Films That Witness Madness

review

HITCH-HIKE

Pasquale Festa Campanile’s HITCH-HIKE is one of those exploitation roughies that has accumulated more fans over the years than it has any right to. It’s not particularly convincing, not particularly well-made or particularly interesting. It is certainly a well-acted piece - David Hess fans won’t be disappointed - but even that is undermined by paper-thin characters who are unlikeable and unsympathetic. Like LAST HOUSE ON THE LEFT before it, HITCH-HIKE has survived through the years because of it’s nastiness but unlike Craven’s film, which had honest thoughts behind it’s gruesome exterior, HITCH-HIKE is completely devoid of anything resembling deeper meaning.

Walter Mancini and his wife Eve are on holiday. Walter is a reporter and an alcoholic who verbally - sometimes physically - abuses his wife. They have no marriage worth saving. On their way to their next stop, they pick up a hitchhiker named Adam Konitz who - surprise, surprise - is on the run after a robbery. Konitz is a psychopath and he quickly takes the couple captive. From that point on, HITCH-HIKE becomes completely routine. Konitz and Walter bicker constantly, Eve walks a fine line between break-down and complete mental collapse, Kontiz shoots a few cops, Walter has to watch as Konitz rapes his wife, etc. etc.

It’s the final third of HITCH-HIKE that keeps it from being a total waste. Once Konitz has left the picture, the final disintegration of Walter and Eve’s marriage becomes the primary focus. Had HITCH-HIKE concluded in any other way, this film would have been a total waste of time but Campanile’s decision to end the film in such a surprising, morally bankrupt way adds a bit of originality to the proceedings - thought it is, in a way, similar to Bava’s RABID DOGS. The only problem is that, by this point, we simply don’t give a shit about either Walter or Eve and the final act of cruelty becomes somewhat meaningless.

In terms of acting, HITCH-HIKE deserves it reputation. The trio of Franco Nero, Corinne Clery and David Hess have chemistry between them and Nero and Hess make for an interesting duo to watch. Physically dissimilar and from much different schools of acting, just the sight of the two of them in the same car creates tension. They are perfectly matched, the cool, thinking Nero and the hot-headed, impulsive Hess, and their frequent verbal and physical clashes would have perfect in any other film but - for the umpteenth time - both men are disgusting, misogynistic pigs and I simply could not find any solid ground to stand on with either. Both are pathetic, miserable creatures and I couldn’t have given a shit about which one died and which one lived.

The majority of HITCH-HIKE occurs within a single vehicle so it’s no surprise that Campanile’s direction seems a bit stale. When the film finally moves outside of the car, things get a bit more visually interesting - some of the locales are quite striking - but for the most part this is standard shot reverse-shot filmmaking with little in the way of innovation. The only real pulse to the proceedings comes from the actor’s performances and the unique score from maestro Ennio Morricone. This is a real shame. All the stars were aligned for a truly great exploitation classic. You have three good actors, a great premise ripe with potential, a great screenwriter in Campanile - as director, not so much - and a great score from the best in the business. But it’s all for naught. Nothing works and nothing is memorable. Damned shame.

Not recommended.

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