Pickup | |
---|---|
Directed by | Hugo Haas |
Screenplay by | Hugo Haas Arnold Phillips |
Based on | Guard No. 47 (novel) by Josef Kopta |
Produced by | Hugo Haas |
Starring | Beverly Michaels Hugo Haas Allan Nixon Howland Chamberlain Jo-Carroll Dennison |
Cinematography | Paul Ivano |
Edited by | W. L. Bagier |
Music by | Harold Byrns |
Color process | Black and white |
Production company | Forum Productions |
Distributed by | Columbia Pictures |
Release date |
|
Running time | 78 minutes |
Country | United States |
Language | English |
Pickup is a 1951 American low-budget film noir starring Hugo Haas, Beverly Michaels, Allan Nixon and Howland Chamberlain. Written and directed by Haas, a Czech actor and filmmaker, it was his first American film behind the camera. Haas, a refugee from German-occupied Europe, went on to make a series of gloomy noirs about doomed middle-aged men led astray by younger femmes fatales. [1] [2]
The film is based on a 1926 novel, Guard No. 47 by Josef Kopta, and has a plot similar to the 1946 film The Postman Always Rings Twice (1946), [2] though with a much different ending.
Czech-American Jan "Hunky" Horak is a middle-aged railroad dispatcher who mans isolated Tank Stop 47, several miles out of town, by himself. When he takes a Sunday off for the first time in a year, his fill-in is Steve, a young man. While at the carnival, he is targeted by a much younger, attractive blonde named Betty, who is just after his money. After their date, she returns to her room, but finds she and her friend Irma have been evicted, not having paid rent for months, and her landlady threatens to call the police unless she returns the silverware and linen she hocked. To solve her financial problems, she marries Hunky, a widower of two years.
Afterward, Hunky loses his hearing and is allowed to retire early. Steve is his replacement, but since the retirement paperwork will take four or five weeks to complete, Steve lives temporarily in a tool shed across the tracks from the company-provided house where Hunky and Betty reside. Steve knows what kind of woman Betty is (she dated somebody he knows), but still falls in love with her.
When Hunky is knocked down by a car, he regains his hearing. He keeps this development to himself, initially for Betty's benefit, as his company pension will enable the couple to move into town. However, Betty talks openly in his presence about how she only married him to get out of a jam, and that she will not stick around to take care of him.
Betty finds out that she cannot obtain a divorce. She then attempts to get Hunky to move his savings into a joint account. When that fails, Betty tries to persuade Steve to shove her husband off a cliff during a rail inspection, falsely claiming that Hunky has beaten her, but he cannot bring himself to commit murder. Disgusted, Betty packs up and leaves.
The film has been described by Larry Langman as "a poor man's version" of the 1946 film The Postman Always Rings Twice , based on James M. Cain's 1934 novel The Postman Always Rings Twice. [2]
It opened in New York on August 30, 1951. [3] It was released only to secondary and independent theaters.
Time magazine praised Haas as "Hollywood's most promising new moviemaker" since Stanley Kramer, calling the film "a fascinating game of cat & mouse, played for pathos as well as suspense", and noted how its sense of character, acceptance of human frailty, and seedy, impoverished setting made it far from the usual Hollywood film. [4] More recently Filmfanatic.org called it "a tawdry, low-budget camp classic", criticising predictable elements but praising the dialog and some unexpected plot twists. [5] Fernando F. Croce remarked on its "unusually blunt masochism" and sympathetic treatment of the femme fatale (who makes it out alive). [6]
Has been shown on the Turner Classic Movies show 'Noir Alley' with Eddie Muller.
Film noir is a cinematic term used primarily to describe stylized Hollywood crime dramas, particularly those that emphasize cynical attitudes and motivations. The 1940s and 1950s are generally regarded as the "classic period" of American film noir. Film noir of this era is associated with a low-key, black-and-white visual style that has roots in German Expressionism cinematography. Many of the prototypical stories and attitudes expressed in classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Great Depression.
