Henri-Georges Clouzot - Le salaire de la peur AKA The Wages of Fear (1953)

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Quote:In a squalid South American oil town, four desperate men sign on for a suicide mission to drive trucks loaded with nitroglycerin over a treacherous mountain route. As they ferry their explosive cargo to a faraway oil fire, each bump and jolt tests their courage, their friendship, and their nerves. The result is one of the greatest thrillers ever committed to celluloid, a white-knuckle ride from France’s legendary master of suspense, Henri-Georges Clouzot.

THE WAGES OF FEAR: NO EXIT
BY DENNIS LEHANE

“Just takes a few months to get to be a hundred. If you’re in the right place at the right time.”  I first saw Henri-Georges Clouzot’s masterpiece The Wages of Fear when the restored version was released in the U.S., in 1991. But my awareness of it began a bit earlier, when I was twelve and saw the unfortunate American remake, Sorcerer, which sent me investigating articles about the original and searching out what Clouzot films I could find: the grim, sublime Le corbeau (1943); the strangely touching police procedural Quai des Orfèvres (1947); the tingly, unforgettable Diabolique (1954). Throughout this process, The Wages of Fear was available on video only in truncated form, shorn of all political undertones that the U.S. distributor had deemed “anti-American” during the film’s original U.S. run, in 1955 (two years after the French premiere), so I held out for the unpillaged original.

  Even so, nothing could have prepared me for the seismic assault of it. Here is a film that stands alone as the purest exercise in cinematic tension ever carved into celluloid, a work of art so viscerally nerve-racking that one fears a misplaced whisper from the audience could cause the screen to explode. As obsessively attentive as Clouzot is to the narrative spine of the story—four men drive two trucks of nitroglycerin three hundred miles across a hellish landscape of potholes, desiccated flora, rock-strewn passes, hairpin turns, and rickety bridges with crumbling beams to put out an oil fire raging on the other side of the mountain—he is just as savage in his commentary on corporate imperialism, American exploitation of foreign cultures, the rape of the land, and the ridiculous folly of man. Critics at the time charged that The Wages of Fear was virulently anti-American (Time magazine, in 1955, called it “a picture that is surely one of the most evil ever made”), but this is missing the ravaged forest for the blighted trees. As director Karel Reisz pointed out in a 1991 Film Comment article, the film is “anti-American,” but only insofar as it is “unselectively and impartially anti-everything.”  

I agree with Reisz about this impartiality—Clouzot’s camera may as well be the eyeball of a lizard, for all the emotion it shows the humans who enter its field of vision—but the charge of “anti-everything,” while certainly valid on a surface level, fails to take into account one of the basic tenets of cinematic humanism as employed by Clouzot and John Huston and Stanley Kubrick, among others: that by removing all hint of subjectivity from the point of view, one thus removes any stain of sentimentality. This erasure of sentiment does not cancel out empathy. In fact, in that very void, we, the viewer, are forced to decide what our capacity for empathy is. What remains in Clouzot’s chilly remove from his main characters is a fascinatingly odd mixture of contempt and love, one akin to that of a father who has closed off all outward displays of emotion for his children because he fears the heartbreak that could destroy him should anything tragic befall them.

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Sunday, June 27, 2010

Henri-Georges Clouzot - Le salaire de la peur AKA The Wages of Fear (1953)

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