Hit and Run

Another highly original production by Hugo Haas with his one choice actress Cleo Moore, but this became her last film, but as usual her performance is memorable. It's the same old story again, an old fool gets enamoured with a young splendid blonde and marries her, while she after the marriage betrays him with another, and that other man is his closest associate, a fellow worker and mechanic at his garage, and it's actually he who insists on seducing her, while naturally her protests are not enough. There is a circus involved also, which appears towards the end, with a real bombshell for a female director, Dolores Reed, who brings some real titbits of sequences to the film. She even tries to seduce Cleo Moore's lover, which of course infuriates Cleo Moore who while drinking gives the whole plot away - there always seems to be a lot of drinking in Hugo Haas' films, which adds to their charm and comic touch, although Haas never reaches the height of the great jokes of Hitchcock. Still, Hugo Haas is brilliant in his own way, writing his own scripts and producing his own films and giving them a solid direction, and their plots are always ingenious. So don't miss any detail of this very carefully blended drink of a wondrous film thriller.

This story isn't pretty, in fact it's downright scuzzy:

He's old and fat, with a bank account to match his belly. She's young and hungry, with too much peroxide and not enough scruples. Toss in a muscle-bound mechanic with a yen for faux-blonde skanks with alley cat morals and you can be sure that the postman who always rings twice will be heading for the doorbell again.

Welcome to the lower depth digs of Hugo Haas & Cleo Moore, a particularly grimy rung of the film noir inferno. Like most of their collaborations, it plays like a lurid, dog-eared pulp mystery paperback come to life, chock full of murder, mendacity, horny Hungarian junkmen with goulash for brains, Italian studs with sky-high pompadours, and femme fatales with bosoms the size of Tucker Torpedoes.

HIT AND RUN was the final collaboration between writer/director/star/gutter auteur Haas and his slatternly muse Moore. Along for the ride is Vince Edwards as the beefcake buddy who covets his best friend's bride. As with all Haas/Moore noirs, everything they touch turns to pig slop.

All told, it's one of Hugo's better efforts, a compelling, typically feverish riff on the DOUBLE INDEMNITY formula (albeit told from the perspective of the elderly cuckold) festooned with several oddball twists and turns and touches. Well worth seeking out. With Julie Mitchum, Robert's lookalike sister, as an undertaker's sassy wife.

The Hugo Haas Bio Deserves Attention from Anyone Interested in B-Movies, Especially of the Film-Noir Type,

that He Made His Specialty in the Last-Act of a Long and Rich Career in the Movies, that Ended where He Did Everything but Sweep the Floor.

In this one, He Follows the Film-Noir Mainstay that He Repeated Now and Then of an Older, Well-to-Do Man who Manages to Snare a Young, Pretty, Bad-Girl.

Only to be Set-Up for the Knock-Off by a Femme Fatale (Cleo Moore who made 7 Movies with her discoverer).

The Handsome-Hunk on the Side-Lines Willing and Able to Do the Deed is Vince Edwards (a smoldering, sexy, Body-Builder in real life), whose Claim-to-Fame was Playing "Ben Casey" on TV for 5 Years. (1961-66).

"Hit and Run" has a Number of Thrills (check out that lion tamer Dolores Reed), Twists, and Spills, and Like Always Hugo's Bang-for-the-Buck, Delivers.

This Would be Cleo Moore's Last Film After Giving Hollywood a Try in a Few Films with some Minor Success, but Never Hit the Big-Big-Time. Just Like Her Mentor Hugo.

Once Again Check Out His Bio. A Fascinating Immigrants Hollywood History if there ever was One.

He was one of the Most Hard Working Talents that was Chewed Up by the Movie-Industry that He Loved and was Dismissed as a "Bottom Feeder" and in Later Years was Given the Undeserved Nick-Name of the "Foreign Ed Wood".

He was Once Gregory Peck's , among others, Acting Coach for Heaven Sake.

The king of low budget film noir with cleavage, Hugo Haas, is to be commended. Haas had the knack for remaking classic films, like THE POSTMAN ALWAYS RINGS TWICE, and with him starring as the old man in the way, accompanied by lovely femme fatale Cleo Moore.

