Hacker Cinema
The Wages of Fear
Le Salaire de la peur
1953 · Film · 148 min
Directed by Henri-Georges Clouzot
In a run-down South American town, four men are paid to drive trucks loaded with nitroglycerin into the jungle through to the oil field. Friendships are tested and rivalries develop as they embark upon the perilous journey.
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11 comments on Hacker News
Ditto above.
I thought is would be one of those hard movies, made for critics and dated in the 2020's, but no it was a solid and great watch.
Le salaire de la peur ("The Wages of Fear") is B&W and (1953), it can be done later. It is the original and 'better' but foreign films often get a ratings bump. Both are outstanding (S: 7.7 vs WoF: 8.1 IMDB)
In the specific case of Star Wars, that’s exactly how you make something decent within the Star Wars framework: pick a few elements, including characters, plots, shots, scenes, lines, whatever, from a broad set of genre media, mash them together, and apply Star Wars lipstick. The first film basically defined the genre pastiche film, and it’s still the straightest path to making something Ok within Star Wars. Most failures (and there are so many) are creatives failing to appreciate this, or not leaning into it hard enough.
Mandalorean has one episode that’s about 50% The Wages of Fear and I bet the other main element of accidentally finding some officer you’d really like to get revenge on but while in the middle of committing another crime is also from something else, but I’m not sure what. The AT-ST episode is basically a Conan the Barbarian story plus any of a few westerns (the training-the-town-folk thing—even the woman who’s an uncannily good shot for no reason ever explained is lifted from westerns). That show got how to do Star Wars.
More broadly, yes, more original (at least, not based on an existing visual-media franchise) sci fi movies would be cool to see.
Snakes on Plane genuinely changed people’s lives more than Wages of Fear because it showed people the potential of making dumb jokes big. Wages of Fear was basically the same moralizing people get every day. Movies have a self referential quality that makes them more intellectually engaging than mere novels.
Any movie (or generally any artistic creation) can change the audience. But Snakes on a Plane might not hit the same as say The Wages of Fear.
Wikis for those not familiar https://en.m.wikipedia.org/wiki/The_Wages_of_Fear https://en.m.wikipedia.org/wiki/Snakes_on_a_Plane
My favorite use of The Blue Danube is actually at the end of The Wages of Fear (1953). I've read the Dirk Gently books but it's been a long time and I don't remember that passage. I wonder if that's where the movie Yesterday got its idea from?
BTW, you've seen Talking Heads' Stop Making Sense, yes? I know it's not classical obviously but as far as films set to music, it's hard to top.
Have you seen The Wages of Fear? I would imagine it would be your favorite movie.
So here's what I do when I buy a movie, either on Blu-ray or via iTunes. I download the remux from Usenet. If there isn't one (rarely), I wait for the Blu-ray to arrive and I rip it myself. There's a U.K. release of Wages of Fear that you cannot get in the U.S. any other way than purchasing the Blu-ray from BFI. (The U.S. Criterion Blu-ray release is missing 5 minutes of footage.)
Even for movies I rent or stream, I often download the remux to watch it, then delete it after watching. It's the only way to avoid bullshit like streaming apps (all of them except Criterion, no matter your settings), not letting me watch to the end of the credits in peace. Or subtitles which are shown below the frame for movies which are wider than 1.78:1. Or, let's say you want to watch RRR in its original language with English subtitles. Netflix only has the rights to the Hindi dub.
I want my money to go to the filmmakers and actors and production crew, but these fucking studios and streaming companies, man. Please, let me pay you to watch the movie in high quality and in peace. Why is it easier for me to pirate content? Like, it takes me 30 seconds to go to https://radarr.home.mydomain.org/, type in the name of the movie I want to watch, click search, click download, wait 5-10 minutes, and now it's there for me to watch.
