What would happen if someone tried to adapt lyrics of “Riders of the Storm” by Doors into feature film? Young screenwriter Eric Reed gave answer to that question by writing a script that would ultimately become The Hitcher, 1986 road thriller directed by Robert Harmon, one of the more interesting films of 1980s.
Protagonist, played by C. Thomas Howell, is Jim Halsey, young man from Chicago who wants to start new life in California and agrees to take part in “driveaway” and deliver expensive car to its owner in San Diego. Mother told him not to take hitch-hikers, but one rainy night in West Texas, when faced with potentially fatal fatigue, he agrees to take an individual who introduces himself as John Ryder (played by Rutger Hauer). Jim soon regrets it, because his travelling companion begins to talk and act strangely, before admitting that he is killer. Jim manages to throw Ryder out of car, but soon afterwards he sees Ryder as passenger in a family car. Jim’s attempts to warn occupants fail and later he sees bodies. Attempts to alert authorities also fail, because Ryder seems almost always to be one step ahead of Jim and not only kills people, but also makes Jim the obvious suspect. Jim is forced to run not only from Ryder, but also from police. The only person who seems to trust Jim is Nash (played by Jennifer Jason Leigh), waitress from a roadside dinner.
This interesting combination of road film, horror, action and classic Hitchcockian thriller about ordinary person in extraordinary situation didn’t win critics after premiere (including influential Roger Ebert, who made rare example of giving it zero stars). Results at the box-office weren’t anything to write home about, but The Hitcher, like many originally panned 1980s films, found new life in home video and its reputation slowly grew towards something of a cult status. This could be explained by very original and interesting script by Eric Red as well as steady directorial hand of Robert Harmon (who would later have successful career in television), who puts barren landscapes of Mojave Desert (which served as location) to good use, creating atmosphere which is both claustrophobic and agoraphobic, and in which any isolated spot of civilisation is obvious target of a clever and seemingly unstoppable killer. Atmosphere is further enhanced by good music soundtrack by Mark Isham.
The most memorable thing about The Hitcher is, however, title character. For Rutger Hauer this was arguably the best and the most iconic role since Roy Batty in Blade Runner. Tall, blond, intimidating in his looks and unapologetic in his evil, Jonathan Ryder is more menacing and effective than other iconic 1980s killers like Jason Voorhes or Malcolm Myers, which had hidden their nature behind the mask. The script didn’t give Ryder any background nor obvious motive for his actions, making that character look like embodiment of primordial and pure evil. C. Thomas Howell, who, by his own admission, was intimidated by Hauer on the set, delivers significantly less impressive performance, although his task is much harder – character of Jim Halsey goes through transformation of pathetic and helpless teenager into a man who would ultimately has to confront Ryder on his own terms. Jennifer Jason Leigh, one of the more interesting actresses of her generation, here tries to make her somewhat cliched character stand out and works very hard on Texan accent, but the most memorable thing about Nash is gruesome way that character ends, despite being implied instead of directly shown.
The Hitcher is a good film, but Eric Red’s script, despite being imaginative, had its share of flaws. Strange relationship that develops throughout the film between Halsey and Ryder was never properly explained and that left space for many fashionable speculations about The Hitcher being parable for gay panic or metaphorical display of protagonist’s fear of his own homosexuality. On the more direct level, there are plenty of plot holes, mainly those having to do with Ryder’s almost supernatural ability to always know exactly where his victim would appear, where and how to plant evidence and set up complicated murder schemes in matter in minutes. Ryder’s powers begin to hurt film, especially near the end when they include one of the most annoying 1980s action cinema cliches – a helicopter being brought down with a simple handgun. Violence after a while becomes repetitive and the finale, in which Ryder and Halsey will face off like old western characters, quite predictable. Despite that The Hitcher (which had 1993 straight-to-video sequel and rather forgettable 2007 remake with Sean Bean in title role) deserves recommendation as a film fans of Rutger Hauer and unusual thrillers would likely enjoy.
RATING: 6/10 (++)
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