Nice to see some of his films surface of late, a rerun favorite back in the days of black and white tv. HIT AND RUN is a campy gem, all about young hunk Vince Edwards working at Haas' garage and discovering flirtatious Moore. Haas (who plays Gus) gets run over (why not?) and Vince and Cleo live happily ever after --OR do they?

Let the grade-B suspense begin, and what a tangled web these two weave. I would bet even Hitchcock watched some of these films, getting ideas for his offbeat tv show, which had similiar mechanics. It fits.

Recommended late show stuff and with all the cheap trimmings. Some of Haas films are on dvd, but you have to do your homework. Double bill or box sets floating around. Check ebay for best results. Worth your time.

N. B. Startpoint= IMPORTANTLY, NO spoilers here; coz has good unexpected twist in its unfolding.

But, ah - a 'romance' (of sorts):

For cineastes, fans of the 'lower graded' film oeuvres, this is worth watching, er, tolerating, not necessarily for another of auteur director Hass' love smitten efforts - although admittedly with good unexpected development: SO; (recommend / try) APPROACH WITH NO SPOILERS to 'enjoy' - but because of some of the oddities that unfolded from the casting (and scripting) of this noirish-like little pot-boiler.

Platinum - (well, in black and white) - blonde (so thought of as contemporary to M. Monroe) Cleo Moore's final film, so also, with as having been for director, auteur Hugo Hass' muse / besotted starring roles run partnership with her too, after a short, but hectic, five year run, as with over eight prior films together.

And point to that here is that, not only was reason Cleo looking as though just going through her paces - she finished with filming completely straight after - but Hugo himself was clearly over- egging the euww factor, as once again cast himself as her to be hubby, despite clearly (embarrassingly) showing his age / their difference! (He was in his fifties, her still her twenties!) Moreover, either deliberately (coz riled up the male gaze audience as showed a chap like him could still clinch a beauty like Cleo ..) or ennui laziness, coz portraying his - own directed AND written - character as an almost permanent five-o-clock shadowed, sweaty, 'soiled' (check his visage throughout) lecher! (Check how Cleo sashays about in her 'home' attire serving coffee to him whilst he lounges about in his brekkies dressing gown!)

In its way, a pity, because despite the tired twist to this sordid little noirish pot-boiler, if you can come to it WITHOUT any foreknowledge = SPOILERS, still it is unexpected and truly keeps you guessing right up until the denouement - literal - reveal. (Well, it did me; but then I just let these fifties 'male gaze' just eye candy wash over me on their way to their run out.)

So, to take you on the way through Cleo's tired looking* and Hugo's leering lechery performances, of cinematic lore interest to note, catch sight of, are such oddities as: diminutive bit part player Pat Grodin** as 'Undertaker', introduced into the plot for seemingly not much reason than only deliver a killer frisson line to do with a female lion tamer; of whom, herself of note, in equally also being shoehorned for otherwise no real apparent reason into the plot***; and him (Pat the 'undertaker' ?!) thus also along with his inferred long 'don't touch' passionless marriage husk, harridan, wife, Julie Mitcham - as who just happened to be famed actor, Robert's sister.

* There is one brief, full face, bright lit shot of her - in the stage of looking knowingly, fearfully, 'caught in the headlights' like - that is surely Hugo's adoring parting appreciation shot, gift to her; it's like an early forties studio portrait rendition and must have looked utterly stunning even for its brief time, on the big screen back in its original cinema run days.

** Better known, if not actually 'seen', as the completely unrecognisably cast titular 'The Man from Planet X' (apparently; who could know under that top costuming and make up there?!)

*** Of whom, from director (writer, auteur etc.) Hass' world, introduces a quite 'hmm' factor, not only from her character's profession and demeanour, but also most notably of cinematic to real life aspects to go 'ah hah' (= as in art imitating life or vice versa?) For was here the debut - and eventually, rare**** - brief appearance of statuesque Dolores Reed (so, yup, the lion tamer = or is that actually, tame(tre)ss?), as whom (although, surely only coincidentally?) had already been romantically involved / linked with Hass; with whom, but there's more: as although she latterly married a 'mechanic': and on by which, now check how Frank (Vince Edwards), as cast by Hass in this as a 'car mechanic', and her in this denouement - well - check out.

**** and for as to why, then check further her odd and tragic short life choices and developments!

Wow!