Highway Pick-Up (1963) User Reviews

The gall of human unkindness.

[dbdumonteil · 8/10 · 2 August 2005]

In France ,nobody did film noirs like Duvivier.They say he invented the genre with his "Pepe le Moko" (1937).Duvivier's films noirs are as pessimistic as it can be.His characters are pitiful at best or evil.All along his brilliant career,from "Poil de Carotte" to "La fin du Jour" to "voici le temps des assassins",Duvivier was the poet of the blackness of the human soul,he used to paint the inmost depths of greed and perversity.Chabrol has sometimes equaled him ,never surpassed.Along with Clouzot,he reigns over the French film noir.

"Chair de poule " :those were the days of the Nouvelle Vague and Duvivier's work was dismissed as cheesy "cinema de qualité".Those were the days.But Duvivier's work survived.Hadley Chase's book resembles "the postman always rings twice" but Duvivier manages to take its noir side to new limits.In Cain's work,love did exist between the two leads.Here greed ,rapaciousness.Nothing else.Welcome to Duvivier's world.

As I wrote above ,Duvivier's characters are either pitiful and meek (Daniel,Thomas) or pure evil(Maria,the old man and his ugly offspring ,Paul).The odd couple (the not-so-handsome hubby and his sexy wife) was already in "Voici le temps des assassins"(1956).The only living being we can trust seems to be a dog ,an animal that plays an important part in both movies.Maria (Catherine Rouvel) recalls often Catherine (Danielle Delorme) but her sensuality is more aggressive .

Duvivier 's directing is perfect :he treats one of his scenes like a true western:"this is the Wild West" Paul says while entering the eating-house.And Rouvel ,trying to learn the combination of the safe from a wounded Hossein,reminds me of Von Stroheim's "greed". Duvivier avoids all the easy way outs ,all the Hollywood tricks, and his movies are among the few we can call "genuine" film noirs.The last part,which drags all the characters towards doom,culminates in an apocalyptic scene ,with the final pictures depicting Hell's antechamber.

Although not looked upon as one of Duvivier's best,"Chair de poule " was great ,coming from a sixty-something who had perhaps never made a truly bad film.

A remake was filmed in Thailand.

Black Hell

[writers_reign · 8/10 · 21 December 2008]

What constitutes noir? Urban setting, check. Rain-splattered street, check. Larceny, check. Gunshots, check. All the above are present and correct in the opening MINUTES of Chair de poule and a femme fatale isn't far behind. This was Julien Duviviers penultimate movie in a career spanning seven decades and coming as it did at the tail end of the new wavelet I like to think it helped to see off that pretentious hiccup which temporarily blighted a Great Film industry. Having opened on two men sitting in a car as torrential rain lashes the city streets Duvivier has them proceed to break in to a private home, get caught in the act of opening the safe by the owner, engage in a struggle involving gunshots and flee the scene. Then, taking a leaf out of Jacques Tourneur's book he moves the whole noir genre to the great outdoors (Tourneur shot most of Out Of The Past in a rural setting). Robert Hossein, fleeing the crime scene is given a lift by a somewhat naive filling station owner who offers him room, board, and a job which involves access to his sultry wife. You may be ahead of me here because yes, it does smack of The Postman Always Rings Twice but we're talking Duvivier here and he turns the whole thing up a notch introducing a fourth character where Postman was confined to three. He keeps the thing moving remorselessly to a climax that's Greek in its inevitability. Not to be missed.

Dark and deadly games played out in the fresh mountain air

[Red-Barracuda · 7/10 · 28 November 2017]

A job goes wrong for two safe-crackers and a security guard is murdered. The thief who committed the murder escapes punishment and his partner is convicted for the crime he was responsible for. After being sentenced to twenty years, he uses his skills to escape and winds up befriending a man who owns a cafe/filling station in the mountains. When his young wife discovers the safe-cracker's past, she blackmails him into opening her husband's safe. Needless to say, the husband catches them in the act and is accidentally killed in the process. Not long after the ex-partner hooks up with his colleague on the run and the plot thickens further.

