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The Wages of Fear (1953)
"Le salaire de la peur" (original title)

8.3
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Ratings: 8.3/10 from 26,577 users  
Reviews: 124 user | 102 critic

In a decrepit South American village, men are hired to transport an urgent nitroglycerine shipment without the equipment that would make it safe.

Writers:

(novel), (adaptation), 1 more credit »
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Top 250 #171 | Won 1 BAFTA Film Award. Another 5 wins. See more awards »

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Cast

Complete credited cast:
...
Charles Vanel ...
M. Jo
Folco Lulli ...
...
Bimba (as Peter Van Eyck)
...
Linda (as Vera Clouzot)
William Tubbs ...
Bill O'Brien
Darío Moreno ...
Hernandez (as Dario Moreno)
Jo Dest ...
Smerloff
Antonio Centa ...
Camp Chief (as Centa)
Luis De Lima ...
Bernardo
Grégoire Gromoff
Joseph Palau-Fabre
Faustini
Seguna
Darling Légitimus ...
(as Miss Darling)
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Storyline

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 <col@imdb.com>

Plot Summary | Add Synopsis

Plot Keywords:

oil | driver | american | truck | oil well | See All (235) »

Taglines:

Pictured in Life Magazine as Picture of the Week (original USA/Canada posters) See more »


Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

| | | | |

Release Date:

16 February 1955 (USA)  »

Also Known As:

The Wages of Fear  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (director's cut)

Sound Mix:

(Western Electric)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Yves Montand's first dramatic role. See more »

Goofs

When Bimba is shaving in the cab of the truck, he has the right side of his face covered in shaving cream, but he when he turns to talk to Luigi the right side of his face is clear of shaving cream. See more »

Quotes

Bill O'Brien: 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.
Bradley: You mean you're gonna put those bums to work?
Bill O'Brien: 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.
See more »

Connections

Referenced in Speed (1994) See more »

Soundtracks

The Blue Danube
Composed by Johann Strauß
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Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
The kind of film that instantly announces that it's the best of its kind
2 December 2001 | by (Canberra, Australia) – See all my reviews

This is richer, tenser, more atmospheric, and in all ways a better film than Clouzot's next one, "Les Diabolique" - which is saying a lot. I've never understood why Clouzot isn't more highly regarded. Indeed, for a long time I simply couldn't believe that he wasn't.

One charge that hangs over his head is misogyny. With regards to "Les Diabolique" this is simply ridiculous; with regards to "The Wages of Fear", I can see how one could harbour the uncomfortable feeling that there is, perhaps, something in it. But what, really, does the evidence amount to? The fact that one of the heroes is inexcusably cruel to his girlfriend? It's not as if the film endorses this, or invites us to take pleasure in it, or even, for that matter, allows us to. The characters are all flawed, and the film doesn't seek to deny it. It does, however, make an attempt to explain it. That town in the middle of nowhere is, we feel, really in the MIDDLE of nowhere; it must be the dustiest and most demoralising place on Earth. After a while we feel as if we could start kicking someone, just to break the monotony.

There's no doubt that the initial monotony gives the rest of the film half its strength. William Wyler once said that if you want to surprise or shock an audience the best thing you can do is bore them half to death beforehand

  • and although I can think of absolutely no reason why this should be so,


allowing for a little exaggeration, it's true. The seemingly aimless opening sequences help make every single frame, from the moment the nitro-glycerin is mentioned, electric.

So much is, in retrospect, amazing. There's the way Clouzot manages to show us the humanity in these seemingly squalid people. (Even the oil magnate, just when we think he's the world's most heartless capitalist, reveals he has a heart with an unexpected remark, and yet the remark doesn't feel at all out of character - it's the kind of masterful characterisation film-goers live for.) Then there's the obstacles these drivers must face. All are memorable; most are so perfectly realised they deserve to be called mythic.


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