User Reviews

Over the decades, Felix Feist's The Devil Thumbs A Ride has gathered a fierce reputation as some sort of ultimate, quick-and-dirty film noir (like Detour). It's not quite that. Its dark star, Laurence Tierney, was more explosively, unpredictably violent in Born to Kill (and he had Claire Trevor at her malevolent best to play against). And Ida Lupino's The Hitch-Hiker corners the market on the terrors of the lonely road, come nightfall. (The better part of Devil Thumbs A Ride, by contrast, occur in a posh beach house somewhere between San Diego and Los Angeles). But the ensemble cast works well together -- Betty Lawford as good-time-gal Agnes is especially memorable. The end is somewhat troublesome; the necessary "restoration to normalcy" is abrupt and discordantly upbeat. The best films noirs close on a greyer, more ambiguous note. Still, this may be the finest 63-minute film ever made, and a key piece in the noir cycle.

First of all, let's get something straight. "The Devil Thumbs A Ride" is the BEST title in the history of motion pictures. Hands down. It's not even close. What a vivid and startling image those words conjure up in the mind's eye.

This is a movie I've been trying to track down for years and it does not disappoint. It's surprisingly nasty considering the year it was made, though always with a wingy "now let's not take any of this too seriously folks" feel to it. It's as if the director, Felix Feist, was hired to crank out a simple little crime quickie with a good guy, a bad guy, a nice girl and a bad girl, but wasn't quite sure how to do that (sort of like a gifted baseball pitcher who just can't throw any pitch straight). So he tosses everything into a blender and twists it into a swirling, pulpy freak show. The bad guy seems too cool and in control, the "good" guy is sort of a creep, the nice girl meets a shocking fate, and the bad girl almost steals the show. Certainly a zippy, wicked ancestor of Tarantino and all the Tarantino knock-offs that litter the shelves at Blockbuster.

Feist was a breathless, inventive director who really knew how to move the camera and keep things humming along. (His movies are incredibly tightly paced.) The vacuum cleaner scene, played without dialogue, is a real highlight. And Lawrence Tierney of course, is excellent. When he advises "better let me take the wheel", you know it's going to be a wild ride.

There are some goofy B-movie slip-ups (the cop who agrees to let the gas station attendant come along on the chase for the killer, for one) but that only adds to its charm. One of the cruelest code-era films I've seen, it has a slapped on happy ending that seems to go about as well as perfume on a chainsaw. Richly deserving of its growing cult.

With a title like that, incredible plugs from several film noir historians and the presence of Lawrence Tierney, I just had to find this movie and buy it, even if it was sight-unseen and hard to obtain.

This had a "Detour" look to it, meaning a very low-budget film noir with a no- name cast except for Tierney, although he wasn't a big star anyway. I knew him from the film "Born To Kill" and was intriguing. Tierney played the same kind of psycho here. He was convincing, since he was mean and tough and nasty in real life, too.

In this film, four people dominate: one good man, one bad man, one good woman, one bad woman. The bad people, of course, have the best lines. You know Tierney is not good because insults everyone he sees, even a little baby. The other people are idiotic and you want slap them and say, "Wake up!" before Tierney does something bad to them.

The cops in here are also a bit strange. They would rather play poker than go chase a criminal. On second thought, maybe that was sensible. Anyway, it was odd to see.

In a nutshell, Tierney is on the run, and winds up with these other saps who he cons into hiding out in someone's vacant house. Most of the film is talk, not much action, but it moves pretty well and it only lasts 62 minutes. There are laughs along the way despite the seriousness of the story but it still was disappointing overall. I guess I expected too much. The title is still the best thing about the film. See it, if you can, but don't spend money on it as I did.

This little gem sure packs a punch---or a low blow. Lawrence Tierney is wonderful as the psycho who tricks a dope (Ted North) into giving him a ride from San Diego to Los Aangeles. Along the way they pick up two stranded women: a tough blond (Betty Lawford), and an innocent (Nan Leslie). Of course Tierney is on the lam from a robbery and murder but he fools them into dodging the cops (after he runs one down) by going to the dope's friend's beach house for the night. Several sub plots involve some interesting characters. No on is really what they seem to be. The dope is driving drunk across state but he's actually a devoted husband trying to get home. Tierney is a vicious killer. The blond is a willing accomplice, and the innocent wants to be an actress. The cops (especially Harry Shannon) are almost comical in their rapport, and the gas station kid (Glen Vernon) turns out to be a card shark. Great characters here with everyone having some nice screen time. Andrew Tombes is the night watchman who makes a spectacular drunk. Minerva Urecal is the widow with THE phone (Laguna Beach was the STICKS in 1947), and Marian Carr is the little wife who makes a surprise appearance. Josephine Whittell is the mother in law. Dick Elliott is the guy with the stupid dog.

