What? Since When Did No One Like The Hitcher?

This past week has been a pretty crazy one. I finished up with my finals and papers on Tuesday, had to move out of the dorms (which was quite a hellish experience), had some social events with friends, had people stay at my house, went to Atlanta to see Radiohead in concert on Thursday (which was absolutely amazing in every way), and many other things going on. Now, for the first time since Tuesday, I’m getting to sit down at my Mac, get on the Net and check up on movie news and what not. As I’ve been doing so, something has been in the back of my head, burning. Well, something that I’m actually pretty pissed off about but I didn’t really fully realize it until now.

During this week of craziness, I had some friends stay at my house pre and post-Radiohead. I had been planning a big movie fest for these couple of days since it was going to be the last time I’d get to hang out with most of my friends till next semester. Over the course of the past few days, we covered films such as American Psycho, True Romance, Battle Royale, Oldboy, and Leon: The Professional. At the end of the first day of films (in which we watched American Psycho and True Romance), I was asked to put in a shorter horror film to go along with the late night mood. Spontaneously, I put in the original 1984 version of The Hitcher, thinking that the film was perfect for the vibe that was going. Well, it appears that I was wrong… Or was I?

We hadn’t gotten very far into The Hitcher when it was obvious that my group wasn’t very into the film. Slowly, comments were made about how it didn’t make any sense and was boring. Finally, they told me that the movie was “lame.” How was this happening? This is The Hitcher. Since when was the original Hitcher regarded as boring and lame? What was happening?

This kind of thing shouldn’t bother me. But it does. Badly. It always has. I’ve always been the guy that entertains at his house by showing movies, most of which tend to be obscure or underappreciated films. Usually, the films I choose go over well. However, when they don’t, it’s like a kick in the nuts. I take it personally and I will think about it for days. It is like sharing a secret with a friend and having it thrown right back in my face. What went wrong? Is it really a bad movie? Do I like a bad movie? What elements of the film didn’t go over well? What happened?

Thirty minutes into The Hitcher and I could already tell it was going downhill with everyone but me. I didn’t respond to the comments that were made. I just wanted to take it out of my DVD player and yell at everyone in the room.

What the hell, man. I’ve thought about it and yeah, I’m going to stick with my guns on this one- The Hitcher is not a bad movie. In fact, The Hitcher is a badass movie. I love my friends and yes, they liked all the other movies we watched (though they didn’t “get” Battle Royale- something that is understandable) but screw them for not seeing what I love about this film.

Here’s why The Hitcher is a great movie:

*Warning: Major spoilers for the original film from here on out*

First off, The Hitcher and I go way back. My dad loves this movie. He used to pop in an old VHS copy of it every so often and, on occasions, would sneak me in the room and let me watch it with him. I still have memories of that old 1980’s Tristar logo coming up with the Pegasus running followed up by the gloomy opening title sequence set to Mark Isham’s subtle but haunting original score. Many things from this movie filled my mind throughout the years: Rutger Hauer playing one of the creepiest villains I’ve ever seen on film, the scene with the girl between the parts of the truck and that eerie police station scene. Then there’s that unforgettable image of C. Thomas Howell eating a plate of French fries, pulling a finger out of it and putting it to his mouth. Holy crap. How could you not like this movie?

Let’s start an analysis of the movie by looking first at its screenplay. Eric Red, a veteran of horror screenplay writing, wrote the script for The Hitcher. Red also co-wrote the vastly underrated vampire / western hybrid Near Dark with director Kathryn Bigelow. Much like his script for Near Dark, Red’s The Hitcher is thrilling but also loaded with subtext, ambiguities, metaphors and existentialism. Red does something that most writers cannot do: he writes a screenplay that has little to no dialogue focusing on one character that spends most of the film by himself that is still engrossing and incredibly well paced. The script manages to still work as an action / horror film hybrid along with working on a much deeper level. The brilliance of Red’s screenplay lies on the fact that he allows it to be so ambiguous in its nature. What is John Ryder's main motivation? Why is he going after Jim Halsey? Does he just want Jim to kill him? And why is he so seemingly invincible and always in the right place at the right time? In the end, Red doesn’t give any main answer to these questions. And I love it. It’s much scarier to me to not know the motivation to serial killer and his quest. Red makes the character of John Ryder so mysterious and unexplainable that he is impossible to forget.