This French crime-drama is an example of a very dark neo-noir. Every character we encounter in the cast is bad on at least some level. It's a world populated with people of different shades of dark grey, with greed and lust the main emotions of motivation. At the centre of the drama is an anti-hero who is caught in a web spun by a femme fatale, who is out to get all she can. But these are no one dimensional characters, for example the gold digging young wife acts very selfishly, yet you do sort of sympathise with her powerless position in life as a possession of her old and unattractive husband; while at the same time we understand the reasons why everyone does what they do, they all seem to be caught in traps of some kind or other. Acting is very good with Robert Hossein leading the piece and Jean Sorel his partner in crime, but perhaps it is Catherine Rouvel who is most memorable as the femme fatale whose actions propel the drama into tragedy.

Solid French noir from Julien Duvivier

[gridoon2024 · 7/10 · 1 December 2019]

I don't think I have seen a Julien Duvivier film I haven't liked so far, and "Chair De Poule" is no exception; in this one, he pays homage to Hitchcock with some little "bits of business" (the paper, the dog digging, etc.), but mostly he follows the time-honored traditions of film noir, with complex, corruptible characters and a top-notch, poisonous, extremely sexy femme fatale (Catherine Rouvel). The film is based on a James Hadley Chase novel, and it's well-plotted: you never know where the story is heading. Perhaps the only disappointment is the way Rouvel's last scene is handled. *** out of 4.

Come Easy-Go Easy.

[morrison-dylan-fan · 10/10 · 17 May 2013]

With having become a fan of the under rated Bollywood Noir genre after seeing the terrific 2008 adaptation of James Hadley Chase's There's Always A Price Tag film Maharathi (also reviewed),and also interested in taking a look at the work of Robert Hossein,after being left breathless from co-writer/actor/director Hossein's tragically overlooked Spaghetti Western Cemetery Without Crosses (1969-also reviewed),I was shocked to recently discover that Hossein and Chase's paths had crossed,thanks to Hossein starring in co-writer/director Julien Duviver's Film Noir adaptation of Chase's Come Easy-Go Easy.

Excited about seeing Hossein enter Chase's Noir world,I decided to pull up a chair so that I could hopefully witness the Poule enter a dark,and deadly Noir world.

View on the film:

Setting off a Film Noir mist across the movie within the first 5 minutes, auteur director Julien Duviver and cinematography Leonce-Henri Burel stylishly reveal the near total lack of "light" that will be allowed to enter any of the character's lives,by making sharp,lightning like burst of raindrops be the only source that brings to light how disastrous Genest and Boisett heist goes.

Keeping all of the character's in the grip of darkness that is released at the start,Duviver gives the daylight scenes a chilling atmosphere of a storm erupting at any second,thanks to Duviver expertly over exposing the light in this terrific Film Noir,which help to give the scenes a razor's edge intensity of the darkness decaying the signs of light in the movie.

For the night scenes in the film,Duviver gives the the movie a tremendous Gothic feel,by using thundering showers to reveal the muddying waters that are bubbling away,which contain Maria's real reason for being in "love" with Thomas.

Along with his expert eye for stylish lighting,Duviver also uses long,well handled tracking shots to subtle show,that instead of being an "escape to freedom",Boisett's acceptance of Thomas's kind offer,gradually transforms into Boisett finding himself corned by far deadlier things than those that he attempted to escape from.

Appearing unexpectedly fresh faced looking in the film,Robert Hossein gives an excellent performance as Daniel Boisett,with Hossein peeling away Boisett's dreams & desires with an unflinching rawness,which gradually uncovers,that behind Boisett's "innocent" face,lays a man who is literal prepared to laugh into an inferno of hell.

