clearly a gold digger, sleeps in different quarters - you get the feeling that there is no sex in that relation - and starts cheating the moment handsome Allan Nixon turns up.

Jan Horak's temporary deafness is exceedingly well exploited. Haas' acting is sublime throughout, the highest point being when he hears wife and lover plotting against him, and he laughs with tears streaming down.

This B pic borrows a little bit from Germany's DER BLAUE ENGEL (1931), in which an older man falls for a much younger and uncaring Marlene Dietrich, and from THE POSTMAN ALWAYS RINGS TWICE (US 1944), but it diversifies the story lines completely and it holds its own without ever coming into plagiarism territory. PICKUP should earn Hugo Haas a far better reputation than it did while he was alive. In the late 50s, early 60s some rated him the foreign Ed Wood in Hollywood, which was unfair and insulting in the extreme.

I enjoyed it very much and wholeheartedly recommend it. 8/10.

The set-up is the same as in "The postman always calls twice", but Beverly Michaels is no Lana Turner. She is much worse, much cheaper and much more vulgar but at the same enticingly prettier and more taunting. You will hate her but at the same time adore her splendid vulgarity. Hugo Haas is the poor old service man who is stupid enough to marry her without suspecting the consequences. Allan Nixon is the young man who becomes her second prey, but as he cannot fulfil her desires he is actually saved. The most interesting part is Hugo Haas' spells of losing his hearing, which forms a vital part of the drama. It is not a very remarkable film but very good of its kind, having had no ambitions for any masterpiece, but it should go along well together with "Detour".

Citizen Kane it ain't, but Pickup isn't nearly as bad as one might think. Actor-director Hugo Haas deserves better, and I hope I can help the poor man (long departed) out. Haas,--no, I won't go into his career and background--let's just say the man had the reputation for being an okay actor, but as a director he was considered a sort of Central European version of Ed Wood. Pickup is about an older man, played by Haas, whose life is made a wreck of and nearly ruined by a toothy, gum-checking but withal irresistible blonde, portrayed by the unforgettable Beverly Michaels. The girl is, to be as genteel as possible, a worthless tramp, and nasty and stupid in the bargain. She plays with her adoring and naive lover like a cat with a mouse, and has an affair with a much younger man on the side. Amazingly, no one is murdered in the course of this film, which is actually at times quite sweet. Look, every novelist cannot write The Brothers Karamazov and every composer cannot write the Eroica, so why put down poor Mr. Haas whose only sin as an artist that I can tell is that is that he isn't Orson Welles. The man had a heart and soul, and this comes through in many scenes. He understands cruelty, too, and the woman in this film is, for all the melodrama, a not innacurate portrait of a certain kind of low-down broad who, if one were to show her videotapes of her inflicting her standard dose of pain on whoever the poor dope fool enough to get involved with her at the moment is, would shrug, light a cigarette and say, "Well, he was asking for it, wasn't he?". I'm not too sure about the character Mr. Haas plays in this film, but there is a kernel of truth in the mean little tale he tells; tacky though it may be, there's life in it nonetheless, which is good enough for me.