An entomologist searching for insects by the seaside is trapped by local villagers into living with a widow whose life task is digging up sand for them, and eventually develops strong feelings for her.
For two weeks, 20 male participants are hired to play prisoners and guards in a prison. The "prisoners" have to follow seemingly mild rules, and the "guards" are told to retain order without using physical violence.
In the South American jungle supplies of nitroglycerin are needed at a remote oil field. The oil company pays four men to deliver the supplies in two trucks. A tense rivalry develops between the two sets of drivers and on the rough remote roads the slightest jolt can result in death. Written by
Col Needham <email@example.com>
Filming began on 27 August 1951 and was scheduled to run for nine weeks. Numerous problems plagued the production, however. The south of France had an unusually rainy season that year, causing vehicles to bog down, cranes to fall over and sets to be ruined. Director Henri-Georges Clouzot broke his ankle. Véra Clouzot fell ill. The production was 50 million francs over budget. By the end of November, only half the film was completed. With the days growing short from winter, production shut down for six months. The second half of the film was finally completed in the summer of 1952. See more »
Near the end of the film, when Jo is leaning against Mario in the cab of the truck, the oil smear on Mario's right cheek changes between shots. See more »
The Hell with the Union! There's plenty of tramps in town, all volunteers. I'm not worried. To get that bonus, they'll carry the entire charge on their backs.
You mean you're gonna put those bums to work?
Yes, Mr. Bradley, because those bums don't have any union, nor any families. And if they blow up, nobody'll come around bothering me for any contribution.
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An unforgettable bit of existentialism on exposed celluloid
Whoever it may be to rightly claim that he invented the action thriller genre (Méliès, I suppose), Henri-Georges Clouzot's "Le salaire de la peur" is an indispensable milestone on the exciting route to the best films of that kind in the 70's, 80's and nowadays. In its tenseness, as symbolized by the danger of explosion of the lorries' loads, it has hardly been surpassed.
The plot is perfectly worked out from start to end, the leading players act in some of their best parts ever, the (almost) absence of music supports the brutal realism and the consequent choice of authentic outdoor settings contributed a lot to the film's deserved success. Historically, it ranges between neorealismo and nouvelle vague, and yet it is its pure action and suspense that make it worth watching for younger audiences who wouldn't go in for just the artistic way. - Only flaw I can see is the curious, rather artificial change in Vanel's character which has no comprehensible motivation, at least for me whenever I see it.
Apart from that, Clouzot's wife Véra (also well-known from his "Les diaboliques") plays to the "most breathtaking angles" gallery when she bows down to scrub the floor of Dario Moreno's gin joint. It's a man's world after all and there are male perspectives on human survival only. Well, it's existentialism, mates. Altogether, the black and white photography is gripping. The gun scene between Lulli and Vanel is one of the best montages in film history, and there is more excellent editing in "Salaire" (including the finale) that completely fits the hot atmosphere.
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