Joining Hossein,Georges Wilson gives an extremely well balanced performance as Thomas,with Wilson making Thomas kindness never feel forced,whilst also setting Thomas up to be the unlucky fall guy,due to being the only person in this shadowy world who has any sign of optimism.

Contrasting Wilson's cheerful performance,the gorgeous Catherine Rouvel gives a wonderfully icy performance as femme fatale Maria,with Rouvel curling the corner of her lips ever time Maria declares her feeling for Thomas,that quickly changes into a wicked smile,as Maria unleashes the deadly venom that she has saved for Thomas and Boisett.

Evil in the sun

[melvelvit-1 · 10/10 · 16 January 2011]

Locksmith Daniel Boisett (Robert Hossein) and his co-worker Paul Genest (Jean Sorel), friends since childhood, supplement their income with the occasional burglary until life spins wildly out of control one rainy night after Paul kills a man who catches them robbing his apartment. Paul manages to escape but Daniel's wounded by police and, taking the fall alone, is later sentenced to 20 years in prison but, enroute to the big house, he escapes and hitches a ride with the middle-aged Thomas (Georges Wilson) who offers him a job at his roadside restaurant. Daniel quickly accepts but soon finds out that Thomas' sexy young wife, Maria (Catherine Rouvel), has had her eye on the nest egg in her husband's safe for a long time and could use a man like him...

Julien Duvivier's classic French noir, based on a ripe piece of pulp fiction by James Hadley Chase ("Come Easy -Go Easy"), careens into THE POSTMAN ALWAYS RINGS TWICE territory at this point but the story takes so many breathless twists and turns, any comparisons are ultimately unfair. All kinds of complications ensue when Maria's husband ends up dead and Paul pops up again but "no good deed goes unpunished" in this perverse universe where greed, lust, and self-preservation trump decent human emotions like love and friendship every time. Daniel's the quintessential noir anti-hero, caught in a vortex of nightmarish cause and effect, and the femme fatale's a feral sex kitten who double-crosses anyone who crosses her path. Like MGM's version of THE POSTMAN ALWAYS RINGS TWICE, much of HIGHWAY PICKUP takes place in broad daylight, giving the film an "evil under the sun" aura and even though a stylistic shadow world, hallmark of the American Film Noir, is absent here, thematically the film's as bleak and as black as they come. The bitterly ironic ending, reminiscent of both Robert Siodmak's CRISS CROSS and Stanley Kubrick's THE KILLING, is a memorable one.

Ultra-cynical noir

[oOgiandujaOo_and_Eddy_Merckx · 10/10 · 4 February 2012]

Even though every day, you may walk past countless hordes of folk, you may even interact with a huge number of people, often-times in this era, and definitely in my time and place, and in the movie, one's psychological community, the people you have substantial interaction with, is less than a handful of people, and in the end maybe you are simply alone. I think that's brought out by the location of Chair de poule, the "relais du col", an isolated service station high in the mountains. People pass through all the time, but they're customers, cruel and spoilt (I can testify to the bad behaviour of people passing through service stations, having worked at one during my university holidays). So the horde just want things from you, but here so do your "intimate" associates. Like many french crime films of the time, Touchez pas au Grisbi (1954), being an example, or actually all of Jacques Becker's great movies, the prospect of male friendship / solidarity is tantalisingly present and seen as far more fulfilling than romantic love. It's perhaps the only escape in a cruel world. The movie's beautiful scenes are when Daniel (Robert Hossein) and Thomas (Georges Wilson) meet on the col road. A particularly wonderful and wistful tune by Georges Delerue plays here. Later, when the crapola has contacted the proverbial rotary device, a trumpeter on a passing coach-trip is there to taunt Daniel, with another wistful tune, this time mockingly so. Duvivier's is a cruel eye.

