Hitch Hike (1977)

Wonderful Movie

Very well executed

The Worst Film Ever

As Good As It Gets

I abide by a simple rule when driving: never pick up a hitch-hiker, especially if he looks like David Hess. Bickering married couple Walter and Eve Mancini (Franco Nero and Corinne Cléry) do just that whilst driving cross country, quickly coming to regret offering stranded driver Adam Konitz (Hess) a lift when they discover that their passenger is in fact an escaped lunatic and armed robber who is on the run with $2m in his suitcase.While Hess is no doubt the most loathesome character in the car, the depraved killer quickly showing his true colours, Walter and Eve are no angels either: Walter is an egostistical, drunken, misogynistic, failed reporter living off his wife's money, while Eve is something of a spoiled ***** (although Corinne Cléry's stunning beauty cuts her a lot of slack in my eyes). As the film develops, the plot takes more twists and turns than the desert backroad travelled by the trio, leading to a most unexpected conclusion. The fun is in being along for the ride, not knowing where the film will take you.At 104 minutes, Hitch-hike is possibly a little too long, heavy on dialogue that might have benefitted from some judicious trimming, but director Pasquale Festa Campanile doesn't allow the pace to drop too much, delivering enough exploitative content at regular intervals to keep fans of '70s sleaze more than happy. Those wanting to see Hess in ultra-violent/sleazy mode will delight as he blows away two motorcycle cops (one taking a bullet to the head with bloody results), sends his gay partners-in-crime to a fiery death, and forces himself on Eve in front of a helpless Walter. And those looking for gratuitous nudity will be pleased to learn that Cléry is no shrinking violet.A memorable score from Ennio Morricone accompanies the uncompromising action, with a happy-clappy hippy singalong song contrasting the sex and violence.7.5 out of 10, rounded up to 8 for IMDb.

Pasquale Festa Campanile's squalid thriller is so insanely misogynistic it's offensive. Bickering couple Franco Nero and Corinne Cléry pick up hitchhiking bank robbery suspect David Hess out in the California desert. What ensues is a demented game of cat-and-mouse between Hess, some his cronies and the unlucky couple. Nero shouts a lot, Hess screams a lot and Cléry is relentlessly victimized, frequently stripped naked and beaten. Stupidly rules in this classless piece of junk that wastes a lot of talent and bores the viewer into a stupor. Ennio Morricone's Dylan-esque music score adds absolutely nothing. The film has been edited into various forms for viewing in different parts of the world, but it would be fine if all prints were in fact simply destroyed.

Considering this film's notorious reputation, the copious amount of praising reviews, the unusually high rating (for this type of cinema) and some of the most promising keywords available on IMDb (like "Extreme Violence", "Explicit Sex" and "Grindhouse"), I can't help feeling a little bit disappointed with the final result. "Autostop Rosso Sangre" is a good film, but my personal expectations were set to see a non-stop orgy of shocks & sleaze combined with an involving story, but eventually the wholesome is simply a bit too "light". Still too controversial and nightmarish for most mainstream audiences, mind you, but genuine cult freaks and die-hard sick puppies are likely to remain behind with the feared sentiments of "Is that it?" The film is shamelessly promoted as a cash-in on "Last House on the Left" (one of the a.k.a.'s even literally repeats the title of Wes Craven's milestone) and it's fairly easy to see why, even apart from the fact it stars David Hess in a similar role. The set-up also handles about a family suddenly terrorized (physically as well as emotionally) by a fugitive psychopath; only this plays as a road movie with the creep aiming to reach Mexico by car instead of entrenching himself inside the house of innocent people. There are two major differences between this film and the majority of "Revengesploitation"-efforts, however. First and foremost the script doesn't really build up towards the typical & anticipated vengeance-climax and, secondly, the victimized family isn't the most piteous and sympathetic one, neither. The first twenty or so minutes extendedly introduce Walter & Eve Mancini during the last days of their annual camping trip at a cheerful site in sunny California. Walter is an alcoholic and unsuccessful reporter of Italian descent who practically rapes his own wife, continuously humiliates her in front of the other campers and enjoys aiming a hunting riffle at her. On their way home, Eve picks up a hitchhiker against the Walter's will and their already depressing lives rapidly turn into an even bigger hell. All the attempts to get rid of the unwanted passenger result in disturbing bloodbaths and gradually a strange and unsettling triangular relationship develops itself. For approximately 80 minutes, "Autostop Rosso Sangre" is a gripping & compelling mixture between road-movie, psychological thriller and down-to-the-ground exploitation. The story bathes in a mysterious atmosphere and the photography and soundtrack (courtesy of Ennio Morricone) are ultimately stylish, yet the violence is brutal (but sadly too minimal) and the sex and nudity are totally gratuitous. You actually often wonder whether you should feel enchanted by the beautiful imagery or disgusted with the depraved characters and their actions. Franco Nero enormously impresses as the rotten husband – and this time he's even allowed to talk English with a heavy Italian accent – and cult bogeyman David Hess is once more naturally menacing as the perpetrator. Corinne Clery is gorgeous and nevertheless comes across as a strong woman despite her inglorious and severely anti-feminist role. "Autostop Rosso Sangre" makes an abrupt stop around the 80 minutes checkpoint and afterwards continues its journey on a twisty & bumpy road with several unlikely obstacles. --- Warning: Here There Be Spoilers --- The DVD box clearly states you're watching the fully uncut 104 minutes version, yet something happens that usually marks the end of a film. However, the story continues, introduces some new characters and even alters the persona's of those we already know. Particularly the end shot is thoroughly bizarre. Is Walter supposed to reprise Adam's role of fugitive pervert? Sure he acted like a bastard from minute one, but he isn't a criminal. You could claim the final twenty-five minutes are innovating and in fact those that truly distinguish this film from the majority of inferior "Last House on the Left" imitations, but at the same time they're the only ones that move by at an incredibly slow pace and feel redundant. This is unquestionably a 70's euro-exploitation highlight, but still it could be better. For total perfection with a similar storyline, check out Mario Bava's "Rabid Dogs".

Everybody in this movie is strictly out for themselves, which makes the double dealing all the more believable. You are never quite sure who to root for. As soon as one bad guy is disposed of, another appears to take their place. Along the way there is plenty of sexual tension, fistfights, car crashes, shootings, and various other entertainment for exploitation fans. "Hitch-Hike" has just enough action and plot twists to offset the sub-par acting. As an added bonus, Ennio Morricone, delivers a very good score, somewhat reminiscent of the "Dollar" spaghetti westerns. This all adds up to a highly recommended exploitation film. - MERK