Hit and Run

And it was their last film together. After "Hit and Run," Cleo married a multimillionaire, went into the real estate business, and never looked back. This potboiler also stars Vince Edwards.

Haas, a garage owner named Gus, meets Julie in the club where she works and gives her his card, telling her to call him about a car. You don't have to ask her twice. She shows up soon after. Before you know it, wedding bells.

From the beginning, there's a sexual tension between her and Hugo's helper Frank (Edwards). One night, Frank grabs her and declares his love. Julie is attracted to him, but tells him to leave town. Gus, meanwhile, catches on that there are some sparks.

This story has a little twist to it.

Cleo is stunning, and as usual, the focus is on her. Besides her looks, she had a strong presence. Edwards' looks normally don't appeal to me, but he is quite hunky here. Haas turns in a good performance. He was actually quite well known in his native country of Czechoslovakia.

Some trivia, the woman from the circus, whom Frank meets later in the film was Robert Mitchum's older sister. She retired after getting married.

That Hugo Haas was a small gem of a producer/writer/director. "Hit and Run" is the second Haas film I've seen after "Pickup," and while I didn't like this one quite as much as the other one, mostly because this one has the misfortune of not starring Beverly Michaels, it's still a lurid and pulpy good time.

Haas is a really winning screen presence, and you end up rooting for him based on the strength of his charm. It helps that he's always a pretty decent guy who finds himself saddled with a no-good dame, who usually brings along with her some other bohunk who wants to do him harm. Cleo Moore is said dame in this one, and if she's not exactly a femme fatale, she also doesn't do much to stop the grisly proceedings carried out by said bohunk, played here by the smoldering Vince Edwards. Edwards comes across as a dim bulb, but good grief did that dude drip with sex, and the scenes with him and Moore have a real erotic charge.

"Hit and Run" is my favorite kind of noir, because it's cheap and tawdry. It also has a sense of humor, and I think one of the things I like best about Haas is that he never took himself or his films too seriously. That gives them a unique playfulness that sets them apart from other films of their kind.

Grade: A-

The Hugo Haas Bio Deserves Attention from Anyone Interested in B-Movies, Especially of the Film-Noir Type,

that He Made His Specialty in the Last-Act of a Long and Rich Career in the Movies, that Ended where He Did Everything but Sweep the Floor.

In this one, He Follows the Film-Noir Mainstay that He Repeated Now and Then of an Older, Well-to-Do Man who Manages to Snare a Young, Pretty, Bad-Girl.

Only to be Set-Up for the Knock-Off by a Femme Fatale (Cleo Moore who made 7 Movies with her discoverer).

The Handsome-Hunk on the Side-Lines Willing and Able to Do the Deed is Vince Edwards (a smoldering, sexy, Body-Builder in real life), whose Claim-to-Fame was Playing "Ben Casey" on TV for 5 Years. (1961-66).

"Hit and Run" has a Number of Thrills (check out that lion tamer Dolores Reed), Twists, and Spills, and Like Always Hugo's Bang-for-the-Buck, Delivers.

This Would be Cleo Moore's Last Film After Giving Hollywood a Try in a Few Films with some Minor Success, but Never Hit the Big-Big-Time. Just Like Her Mentor Hugo.

Once Again Check Out His Bio. A Fascinating Immigrants Hollywood History if there ever was One.

He was one of the Most Hard Working Talents that was Chewed Up by the Movie-Industry that He Loved and was Dismissed as a "Bottom Feeder" and in Later Years was Given the Undeserved Nick-Name of the "Foreign Ed Wood".

He was Once Gregory Peck's , among others, Acting Coach for Heaven Sake.

Another highly original production by Hugo Haas with his one choice actress Cleo Moore, but this became her last film, but as usual her performance is memorable. It's the same old story again, an old fool gets enamoured with a young splendid blonde and marries her, while she after the marriage betrays him with another, and that other man is his closest associate, a fellow worker and mechanic at his garage, and it's actually he who insists on seducing her, while naturally her protests are not enough. There is a circus involved also, which appears towards the end, with a real bombshell for a female director, Dolores Reed, who brings some real titbits of sequences to the film. She even tries to seduce Cleo Moore's lover, which of course infuriates Cleo Moore who while drinking gives the whole plot away - there always seems to be a lot of drinking in Hugo Haas' films, which adds to their charm and comic touch, although Haas never reaches the height of the great jokes of Hitchcock. Still, Hugo Haas is brilliant in his own way, writing his own scripts and producing his own films and giving them a solid direction, and their plots are always ingenious. So don't miss any detail of this very carefully blended drink of a wondrous film thriller.

Writer-producer-director-star Hugo Haas offers his take on THE POSTMAN ALWAYS RINGS TWICE, with psychotic Vince Edwards driven mad with lust for Haas' new wife, Cleo Moore. Haas is no dummy, and he has his own twist in store for them. In many ways, his work reminds me of the sort of paperback original novels of the era, with people murdering each other for sex at least as much for money. Whether this was an outgrown of film noir or a source of the film genre is hard to say. Possibly each egged the other on.

If you're looking for high cinematic art, this is not a movie for you. Haas paid for his own productions and then sold the finished project to a distributor, so it came out pretty much as he wanted within the limits of what he could afford. Still he knew what his audience wanted, like turbo-charged lion tamer Dolores Reed, who suggests to Edwards that he join her act.