A conversation with a friend recently had us both come to the conclusion that you shouldn't hitchhike solo. Mum and dad always say don't talk to strangers, and I've always just assumed that anyone willing to give you a ride must have rope, duct tape and a shovel in the trunk--perhaps I watch too many horror films. But what if the danger was the hitchhiker--just as likely, no doubt--and what if that danger was unintentional? Al Roberts learns that sometimes Fate is the real danger on the road.
When his lovely bar-singer girlfriend goes to try her luck in Hollywood, Roberts (Tom Neal) goes off west to try and pick her up. A poor pianist at a club, he says he barely had enough money for food after selling his belongings let alone a ride, so he thumbs it out to California. In the deserts of Arizona he is picked up by Charles Haskell Jr. This fella seems too good to be true--he agrees to take him all the way to Hollywood and even pays for his dinner. But Charles unexpectedly dies under suspect circumstances, and in a wave of panic Roberts dumps the body, taking Charles' clothes, money, car and papers essentially becoming Mr. Haskell.
How unfortunate for him, then, when he decides to pick up a broad named Vera (Ann Savage) who happens to be one of the only people who could ever identify the real Haskell and knows Roberts had something to do with his death. A convict herself--and one tough cookie to boot--she ropes him into a couple of nights in Hollywood with her, threatening to expose him unless he agrees to help her squeeze as much money out of their situation as possible (and there is the possibility of a lot of it).
At just over an hour long, this film is brisk, taught, and has some really fine performances. Savage steals ever scene she's in as the motor-mouth, tough girl who is secretly in love with Roberts. Neal does a fine job playing a guy possibly always in the wrong place at the wrong time. I say possibly because what was so great about this film was the ambiguity of it all. The film is told in flashback with Roberts narrating. He makes the point repeatedly that his stories sound far-fetched, but they're true! When you watch the story unfold yes, Haskell could have died the way he says and true, the break in the partnership of Roberts and Vera might have happened the way it did, but they seem almost too convenient.
Roberts is a nice guy. We root for him and the loving way he talks to his girl. He seems softer than a lot of men in noir films--more sensitive--and therefore we should very much like to believe his stories. But then again maybe he's only nice because they are his memories and he can paint himself however he likes. He certainly doesn't make any effort to clear his name, and his actions in times of stress don't help his case. Of course it's impossible to determine his guilt or innocence, but that's the fun. I personally think he's a murderer, for this film is also making a large statement about poverty and the lengths people will go to for money.
Short, fun and intelligent. Has all of the gritty poetry of good noir picture.
3.5/4
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