La belva dell'autostrada

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.

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.

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.

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

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.