Despite The Hitcher’s ambiguous nature, Red does manage to hint at many deeper meanings and metaphors in his screenplay. Much like the main character in Steven Spielberg’s somewhat similar film entitled Duel, many believe that Jim Halsey undergoes the torment of John Ryder in order to go through a symbolic rite of passage into manhood. When Halsey manages to push Ryder from his car at the beginning of the film, he shows the hitcher that, unlike the others that did not survive his wrath, he has what it takes deep down to undergo the physical journey of maturation. Ryder then begins his testing and pushing of Halsey through various means, trying to get him to become stronger and take that extra step into manhood. Of course, this rite of passage is not easy. He has to deal with the constant misunderstandings of life, in this case represented through the mistrust of law enforcement towards him. There are many times where Halsey looks as if he is going to fail or just plain give up. In one striking moment, Halsey runs out to the desert and puts a gun to his head, considering suicide. Fortunately, for the audience, Halsey keeps on his journey and, after many trials and tribulations, makes the passage into manhood. This passage is symbolically achieved at the end of the movie through Halsey’s hijacking of the Captain Esteridge’s car and his eventual murder of Ryder.

One of the most popular possible deeper meanings of Red’s script is the homoerotic undertones in the connection between Jim Halsey and John Ryder. Many see the film as a symbolic journey for Halsey to come to terms with his own suppressed homosexuality. Although most attribute this aspect of the film to Rutger Hauer’s eccentric performance choices and not Red’s original script, it is hard to deny its strong presence in the film. At the beginning of the film, a road construction worker actually mistakes Halsey and Ryder for homosexual lovers as the hitcher very intentionally places his hand and a hidden switchblade on Jim’s crotch. In another scene where Halsey is about to pull up to a car that contains one of Ryder’s recent victims, the hitcher grabs him quite aggressively on the thigh, making him drive on past it. Throughout the film, the two have many awkward and intense encounters were one could determine a certain amount of sexual tension laced underneath. Many even see Ryder’s brutal murder of Nash, the intended heterosexual love interest of Halsey, as motivated by jealousy. In a way, it could have been done to get her out of the way, so he could have Halsey just to himself. The most obvious homoerotic moment between Halsey and Ryder occurs in the police interrogation room at the end of the movie. After Halsey spits in Ryder’s face, the hitcher begins to meaningfully play with the young man’s spit on his face. Again, this was a strange acting choice made by Hauer, but it definitely gives a sense to an attraction of sorts between the two men. Then there’s all that phallic imagery with all the guns being used and how Halsey prods Ryder’s body with the shotgun at the end of the film… really, one could go on and on. There is definitely a strong connection of sorts between the two men, whether it is homosexual in nature is up to the viewer. Writer and horror critic John Muir covered this possible hidden aspect of The Hitcher in a fairly engaging and well thought out article, along with bashing the Platinum Dune’s recent soulless remake of the same name. If you have the time, please check it out here. It’s a solid read.

Now, back on topic. As stated in the previous paragraph, there is obviously a strong connection between Halsey and Ryder. The connection, homosexual or not, is something that is left very ambiguous by Red, giving some space for more intrigue along with giving the film a more mysterious edge. Is it a supernatural connection? Is Ryder even human? At times, he seems like the bad guy that just cannot be killed. Plus, he seems to be just everywhere. Then there’s that surreal moment where he manages to take down that helicopter with just a handgun (a moment seemingly right out of American Psycho). If one goes with a supernatural interpretation of Ryder, there is much in the film to support this. One of my favorite moments in the film occurs right after Ryder is thrown from Halsey’s vehicle in the middle of the desert at the beginning of the film. As Ryder lies in the road after being thrown out, the camera zooms in on him in a low angle. Slowly, Ryder stands up and looks down the road to where Halsey has driven off. Director Robert Harmon keeps his camera low, looking up at Ryder who hovers over the audience like a giant. Mark Isham’s score slowly but subtly gets louder in the background, giving off an eerie air of the supernatural. In this moment, Ryder feels more than human. In a way, he feels like a phantom that will never stop following Halsey until he takes care of him for good. Or teaches him a valuable lesson.