Contrast that with going to Just Watch, maybe the movie is on a service I pay for, maybe it isn't. Maybe it's on Blu-ray, maybe only on DVD. Want to watch Happiness (1998)? Too bad, not available anywhere except maybe you can find a used DVD on Amazon for $50. How about The Heartbreak Kid (1972)? (Oh, hey, how do you like that, someone put up a copy of it on YouTube last year.) But time and again, movies just aren't available. I really don't understand why they get locked away. What's the incremental cost of taking a movie which has already been digitized for DVD or Blu-ray and making it available on a streaming service or for digital rental or purchase?
Come on Hollywood. Get your shit together.
Let me offer you some not Canal+ French films I've enjoyed: Breathless; Hiroshima Mon Amour; Diva; My Life as a Zucchini; Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles; The Rules of the Game; Last Year at Marienbad; La Collectionneuse; The Green Ray; One Sings, the Other Doesn’t; The Kid with a Bike; The 400 Blows; My Night at Maud's; The Wages of Fear.
I’ll play:
The Thin Man (1934), It Happened One Night (1934), Dodworth (1936), Fury (1936), The Awful Truth (1937), Grand Illusion (1937), You Only Live Once (1937), Wizard of Oz (1939), Only Angels Have Wings (1939), The Great Dictator (1940), His Girl Friday (1940), Philadelphia Story (1940), Rebecca (1940), The Maltese Falcon (1940), Citizen Kane (1941), A Woman’s Face (1941), The Magnificent Ambersons (1942), The Ox-Bow Incident (1943), Casablanca (1943), Double Indemnity (1944), Mildred Pierce (1945), It’s a Wonderful Life (1946), The Best Years of Our Lives (1946), Great Expectations (1946), The Big Sleep (1946), The Red Shoes (1948), A Letter to Three Wives (1949), Sunset Boulevard (1950), All About Eve (1950), A Place In The Sun (1951), High Noon (1952), Roman Holiday (1953), The Wages of Fear (1953). (I slipped two French films in.)
Almost anything by Hawks during those years. Or Hitchcock. Almost anything with Bogart. Or Grant. Or by Wilder.
Tons of noir films skirted the rules.
Look, I’m not a fan of the Hays code but some of those movies were to me better because of what they had to imply.
This is after the Hays code but as an example I recently watched the original 3:10 to Yuma and the remake. I hated the remake. What appeals to me about Elmore Leonard stories is that despite being about bad guys, they have a degree of charm to them (Out of Sight, Justified, Jackie Brown, Get Shorty,etc). The remake took all of the charm out of the original and replaced it with graphic violence and cruelty.
Wages of Fear, anyone? https://www.imdb.com/title/tt0046268/
The movie industry has eras, marked by certain production styles. In Hollywood at least, the 1970s was the era of the auteur director. A wave of directors (and actors) who had apprenticed under the famed B-movie master Roger Corman came to power on the strength of a series of absolute masterpieces. It started with Easy Rider, which was shot on a very low budget, and received massive box office success and critical acclaim. It ended with Heaven's Gate, an outrageously expensive disaster that has never even been properly released (I've seen one of the medium-length edits of it, and yes, it stinks).
The real end of the New Hollywood era, though, was the release of Star Wars in 1977. It paved the way for the sci-fi/fantasy blockbuster. It turned into a successful trilogy, and overlapped team-wise with Spielberg's fantastically successful Raiders of the Lost Ark. Hollywood, and movie fans, lost interest in the more intellectual fare of New Hollywood, in favor of kid-friendly, cross-marketing-friendly entertainment.
So it's not surprising that there was a dropoff in critical darlings after the 1970s. Movies got a lot worse - they really did. Even directors who carried on the New Hollywood traditions, like David Lynch and the Coen brothers, couldn't see the kind of success the 1970s directors had.
Of course, before the New Hollywood era, Hollywood kinda stunk, big expensive extravaganzas. Critical attention then turns to the French New Wave, and other post-WWII European film with small budgets and big emotional punches (who makes a movie like Wages of Fear these days?).
I wonder how our current era will fare? I'm thinking about the sort of epic-story serialization that the Marvel franchise and the reinvigorated Star Wars franchise is doing. How will that be viewed?