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The Wages of Fear (1953)

Le salaire de la peur (original title)
Not Rated | | Adventure, Drama, Thriller | 16 February 1955 (USA)
In a decrepit South American village, four men are hired to transport an urgent nitroglycerine shipment without the equipment that would make it safe.

Writers:

(novel), (adaptation) (as H.G. Clouzot) | 1 more credit »
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Top Rated Movies #191 | Won 1 BAFTA Film Award. Another 5 wins. See more awards »
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Cast

Complete credited cast:
...
...
Folco Lulli ...
...
Bimba (as Peter Van Eyck)
...
Linda (as Vera Clouzot)
William Tubbs ...
Darío Moreno ...
Hernandez (as Dario Moreno)
Jo Dest ...
Smerloff
...
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 | Plot Synopsis

Taglines:

A film drama of uncommon power! 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 more on  »

Technical Specs

Runtime:

| (director's cut)

Sound Mix:

(Western Electric)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

This film was spoofed by Spike Milligan in a Goon Show episode entitled "Fear Of Wages". See more »

Goofs

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 »

Quotes

Mario: wherever there's oil there's americans.
See more »

Connections

Remade as Atash-e jonoob (1976) See more »

Soundtracks

The Blue Danube
Composed by Johann Strauss
See more »

Frequently Asked Questions

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User Reviews

 
Macho naturalism extraordinaire
7 May 2002 | by See all my reviews

This is an extraordinary movie. From the opening scene showing the squalor of a Latin American town with filth and vultures in the street and naked children begging for food amid the oppressive, fly-stirred heat, to the finale on a winding mountain road, it is just plain fascinating. True, some of the action does not bear close scrutiny. One does not siphon nitroclycerine nor does one avoid potholes or bumps in the road by driving at forty miles per hour. No matter. Let's allow a little license. And the title doesn't entirely make sense because the wages of sin are death, but the wages of those who followed their fear and did not seek to drive a nitroclycerine truck over 300 miles of bad road are life. Again, no matter.

This is such an original movie, every scene like little or nothing you've ever seen before (and for sure will never see again), that the little inconsistencies and some stretching of what is possible are not important. This is man against nature, man against himself reduced to a simple task. It is life in the raw. One mistake and you are dead.

Yves Montand has the lead as Mario, a Frenchman stranded in this god-forsaken town with only one way out: get enough money to pay for airfare. Charles Vanel is the older, tin-horn dandy who ends up with a case of the shakes. Peter Van Eyck is the man with the nerves of steel who finds this little adventure a piece of cake after forced labor in the salt mines for the Nazis. And Folco Lulli is Luigi, the happy, singing baker who hopes to return to Italy with the two thousand dollars they are paying him to drive the nitro-loaded truck.

This is a film depicting the primitive nature of a macho mentality. There's a lot of posturing. Every event is a potential test of manhood. Status and privilege are flouted. The weak and the poor do not inherit the earth.

Henri-Georges Clouzet directs and somehow manages to come up with a work of genius. One wonders how. The story, on the face of it, would seem to belong in the slush pile of a ten-cent pulp fiction mag from the 1930's. The acting is good, very good in places, but not great. The cinematography is straightforward, but nonetheless very effective. It is lean and focused always, showing us what needs to be seen without drawing attention to itself: the invisible style, which is the best. Clouzet's direction is characterized by a vivid depiction of things that we can feel: the mud and filth in the streets, the desperation and the boredom, the cruelty and meanness of men, the oil on their bodies, the singular fact of a ton of nitro in the back seat so that every move is a neuron-exposing adventure. I think that the visceral experience from beginning to end and the fine pacing are the essence of what makes this a great film.

Clouzet's wife, Vera Clouzet, plays Linda who first appears scrubbing the floor in an open-air bistro. She is rather extraordinary herself, finely made up and creamy white like a star of the silent film era. She grovels a lot, especially for Mario. She provides the counter-point, the contrast for the testosterone action of the movie.

No student of film should miss this. It would be like missing Citizen Kane or Dr. Strangelove or especially The Treasure of the Sierra Madre, which it vaguely and strangely resembles. "La salaire de la peur" is, regardless of its flaws, one of the best ever made.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)


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