I deliberately didn't start with the a plot outline, because it's the psychology, symbolism, and the atmosphere of the movie, rather than what's a rather generic plot that is what it's all about. The plot is, as has been pointed out, a simple noir one of ordinary people being tempted by crime, the middle section has elements of The Postman Always Rings Twice (overtly, and also covertly - there is commentary on where lust ends and love begins). Chair de poule does rise above cliché, and you can genuinely feel how stifled the two Parisian friends, Paul and Daniel are. How long can one stand in the cold? Women aren't perhaps as misogynistically portrayed as in many noir. Throughout the movie men are controllers of safes, from the initial mark, a rich man whose safe is up for robbing, and who therefore counts far more beautiful women as habitual accessories, to the proprietor of the relais du col, and Paul and Daniel, who hitherto worked in a safe-makers factory. It's a world defined by men, where every woman needs a man. Daniel's warm words about Thomas to his wife are instantly sneered at for being a, "man's opinion". Ultimately Maria (Catherine Rouvel) is a character that can be sympathised with, a character with a back story, neither an angel nor a harlot, but a woman. She is still with us and acting in movies at the time of writing! Her face at times in the movie reminded me of a cheetah's at points, she comes across as wild but snared in the world's man-trap.

Top marks for pure villainy go to Lucien Raimbourg as Roux, who had all the shameless rapacity of that great French character from Les Misérables, Thénardier.

Chair de poule is darkly satisfying.

The Locksmith Killer.

[hitchcockthelegend · 9/10 · 3 March 2014]

Daniel Boisett (Robert Hossein) and his friend Paul Genest (Jean Sorel) are disturbed by the home owner during an attempted safe-cracking. In the ensuing mêlée, Paul accidentally kills the home owner and both men flee the scene in panic. Paul manages to escape but Daniel is shot and wounded by police and is promptly sentenced to a lengthy stint in prison.

Fourteen months later Daniel manages to escape and while out walking on the road he meets up with Thomas (Georges Wilson), who after the pair quickly become friends, offers him a job at the Mountain Relay Station he owns. Daniel adopts a new alias and accepts the offer, but once there he meets Thomas' sexy young gold digging wife, Maria (Catherine Rouvel), and nothing will ever be the same from here on in...

Directed by Julien Duvivier (Pépé le Moko), who also co-adapts the screenplay with René Barjavel from the novel "Come Easy--Go Easy" written by James Hadley Chase, Chair de poule (AKA: Highway Pick-Up) is French film noir excellence. A picture that carries all the hallmarks of the 40s and 50s classic film noir cycle, and proudly wears this fact as a badge of honour.

Comparisons have inevitably been drawn to The Postman Always Rings Twice (Tay Garnett 1946), which in itself is no bad thing at all, but this is still very much its own animal. Duvivier never lets the story sit still as a standard formulaic plot, there's always some new twisty addition to the story coming around the corner, unstable characters entering the fray to keep the bleak noirish stew bubbling away.

A fascinating feature of the picture is that our main protagonist, Daniel Boisett, is actually a good guy. Sure he was a safe-cracker, but he's not murderous, and as it turns out fate conspires against him to make him seem like a multiple killer, when he clearly is not. He took the fall for his mate, escapes jail and tries desperately to start afresh with honesty and virtue. But once Maria comes into his life fate has already dealt its deadly trump card.

Women always pay with the same currency...

Maria is an absolute sex bomb, a sizzling siren of sexuality, but as Daniel tells her, it's a pity she's so rotten, because she is, and very much so. Yes, there's a back story to her that stings her emotional fortitude, but she's a bad egg for sure. Things quickly spiral out of control, where even though Daniel knows that Maria is a femme fatale of the highest order, he's caught in a trap, a trap from which himself and the other male players in the piece can't possibly escape.

