Gas, Food, Lodging…and Murder

The French film poster for HIGHWAY PICK-UP (1963), a French crime drama directed by Julien Duvivier.

Daniel and Paul are professional locksmiths and good friends who work for the same company. When they mastermind the robbery of a client by breaking into a safe Daniel had previously repaired, the theft goes awry, with the client dying from a blow to the head. Paul escapes but Daniel is shot and injured by the police in the ensuing chase and sentenced to 20 years in prison. After a year in the stir, Daniel escapes by picking the jail cell lock (of course) and tries to elude the authorities in a desert-like region of Alpes-Maritimes in southeastern France. Under an assumed name, he manages to get hired on as an attendant at an isolated gas station run by Thomas and his sexy young wife Maria but Daniel soon realizes he has created a new prison for himself.

Based on the 1960 crime noir Easy Come, Easy Go by British author James Hadley Chase, Chair de Poule (English title: Highway Pick-Up, 1963) is the penultimate film of the legendary French director Julien Duvivier. If the basic premise sounds like it was inspired by The Postman Always Rings Twice, you wouldn’t be completely wrong. Chase (1906-1985), who used many pseudonyms during his career such as Raymond Marshall and Ambrose Grant, was actually motivated to become a writer after reading James M. Cain’s 1934 novel. Chase’s first novel, No Orchids for Miss Blandish (1939), was an overnight best seller and was adapted into a stage play and two film versions, one in 1948 and one in 1971, under the title The Grissom Gang, which was directed by Robert Aldrich.

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The Kidnapped Heiress

The French film poster for SEXUS (1965).

When it comes to crime films, what’s your pleasure? The genre breaks down into so many sub-categories that it helps if you have a particular theme in mind. Bank Heists? Home Invasions? Police procedurals? Gang wars? How about kidnapped heiresses? James Hadley Chase’s 1939 pulp fiction novel No Roses for Miss Blandish is a classic example of this edgy situation and has been adapted for films at least twice – the 1948 British noir of the same title starring Jack La Rue and The Grissom Gang (1971), Robert Aldrich’s violent remake with Kim Darby as the unfortunate victim. Even real-life cases involving kidnapped heiresses have inspired numerous crime dramas such as the 1974 kidnapping of Patty Hearst which spawned Abducted (1975), a sleazy exploitation rip-off from director Joseph Zito, The Ordeal of Patty Hearst, a 1979 made-for-TV dramatization, Patty Hearst (1988), Paul Schrader’s take on the events with Natasha Richardson in the title role, and probably the best of the lot, Robert Stone’s 2004 documentary, Guerrilla: The Taking of Patty Hearst. But, if you want to see an arty, minimalistic treatment of the kidnapped heiress theme with erotic interludes and a cool jazz score by trumpeter Chet Baker, look no further than L’enfer dans la peau (1965), a French softcore crime drama from director/writer/producer Jose Benazeraf, and released in the U.S. in an edited form entitled Sexus.

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Little Demons

DON”T BE AFRAID OF THE DARK 1973 starring Kim Darby & Jim Hutton

“We Want You Sally….We Want You….Come to Us!” 

For those who first saw Don’t Be Afraid of the Dark at a young impressionable age when it originally aired on ABC in 1973, those maniacal, whispering voices of the little demons have probably stayed with you and so has this creepy little made-for-TV movie that has one of the more memorable endings of any haunted house genre picture. 

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…And Bob Dylan Plays a Chainsaw-Wielding Conceptual Artist.

Bob Dylan in Backtrack aka Catchfire (1990)

Bob Dylan in Backtrack aka Catchfire (1990)

Sometimes the casting in a film is so peculiar and unique that you feel compelled to take a chance on it no matter how many negative things you’ve heard about it. Wouldn’t you want to see a movie that featured Jodie Foster, Vincent Price, Joe Pesci, Charlie Sheen, Dean Stockwell, Bob Dylan and numerous other well-known stars? Such is the case with 1990’s Catchfire, one of Dennis Hopper’s least known movies but there’s a reason for that.   Continue reading