Tierney is the driving force and he's really good in his patented tough guy role. Lawford is surprisingly good. She hadn't made a film since 1937 and never made another after this one. She kept reminding me of Lizabeth Scott. Vernon almost steals the film as the gas station kid who goes along for a ride with the cops. North is the weakest actor but his dope part doesn't really call for much. Interesting little noir film with a totally unrepentant main character. He never even bats an eye!

Ironic, given that TCM's print of "Detour" looks and sounds so awful it borders on unwatchable, this little film plays with crystal clear sound and a perfect picture.

While "Devil" does not really approach the genius of "Detour", it is a very engaging story and a fun hour of film. The hitch-hiker is disturbingly without conscience, and his ability to manipulate the actions of both the driver and the other passengers display a rather keen understanding of the sociopathic personality. Just how different life was in the 1940's is immediately made clear by those two dames that get picked up early in the film (this is so unlikely in 21st America that no self-respecting film-maker would ask you to believe it).

The pace is taunt, which I like, and there are a few real surprises along the way. Our story is marred only (and BADLY) by a very stupid slapped on ending that may have gotten a chuckle out of contemporary audiences, but will surely illicit only groans from the modern viewer. Still worthwhile, enjoy the ride and don't pick up any strangers!

I really need to see this little gem again. Tierney really is the whole movie.

TCM runs "The Devil Thumbs A Ride" early in the mornings on rare occasions. On one of those I taped it several years ago, lent it to a brother and never got it back. GRR.

Its plot is one those relentless, improbable stories with so many loose ends you cannot conceive of them all being tied up in 63 minutes.

BTW, Tierney was the older brother of actor Scott Brady, who appeared in "He Walked By Night," "Johnny Guitar," "The China Syndrome" and many other films. More visible, but not as good an actor as his older bro. IMHO

Lawrence Tierney singlehandedly lifts this poverty row cheapie from lowbrow crime melodrama anonymity to the upper pantheon of low budget noir exploitation immortality. Bears some resemblance to other low budget limited set piece claustrophobic pics like THE DESPERATE HOURS or PETRIFIED FOREST, but don't dwell on that. There are a lot of strangled laughs given the tense set-up, but don't dwell on that, either. Ignore the implausibilities and wildly uneven acting and revel instead in young Tierney's charismatic menace and casual sadism. He so dominates the proceedings that any analysis of plot points (fairly lacking) or cinematography (surprisingly good) or direction (not so hot) really pales in comparison. One of those rare films that has such bad performances that it is an instant classic yet also featuring such a standout performance from Tierney that it is also an instant classic. Trust me on this one, brother... don't miss this obscure but vital piece of 50s Americrimedramacana. You will be amused and amazed, horrified and entertained, but most of all... you will not soon forget the experience.

I saw this many years ago on AMC. I barely remember the story, but I do remember that it was a very effective piece of noir. I've wanted to see it again, but it is extremely hard to come by. It isn't on video or DVD, and it rarely appears at revival theatres. If you ever have the chance to catch this on AMC or TCM, do whatever you can to see it. I definitely put it up there with "Detour" and "They Walked By Night". Great stuff.

Jimmy 'Fergie' Ferguson is a pretty dumb travelling salesman who gives a late night ride to Steve Morgan(Lawrence Tierney),a man on the lam from the cops after a daring armed robbery went wrong leaving a guard dead.While stopping at a gas station Morgan offers a ride to two damsels in distress who are going their way,Morgan thinks it will help cover his tracks but the gas station attendant is a police informer and recognizes Morgan from police descriptions and soon the police are on their tails.Fergie himself has been drinking heavily and Morgan uses this as a ruse for his dodging the cops but as the heat mounts and they dodge roadblocks,Morgan whose ID is still not known to the occupents suggests they take the heat off and go to the nearby beach house owned by one of Fergie's workmates,it is here that the Devil in Morgan appears. There are a few well developed sub plots within this short but pacey thriller,the cops are given a humorous and a very relaxed crime fighting spirit,the crimes tending to interfere too much with their poker games,The card shark gas attendant who takes their money is also given a humorous side but all characters are given time to develop.Betty Lawford as the tough blonde Agnes is very good and is a good foil for the more sheltered brunette Carol Demming an aspiring actress who Morgan takes an immediate shine to,the feeling is not mutual.Ted North as Fergie is perhaps the least successful character,his role serving little more than a starting point for the film to gather pace but it is without doubt the performance of Tierney that steals the show,a real life tough guy whose menace is never in any doubt.Often compared to Ulmer's Detour and Lupino's Hitchhiker,The Devil Thumbs a Ride is perhaps left a little wanting in such high brow company,but it still remains a fun and exciting entry in the RKO back catalogue and despite its wonderfully descriptive title isn't really that violent,most of the violence occurring off screen.See it if you get a chance

An awesome film noir, an awesome film of any color...not to be missed. Expert pacing, classic dialogue, terrific story. Highly recommended for anyone who's looking for something new and different, an escape from the today's tired formulas. Sure, this film is formulaic itself, but you'll love it. And watch for some bizarre bit players.