Visually it's an intriguing picture as most of it is set in daylight up at a picturesque location. It begins in classic noir territory in the pouring rain as the men begin the safe-cracking job, and then during the escape, Duvivier and his cinematographer Léonce-Henri Burel produce a magnificent shot of a cop's giant silhouette felling the fleeing Daniel. After this we are predominantly in high light terms, but never once does the sense of claustrophobia dissipate, the atmosphere is consistently hot and sticky.

Impressively performed and directed, Chair de poule is cynical, bleak and like a coiled spring waiting to explode. From that bleak rainy beginning to the explosively ironic finale, this is, basically, an essential viewing for film noir aficionados. 9/10

A treasurer from French 60s

[anne-77037 · 10/10 · 18 June 2023]

A plot thickens in the middle of nowhere in the south of France in the 60s.

The atmosphere is thrilling, with humorous scenes, moments of sexual tension and gangster action.

The soundtrack is astonishing, creating a tension on the edge of your skin through exaggerated sound effects or underlining surreal situations with crazy music.

The actors are just perfect.

A Duvivier masterpiece worth rediscovering, notice his sense of drama staging the American night, framing these lost places: a garage-restaurant night and day, chases on a mountainside... In short, a zigzag story full of twists and turns!

Good Duvivier film with unconvincing ending

[adrianovasconcelos · 8/10 · 6 November 2020]

CHAIR DE POULE is not one of Director Duvivier's finest works, but worth watching all the same.

It starts very strongly, with Hossein and Sorel surprised by the early return of the homeowners during the commission of a robbery. Sorel kills the owner but Hossein is the one who gets shot by police and bundled into jail for 20 years, although his first is spent in a sanatorium due to a bullet in the lung. Guess what? The innocent Hossein, who had never intended to be involved in the robbery in the first place, manages to break free thanks to police negligence.

Just as he did not utter a word about Sorel to police upon detention, so he moves quietly out of circulation without any ill feelings. He comes across Thomas, who owns a diner cum gas station well out of the beaten track - and a sizzling bombshell of a wife (Rouvel) to boot.

That he is immediately interested in her is obvious, but he is too loyal and respectful of Thomas to make the first move. No such worries for Rouvel, though: even as she hugs her hubby she gives him the big come on. And so begins a part of CHAIR DE POULE reminiscent of THE POSTMAN ALWAYS RINGS TWICE.

But things begin to go wrong when Thomas' brother comes around to pick things for free while the sibling is away. In fact, Thomas' brother is probably the most perfidious low life of all the low lives on display in this very noir film noir. Hossein makes an enemy out of him and from that point on things begin to go awry for all concerned.

I think the off camera killing of Rouvel lets the movie down. It is sprung on the viewer without any explanation, and the ending is a bit of a mess. Even so, CHAIR is interesting, a typical 1950s film noir shot in 1963. I think it would have gained from a better trinity of leading actors - say, Belmondo, Trintignant and Moreau; or Montand, Ronet and Lafont - and a better script.

Despite its flaws, it is well worth watching - especially the first 90 minutes.

Mlle Rouvel Is A Real Femme Fatale

[boblipton · 8/10 · 6 April 2024]

Robert Hossein and Jean Sorel are locksmiths who decide to rob a rich man whose safe they have recently repaired. But the man and his wife return unexpectedly and they kill the man. Sorel gets away, but Hossein is convicted of murder. Two years later, he escapes from prison and meets Georges Wilson in the Maritime Alps. Wilson takes him to his truck stop and diner where his sluttish young wife, Catherine Rouvel....

Sounds like THE POSTMAN ALWAYS RINGS TWICE, doesn't it? For half the movie it looks like it it. But this is from a novel by James Hadley Chase, and the director is Julien Duvivier. Duvivier's movies were one of the sources of film noir, but it's not the world that is corrupt, it's the people in the story he is telling. In the 1930s, his brand of poetical realism was tempered by having Jean Gabin in his movies,. Now, however, the principals are not doomed through the workings of fate, but by their weakness and evil. Sometimes society will exact the price. If not, then there is always the universe.