Another strong moment that supports the possible supernatural connection between Ryder and Halsey is in the police interrogation sequence. Halsey stands behind the two-way glass with Captain Esteridge, looking at Ryder handcuffed and sitting at a table. When Esteridge says that they don’t know who he is, Halsey simply says, “John Ryder.” As he says this, Ryder, who cannot hear or see Halsey, quickly looks up from the table he is sitting at and right to Halsey’s spot behind the glass. I still get chills. In this simple exchange, it is obvious that something deeper is going on between Ryder and Halsey. However, Red is smart to leave their connection ambiguous, never giving the audience a definite answer to what is really going on.

Although most of the praise for The Hitcher tends to go to Eric Red’s nearly flawless and intriguing screenplay, director Robert Harmon deserves a lot of credit for his efforts as well. Unlike most directors today, Harmon directs his horror and actions sequences with a steady hand. He allows for long takes to build tension and not an ADHD inflicted editor. His action sequences are directed with an old school vibe and they are simply thrilling to watch. There’s none of that over editing crap used in recent action films like Transformers. Here, you can actually see what’s happening and thus the scenes are much more personal and intense. I cannot believe my friends thought this movie was boring. Where were they in that crazy police chase? Sure, it gets pretty ridiculous but wasn’t it fun? I was sure having fun. Along with having a solid take on the film’s action, Harmon is also able to play up the surreal nature and supernatural edge of Red’s script with style. The scene where Halsey walks through the seemingly empty police station and finds that dead cop whose cut throat is being licked by a police dog gives me chills every time. Harmon gives the scene a strange, off-kilter pale orange lighting and, through his direction of movement, makes it feel right out of a dream. I just love the way that Harmon handles the film’s horror. Except for the infamous scare with Halsey pulling the finger out of the French fries (which, surprisingly is not accompanied by any music once so ever), most of the horror is suggestive and subtle. One of my favorite scenes of horror occurs when it is revealed that Ryder is in the motel room with Nash while Halsey is taking a shower. Harmon simply pans his camera from the bed where Nash lies, moving across the room, revealing Ryder to be simply standing in the dark corner of the room. As the camera pans by him, the light from a passing car outside flows into the room, barely lighting Ryder’s face as he stares down at Nash. It is all very simple. Much like the previously mentioned “finger in the French fries” scene, there is no loud music cue to let the audience know to be scared. It’s just the way that Hauer stands there. It’s just the way he is looking at her. How did he get there without making a sound? It's very creepy. One of my friends actually sarcastically commented, “Oh, how suspenseful,” when this moment occurred. It just shows how much our culture has been dumbed down by recent horror films. Now, all we need is big jump scares, loud music cues, and over editing to be scared. A subtle, more realistic scare is now met with apathy. This makes me sad.

Unlike most horror films of the ultra gory 80’s, The Hitcher was more suggestive with its violence than outward and bombastic. Although I have no problem with gore and think that it is necessary for many horror films, I do feel that it is more powerful to not see what is happening than have it all on screen in a big, nasty special effect. The Hitcher does have its share of gory moments (the aforementioned police station scene, the finger gag, and some nasty gun shot wounds) and it also holds back in just the right moments. One of the most effective moments of the film holding back is when Halsey comes across a car holding a family that Ryder has recently massacred. All the audience is allowed to see is a shot of Halsey’s feet stepping up to the car while a small stream of blood begins to crawl out of the nearby car door. After this, we see Halsey’s terrified face as he runs back to his own car and proceeds to vomit. Just seeing his reaction was enough to give the impression that John Ryder committed an unimaginably horrible act. 

Just Ryder asking Halsey if he knows what an eyeball punctured by a knife looks like still bothers me in ways I cannot even describe.

