Hitch Hike to Heaven: A Trip Down Troubled Hollywood Lane

Hitch Hike to Heaven is one of those old-school morality plays that still has a little kick, though maybe not for everyone. If you’re into seeing how early Hollywood tackled the perils of fame, this one’s a decent watch today. Folks who enjoy a good "be careful what you wish for" story, with some period charm, will probably get a kick out of it. If you need flashy effects or super complex characters, you might find it a bit slow or even a little too on the nose. 🎬

The film kicks off with Michael, played by Russell Gleason, as a stage actor. He’s got this raw talent, you know? And his wife, Claudia (Polly Ann Young), and little boy, Bobby, are clearly his whole world. Their early scenes together have this really sweet, humble vibe, like they’re just making do but happy about it.

Then boom, Hollywood calls. It’s almost immediate, really. He gets plucked from obscurity, and before you know it, he's a big deal. The transition is quick, almost *too* quick, which kinda makes his head-swelling feel justified, at least in the film's logic. It’s like the movie just needed him to get famous already so the drama could start. 🤷‍♀️

What’s striking is how fast Michael changes. One minute he’s this devoted family man, the next he’s brushing off his wife’s concerns, flirting with starlets. There’s this one moment where he’s talking on the phone to his wife, and he keeps cutting her off. You can practically see him getting annoyed at her for, well, existing. It’s a small thing, but it’s so effective at showing his new arrogance.

The whole Hollywood scene is depicted with a certain gloss, but also a hint of something fake underneath. You see the lavish parties, the fancy clothes, but the conversations feel hollow. It’s not a subtle critique of the industry, but it gets its point across.

His kid, Bobby, is this innocent little guy who just wants his dad around. There’s a scene where Bobby draws a picture for Michael, and Michael barely glances at it. That one really hits. You just want to reach into the screen and shake the guy. How could you ignore that sweet kid? 💔

Polly Ann Young, as Claudia, is quite good. She doesn't scream or make a huge fuss right away. Instead, she has this quiet, building sadness. Her face does a lot of the work. You can almost feel her trying to hold onto the man he used to be, even as he slips away.

The pacing is interesting. The rise to fame is a sprint, then the unraveling of his personal life is a bit of a slow burn. It gives you time to really feel the distance growing between Michael and his family. The film isn't afraid to let those awkward silences hang there, which feels pretty modern for a movie from 1936.

There are some characters around the edges, like the studio boss or other actors, that feel a bit like caricatures. But they serve their purpose: to highlight Michael's journey and the pitfalls of his new world. One guy, his old friend, tries to warn him. But Michael, of course, doesn't listen. Standard stuff, but still kinda sad to watch.

Towards the end, when things start to really fall apart for Michael, the film doesn't shy away from showing his despair. It’s not a quick fix. He makes some really bone-headed decisions that just make things worse. It’s not just about losing fame, but about losing himself. The moral is pretty clear: fame isn't everything. Family is. 👨‍👩‍👦

Overall, Hitch Hike to Heaven is a decent watch if you're in the mood for an old movie with a straightforward message. It might not be groundbreaking cinema, but it’s a solid little drama with some genuinely touching (and frustrating) moments. It reminds me a bit of how some silent films used to convey big emotions with just a few looks. And it certainly isn't The Secret of Black Canyon, which is a whole other kind of ride!

Didja notice?

• That one background extra who kept looking directly at the camera. A little slip-up.
• The newspaper headlines are so dramatic, just like they used to be!
• Michael’s suits get progressively flashier as he gets famous. It’s a nice visual touch.
• Bobby's little toy train is a recurring motif. Simple, but effective for showing his childlike world.
• The film has a surprising amount of driving scenes for a 1936 picture.