A very enjoyable, mostly fast-paced film noir written & directed by Felix Feist, who also brought you This Woman Is Dangerous. FF doesn't muck around. The story of a murderous armed robber on the lam cracks along, and is full of snappy lines from all the characters - especially Lawrence Tierney, who clearly revels in his nastiness. Story gets a bit bogged down in a holiday house, and it's full of implausibilities, but it's also packed with a great supporting cast, who give it all they've got - even if what they've got tends to the fairly dumb at times..but hey, this is cheap and cheerful entertainment. Even Tierney's unremitting (and enjoyable) meanness is alleviated by the lively tone of the piece. Tierney by the way is the guy who plays Elaine's implacable dad in a classic episode of Seinfeld. However, his performances in the title roles of Dillinger and Born To Kill (both 1947) are chilling.

It seems that during the Depression, people gave rides to hitchhikers; during the war and post-war, to servicemen and women. Well, in The Devil Thumbs a Ride from 1947, it's not the Depression and Lawrence Tierney isn't in uniform. At some point, hitchhiking became ill-advised.

It sure is here - Tierney, as Steve Morgan, robs a bank and kills a man, then hitches a ride out of San Diego with nice guy Jim Ferguson (Ted North). When they stop for gas, Jimmy goes to call his wife inside the station, while Steve tells two women, Agnes and Carol (Betty Lawford and Nan Leslie) that they can have a ride, even though it isn't his car.

Steve enters the station and insults a photograph of the gas station attendant's little girl, saying she has large ears. Jimmy tells his wife they are about 3-1/2 hours out of Los Angeles in the middle of the night with no traffic - they must have been traveling by way of Paducah.

Back in the car, Steve is attracted to the demure 21-year-old Carol while he refers to the 35-year-old Agnes as Grandma. My kind of guy. When he spots a cop, he insists that they stop at Jimmy's boss' weekend home so that they can eat and relax. Jimmy is reluctant, but since a drink spilled on him and he smells like a brewery, he realizes it's for the best.

Once there, Steve lets the air out of Jimmy's tires, rips out the phone cord, and gets the caretaker drunk. He also makes a play for Carol, who makes it clear she's not interested.

Meanwhile back at the gas station, the attendant (Glen Vernon) hears a description of Jimmy's car on the radio and calls the police. Steve has not endeared himself to him.

The end of this film was a little abrupt -- and strange, but the movie itself is okay, with Tierney giving a good performance at what he did best - being hateful. This is a must for Tierney fans. I happen not to be one, but I love noir, so I usually end up watching something he's in.

Tierney's an authentic tough guy, but this movie misfire from normally competent RKO undercuts his impact at every turn. The script is about as plausible as OJ Simpson at a Ten Cmmandments dinner. Just count the times Tierney's incredible car companions swallow one lame excuse after another for his evasive and violent acts. The old cliché about it "only happening in the movies" applies here in spades. Then there's the guy playing the watchman, who appears to have wandered in from a boozy WC Fields comedy, ruining the menacing mood in the process. The static one-room sets don't help either, and neither does director Feist's obvious lack of feel for the material. Then add a final car chase missing both imagination and pay-off, and the results are pretty flat. In fact the movie only picks up in the station-house scenes where hard-bitten cops discover the hidden powers of innocent-looking gas station attendants. Too bad that Tieney's career never really gelled. I gather that was due largely to being as big a tough guy off-screen as on and getting in one sleazy scrape after another. His ice-cold manner and clarity of emotion remind me at times of Lee Marvin at his tough-guy best. Anyway this project might have worked as a radio play, but as a movie with a promising noir title, it's a disappointment.

The Devil Thumbs a Ride is basically just your classic 40's B-movie; it's cheap and there are a lot of things wrong with it, but it's also fast moving and very entertaining, which makes it very easy to forgive all the flaws and just sit back and enjoy the film. It soon becomes clear that the film was made with little budget as it looks very cheap and most of the acting is terrible; but we launch straight into the plot with minimum hanging around and the fact that the film is only an hour long means that there's no filler and the film sticks to the important stuff. The film focuses on a straight up but very naive guy who calls himself Fergie. Fergie is on his way home from a party, and makes a regrettable decision when he decides to pick up a hitchhiker in the form of Steve Morgan. Steve Morgan is a thief turned murderer and on the run from the cops. The pair stops at a gas station where they pick up a couple of broads, but not before Steve manages to insult the plucky young gas station attendant. The quartet continue their trip, and Steve soon realises he has to take steps to conceal his identity.