The most important avoidance of on screen violence deals with another topic I wanted to discuss. They kill the girl. Really, how ballsy is that? What other horror movie can you think of where they kill off the main love interest? Not many, that’s for sure. And they don’t just kill her off… no, no, no. They rip her in half. Also, unlike many other horror films, the relationship between Halsey and Nash never becomes physical in nature. Instead, their relationship undergoes a more natural progression and seems more realistic and genuine. There’s a hint at the possibility of a love connection between them but, in the end, they are just two people stuck in an extraordinary situation that need each other to get out of it. Jennifer Jason Leigh’s portrayal of Nash also helps add to this natural relationship. Leigh plays the simple country girl just as that and is instantly likeable and understanding. This makes her gruesome demise at the hands of Ryder much more painful to watch. Of course, the kick is that we never see the act actually happen. With Nash tied between two parts of an 18-wheeler, Ryder lifts his foot off the brake and allows the poor girl to be torn in half. All Harmon shows are Ryder lifting his foot, the ropes tightening on Nash’s wrists, Halsey’s horrified face, and the wheels of the truck beginning to roll. As they do, he washes out to white, letting the viewer’s shock of the moment roll over. It is great filmmaking. If they showed the act, they would have just been giving the audience a gross-out effect. By just hinting at the act to audience, Harmon and Red make the shock of the violent act itself much more powerful and devastating to the viewer.

Still wondering why I think The Hitcher is a great film? Well, how about the film’s main appeal: Rutger Hauer as John Ryder. Every time I see Hauer in a film these days, whether it’s Sin City or Batman Begins, I cannot help but imagining him as the Hitcher. It is just such an iconic role for him. His performance is at times unconventional and bizarre while at other times haunting and sadistic. I love just how calm he seems throughout the film. It is as if his character feels no stress throughout his torment of Jim Halsey and whoever else gets in his way. While Hauer’s bad guy Roy Batty in 1982’s Blade Runner is a truly iconic role, I still feel that his portrayal of John Ryder is the performance of his career. I just couldn’t get this guy out of my head as a kid. Everything he does has meaning, every little breath and movement. Hauer just engrosses himself in this role and really gives a unique portrayal of a mysterious serial killer. Never has someone made putting pennies on someone’s eyelids so creepy and enthralling. When I heard Sean Bean was cast in the John Ryder role for Platinum Dune's pointless remake, I remember thinking, “Wow, they’re trying so hard.” It doesn’t matter how good of an actor Sean Bean is, absolutely no one will ever be able to replace Rutger Hauer and his haunting portrayal of John Ryder.

Now, on the other end of the spectrum, I’ll be the first to admit that The Hitcher hasn’t aged perfectly. There are a couple of lines that inspire laughter here and there, the stubbornness of the police force at times seems too over-the-top, the abandoned gas station scene is still too ridiculous for me and C. Thomas Howell is not the best actor in the world. It kind of feels like he was chosen just because he was an 80’s heart throb at the time due to his success in The Outsiders and Red Dawn (which he was actually awesome in because his character Robert seemed to just kill everyone without hesitation- another topic for discussion later on). While I think Howell overall did a pretty good job on The Hitcher and, after seeing the film so many times, I cannot honestly imagine anyone else in the Jim Halsey role, there are some moments were his acting seems off or he is not very convincing. Still, in the long run, he doesn’t bother me that much. I did feel that he was really able to get Halsey’s vulnerability across and I really did feel for the kid throughout the film. My friends, on the other hand, were not so kind to his acting skills.

In the end, The Hitcher is a special breed of film. It’s the horror film that they just don’t make anymore. It’s mysterious, ambiguous, laced with hidden meanings, nihilistic, and brutal. Its direction is subtle and understated, allowing the actual events that are occurring to play as the horror. The way it handles violence and gore is tasteful and quite effective. Along with its deeper meanings, it still works as an exciting and thrilling film. It’s a horror film that truly cares about its viewers and doesn't treat them like they are stupid. It’s not going to give you all the answers and it’s not going to spell everything out for you. Unlike most horror films, it actually has some substance and subtext working around inside of it. And it’s just brutal. Yes, that’s a strong point. This film has balls. When it was first released, critic Roger Ebert called the film “diseased” and “corrupt.” Obviously, it was too much for him. But it definitely got a reaction. From my friends, all I got was “lame” and “boring.” I still cannot explain my anger and disappointment over these words. Most of my disappointment lies in the fact that they failed to see all this film had to offer and it’s uniqueness in the horror genre.

The Hitcher has long been regarded as a horror classic. As one can see, I still agree with this stance. The Hitcher is an awesome movie. Check it out if you can. And watch for spare fingers in your French fries.