The Hitch-Hiker (1953)

“The Hitch-Hiker” (1953)

IMDb

opened eye

Road trip films are a very powerful genre because they convey a deep sense of oppositions merged to create a vision of unity. This something that, apart from this sub-genre, maybe only western can create so aptly, but with western we are always attached to the meaning of the films: western film is viscerally linked to a certain American vision of values, moral and ethics, and its Italian connection, to cinema itself, meta-narrative.

But the road-trip is free from so many conventions. They come in all shapes and sizes. So you can produce a road-trip movie in anyway, without being forced to obey the laws of a genre, because in the end, it’s not one.

So we have the Bonnie and Clyde, Fear and Loathing in Las Vegas, My blueberry nights. Each a very shiny light in its own cinematic galaxy. Each creates its own rules.

But what works all the time as a key element in these films, and what it shares with western, is how it invites the filmmaker to shoot wilderness, wide spaces, infinite roads, to portrait solitude, inner voyages, personal dramas. That’s the one thing that makes the film live or die.

This one lives. I have a growing admiration for Ida Lupino. A woman in the job mostly done by men. Giving us new versions of masculine genres. Feminine intimate calculation placed against (and over) men’s intuitions and symbols. This is a film with no relevant female characters. She delivers, I think, a kind of deeper version of this genre, specially compared with the generality of films done in these days, when the medium was not so developed as to allow emotion to be shown from such an inside point of view.

So here we have a film of tension, instead of violence. The promise of the next thing that will happen is always superior to the perspective of actually seeing that. And that’s what builds the shape of the film: the next thing. Talman gives us a very fair version for his typical character, more remarkable if we think it was still given when Brando hadn’t broken the rules for cinema acting. And naturally, a film like this necessarily depends in important parts on the performance of the actors.

So this is a film of sketched but unfulfilled actions, tension as opposed to realizations. The promise of the next landscape, the next town always mirrors the evaluation of the situation by each of the 3 characters. That’s why our bad guy keeps one eye always apparently opened, even when asleep.

My opinion: 3/5

This comment on IMDb

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