The hitchhiker theme would go on to become one of the staples of the horror/thriller genre with films like The Hitcher being the best of them. I don't know the entire history of the genre; but this film is surely one of the earliest examples. The film does have its fair share of problems, however. The script is at times ridiculous and the plot would have completely fallen apart if three of the central characters had more than a single brain cell between them. The comedy elements are also extremely misplaced in such a dark film (although I guess they are there to relieve the audience somewhat as there weren't a great deal of films darker than this one around in 1947!). I know the thing I'll remember about this film longer than anything else is the central performance from Lawrence Tierney, who is excellent in the lead role. He cuts a truly imposing figure and really does put his supporting cast to shame; in particular Ted North who doesn't manage to convince at all, particularly during his shouting scenes. Still, problems aside; this is a thrilling and very entertaining little thriller that kept my interest for the duration (even if it was only an hour) and even manages a couple of well worked twists at the end. Check this one out if you can!

Sinister forties road movies with 'joe' from reservoir dogs as the 'hitcher'. Worth catching if you can find it. It's a definite precursor to the 'yuppie in peril movies that would come about forty years later.

Laurence Tierney seems to have been born to play this role. He is sinister, amoral, nasty. It's beautifully filmed and superbly directed, though it has a raw feel.

Tiernry is the title character. A devil he surely is. He gets the poor dope who picks him up a very hard time. The two women they then give rides to fare even less well.

Betty Lawford is perfect as the tough, over-the-hill floozy of those two. She is always looking for a deal for herself -- silk stockings, salvation... We like her, though, and feel that we may have encountered her or her like behind countless counters.

We feel bad for the gas station attendant when Tierney says cruel things about the picture of his young daughter. There is no doubt: Tierney's character is a dreadful person. But the gas station attendant is a pain himself. He's an annoying know-it-all.

The police are not portrayed in a very favorable light, either. So who do we actually like? Maybe the younger of the two hitchhikers, Beulah. Her older pal, though we surely do not admire her. The watchman Tierney cruelly gets drunk? Not really.

It's a slice of life cut with a hatchet and the slice is not pretty no matter what angle we look at it from.

This is a near-legendary noir (but curiously rare – since it has not been issued on DVD or shown on Italian TV despite, respectively, the Warner Noir Box Sets and a comprehensive RKO retrospective!) due to the memorable title and the commanding presence of one of the major cult figures within its ranks, leading man Lawrence Tierney. It marks the fourth vehicle from his heyday that I have watched after DILLINGER (1945), BORN TO KILL (1947) and BODYGUARD (1948); I also own but have yet to watch KILL OR BE KILLED (1950), and another I might acquire soon is THE HOODLUM (1951). Truth be told, for all the film's reputation, the general consensus about its actual quality is quite mixed – with, for instance, the "Leonard Maltin Movies & Video Guide" awarding it a measly **! Still, not having indulged in this form of hard-boiled entertainment in some time (indeed, I plan on dedicating a good part of the month to some choice titles among the gazillion unwatched noirs in my collection), I was perhaps more willing to be responsive to even a 'minor' genre entry such as this!

Anyway, the star is probably at his most cynical and ruthless here, being involved in a "stick-up" that turns into a "murder rap" within the first two minutes and, consequently, pursued all the way through by copper Harry Shannon (i.e. "Citizen" Kane's dad)! Incidentally, the plot unfolds in a very tight 62 minutes, with its first half taking on all the familiar characteristics of a 'road movie' and the rest transpiring in a beach-house (a favorite seedy spot for this type of fare). Another department where the film may be felt lacking is the supporting cast, as most of Tierney's fellow actors are kind of bland and strictly stock types. One young man is a newly-wed, who is forever being prevented from reaching his wife (to the consternation of her domineering mother); another is a balding middle-aged watchman with a weakness for alcohol. The characters of the remaining women, too, are easily delineated: one is pretty but reserved and, therefore, easy prey to the anti-hero's guile (though he eventually has no qualms about disposing of her when she interferes in his plans!), while her companion is spirited and chatty (unfortunately, the actress concerned has a rather masculine voice!) and even hooks up with Tierney, to her ultimate chagrin. In the end, Tierney – and director Feist – may have done better, but this film's cult status is certainly not undeserved in my book...