The Hitch-Hiker

Roy and Gilbert are heading to Mexico on a fishing trip together when they stop to pick up a hitchhiker. Too late they realise that the man has not really run out of petrol but is actually criminal Emmett Myers, who has killed his way across several states and is now using them to continue his getaway from the authorities. With Emmett holding the two friends at gun point, he forces them to drive deeper into Mexico – all the time making it very clear that they are only alive while he needs them alive and not any longer.

The opening caption informs us that this is based on a true story and also tries to engage the audience by pointing out how the couple in the car could have been you (or the people across the aisle). Really though it needn't have bothered with either because the caption doesn't add a great deal. It may be based on a true story but it didn't seem like it was interested in this beyond using the facts as a frame for the story and personally I didn't think it needed to try and put me into the car because Ida Lupino did that well enough by herself. The story is simple and it is to the director's credit that she holds it together so well. Yes it is short by modern standards but she should not lessen how well she has brought out a constant sense of tension whether it be in the tight confines of the car or in the desperate bleak openness of the desert.

She is helped by a strong trio of performances from actors who appear to be punching above their weights. Although they haven't a huge amount of depth in their characters they do convince in the realms of tension and fear. The friendship between O'Brien and Lovejoy is solid and helps to support the slightly weak element of the script which is that they never seem to even considering leaving the other for even a second. Talman is memorable in the title role, easily building a screen of menace before allowing the cracks to show.

A pretty good film then. It trades on atmosphere and tension, both of which Ida Lupino works with really well. The actors maybe don't have depth to trade on but they respond well to the tone of delivery and give suitably good performances.

Ida Lupino's "The Hitch-Hiker" is like a B-movie bullet coming at the audience. No fat. No melodrama. Nobody trying to get home in time to save the crippled kid. Just a lean and mean treat – as the police-style narration promises us, 70 minutes of "true" crime suspense.

The plot is as straight and narrow as they come. Two war buddies (Frank Lovejoy and Edmund O'Brien) decide to detour south to the Mexican border to make their vacation more interesting (possibly a nudie show or two) and get far more action than they bargained for when they pick up a psychotic prison escapee (William Talman) who holds them hostage. The film's big gimmick is the fact that the hitch-hiker has one paralyzed eye, so that the two hostages can't tell when he's sleeping or awake to make a break for freedom. Considering how cheap this device sounds it actually works extremely well under the direction of Lupino and Talman's performance. As he tries to make his way to freedom across the Mexican deserts, the hitch-hiker drags these two All-American types with him and engages in sadistic games for his own amusement like having one of them hold a tin can while the other shoots it out of his hand with a rifle. After trying to escape together several times the hitch-hiker makes the film's most profound statement by taunting the 2 friends "you could have escaped if you didn't worry about each other" (or words to that effect).

Apparently there is some controversy over whether this film should be called a "film noir". It's been in the public domain for many years and has been included on a lot of "film noir" collections sold at bargain prices, and presumably some viewers have been disappointed by this film's lack of the usual things you see in a "film noir". Now first of all their complaints should be directed at the people who labeled the DVD instead of the people who made the movie 20 years before the term "film noir" even existed. Now is this just a semantic question? Yes and no. Ultimately it doesn't matter what we call the film. It's a suspense film, basically. In other words a film with a more or less set outcome where the audience spends the whole time worrying about "how" and not "what". There seems to be a disturbing trend with this film and some others, that I've gathered over the years reading comments, to hold these movies to some kind of extrinsic standard, a set of values totally alien to the film itself. The film does not have a "femme fatale". OK, it doesn't have any women period. It has no dark semi-Gothic melodrama. Perhaps most noticeably it does not take place in the dimly lit alleyways of urban America. Hence some "film noir fans" have chosen to deride the movie for its perceived deficiencies and to declare it lacking based on a strange confluence of out-of-control marketing (the chronic use of the word "noir" to sell videos) and narrow genre rules for a "genre" that never actually existed. Still others seem to stray in the opposite direction, considering any film "noir" that employs expressionistic photographic devices that were in common usage far back in the silent era. Instead of all this we should look at the film for what it is and only consider it in terms of "noir" as far as it helps us to understand the piece in relation to contemporary films of the 40s and 50s.