A femme fatale, sometimes called a maneater, Mata Hari, or vamp, is a stock character of a mysterious, beautiful, and seductive woman whose charms ensnare her lovers, often leading them into compromising, deadly traps. She is an archetype of literature and art. Her ability to enchant, entice and hypnotize her victim with a spell was in the earliest stories seen as verging on supernatural; hence, the femme fatale today is still often described as having a power akin to an enchantress, seductress, witch, having power over men. Femmes fatales are typically villainous, or at least morally ambiguous, and always associated with a sense of mystification, and unease.
The Postman Always Rings Twice is a 1934 crime novel by American writer James M. Cain. The novel was successful and notorious upon publication. It is considered one of the most outstanding crime novels of the 20th century. The novel's mix of sexuality and violence was startling in its time and caused it to be banned in Boston.
Joanne Dru was an American film and television actress, known for such films as Red River, She Wore a Yellow Ribbon, All the King's Men, and Wagon Master.
Barbara Lee Payton was an American film actress best known for her stormy social life and battles with alcohol abuse and drug addiction. Her life has been the subject of several books, including her autobiography I Am Not Ashamed (1963). Also, Kiss Tomorrow Goodbye: The Barbara Payton Story (2007) by John O'Dowd, L.A. Despair: A Landscape of Crimes and Bad Times (2005) by John Gilmore and B Movie: A Play in Two Acts (2014) by Michael B. Druxman. She married five times.
Born to Kill is a 1947 RKO Pictures American film noir starring Lawrence Tierney, Claire Trevor and Walter Slezak with Esther Howard, Elisha Cook Jr., and Audrey Long in supporting roles. The film was director Robert Wise's first film noir production, preceding his later work on The Set-Up (1949) and The Captive City (1952).
Niven Busch was an American novelist and screenwriter of movies such as the acclaimed The Postman Always Rings Twice. His novels included Duel in the Sun (1944) and California Street (1959). He was married to actress Teresa Wright for ten years beginning in 1942.
The House Across the Lake is a 1954 British film noir crime film directed by Ken Hughes and starring Alex Nicol, Hillary Brooke, Sid James and Susan Stephen. It was produced as a second feature by Hammer Films. It was released in the United States by Lippert Pictures.
The Postman Always Rings Twice is a 1946 American film noir directed by Tay Garnett and starring Lana Turner, John Garfield, and Cecil Kellaway. It is based on the 1934 novel of the same name by James M. Cain. This adaptation of the novel also features Hume Cronyn, Leon Ames and Audrey Totter. The musical score was written by George Bassman and Erich Zeisl.
The Postman Always Rings Twice is a 1981 American neo-noir erotic thriller film directed by Bob Rafelson and written by David Mamet. Starring Jack Nicholson and Jessica Lange, it is the fourth adaptation of the 1934 novel by James M. Cain. The film was shot in Santa Barbara, California.
Hugo Haas was a Czech film actor, director and writer. He appeared in more than 60 films from 1926 to 1962 and directed 20 films from 1933 to 1962.
Olin Ross Howland was an American film and theatre actor.
Carey Wilson was an American screenwriter, voice actor, and producer.
Pierre Chenal was a French director and screenwriter who flourished in the 1930s. He was married to Czech-born French film actress Florence Marly from 1937 to 1955.
Beverly Eileen Michaels was an American B-movie actress and cheesecake model of the 1950s.
No Questions Asked is a 1951 American crime film noir directed by Harold F. Kress and starring Barry Sullivan, Arlene Dahl, George Murphy and Jean Hagen.
Strange Fascination is a 1952 American film noir directed by Hugo Haas, starring Cleo Moore, himself and Mona Barrie. This was the first of six films pairing Haas and Moore.
Marilyn is a 1953 British second feature ('B') film noir directed by Wolf Rilla starring Sandra Dorne and Maxwell Reed.
The depictions of women in film noir come in a range of archetypes and stock characters, including the alluring femme fatale. A femme fatale, is a prevalent and indicating theme to the style of film noir.
Allan Hobbs Nixon was an American actor and novelist.