The most unusual aspect of the film in my opinion is its total lack of dramatic pretense aka melodrama. The meat of the film is in the 2 men's relationship and the way that the criminal interloper throws that friendship into relief. Superficially speaking they are "innocent" while he is "guilty". But what's interesting in the film is the way that the mere presence of this evil person brings out the weakness and corruption of the 2 friends. The hitch-hiker's comment about how the 2 men could have escaped separately but were held back by their friendship implies, as do many of his off-hand insulting comments, that the 2 men are soft and corrupted by civilization and that the hitch-hiker himself is a stronger man because he does anything he wants to do. However when one of them asks him "have you ever had a gun pointed at you" it's a subtle reminder that both of these men are war veterans and that they might have a much greater understanding of power and fear than the criminal could ever possess. In this way the film addresses broader issues of the post-war American man in terms of how he sees himself and how others in society may see him. It digs into the insecurity that the domestication and suburbanization of the post-war culture brought to many veterans. And as far as I'm concerned this is prime film noir territory.

So if you're strictly interested in traditional tough guys like Mike Hammer and Philip Marlowe, or if you insist on the standard "good girl vs. bad girl" melodrama (aka "femme fatale") then you probably won't get what you're looking for from this movie. But if you're interested in the broader themes of the corruptive influence of civilization that many "noir" films explore then this film is a novel way to see these themes expressed. It's a very well-made film – although not hugely ambitious, when taken on its own terms the film does have something to say about modern life.

Roy Collins and Gilbert Bowen are two friends on a fishing trip in Southern California. They've been having a swell time, and are looking forward to reaching San Felipe. Unbeknownst to them, a raving lunatic has been thumbing rides and killing drivers in the area. After they pick up a man named Emmett Myers, they learn all about it- for Myers is the killer. He forces Collins and Bowen on a journey into fear around the State, riding along with and psychologically tormenting the two men all the while. Though the police are on the case, they're running out of time. Will they track Myers down before he makes Collins and Bowen the next two names on his victims list?

Directed by Ida Lupino and written alongside her husband Collier Young, 'The Hitch-Hiker' is a hardboiled potboiler that is tense and thrilling. Though the story comes to a predictable conclusion, the trip there is full of suspense. Lupino and Collier's dialogue is deliciously pulpy, and the back and forth between Myers and his two hostages is a real treat to listen to. From the start to the finish, the film is entertaining, and is a cut above other hostage-based noir thrillers of the 50's- of which there were many. Full of thrills and chills, 'The Hitch-Hiker' will surely provide audiences immense viewing pleasure.

The film boasts arresting cinematography from Nicholas Musuraca that is heavily atmospheric. Primarily confined to the interior of Collins and Bowen's car, Musuraca makes excellent use of the limited space, juxtaposing it against the vast expanse of desert, giving the film a claustrophobic feeling that heightens the narrative's tension. The utilization of light and shadows is sinisterly effective at maintaining the film's tone, and Musuraca's composition of images is striking. Like Edgar G. Ulmer's 'Detour,' 'The Hitch-Hiker' is low budget, but features some incredible visuals that linger in the mind long after the credits have rolled.

As does Leith Stevens' atmospheric and jazzy score, which contributes to the mood of the piece, but never overshadows it. His evocative theme is particularly gripping and used to great effect in the film. Additionally, the minimal set decoration from Harley Miller and Darrell Silvera is impressive, with a roadside shop in a small Californian town being particularly memorable. One would be remiss not to mention Douglas Stuart's tight editing, which holds everything together wonderfully; establishing for the proceedings a steady pace.

'The Hitch-Hiker' stars Edmond O'Brien and Frank Lovejoy as Collins and Bowen and William Talman as Myers, giving the performance of his life. Talman is terrific as the cold-blooded psychopath, clearly reveling in the chance to play such a wild character. He is both menacing and unpredictable, a dangerous mixture of a man you can't keep your eyes off. This is not to say that O'Brien and Lovejoy don't do commendable work, because they do. Lovejoy is particularly good, but their roles aren't nearly as interesting or as colorful as Talman's, and there is less they can do with the parts. Talman dominates the movie, and you'll assuredly have a hard time forgetting his performance.

Deftly directed by Ida Lupino, 'The Hitch-Hiker' is a suspenseful noir thriller fans of the genre will love. Featuring stunning cinematography from Nicholas Musuraca and an emotive Leith Stevens score, the film impresses on every level. With a strong screenplay from Lupino and Collier Young full of great dialogue, and boasting three fine central performances from Edmond O'Brien, Frank Lovejoy and William Talman, 'The Hitch-Hiker' is frighteningly good.

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.