An even better example of Clouzot's superiority.

The Wages of Fear (1953) is a weird sort of suspense film, because of what it it's not. It's not a mystery; it's not a spy thriller; it's not a horror movie. It's just a suspenseful ride over a mountain on 10 tons of nitroglycerin. That sounds like a simile a bad reviewer might use for an action thriller, but it's the plot of The Wages of Fear. And on top of that nitro Clouzot builds a deep character study on what exactly those Wages can be. Two and a half hours of tension ratcheted to its snapping point. Pat and I nearly break and discuss why some movies just need to be seen with other people in this week's Lost in Criterion.

If Hitchcock is a master, Clouzot is a wizard.

Alfred Hitcchcock's title of Master of Suspense is well deserved. Henri-Georges Clouzot outshines him in both this week's Lost in Criterion and next's. The first episode brings us his 1955 masterpiece Diabolique, which (the story goes) he bought the rights to out from under his English-speaking counterpart by just a few hours. Psycho earns the acclaim hurled upon it, but it's in deep debt to Diabolique. Plus any movie that ends with a title card begging audiences not to give away the ending while simultaneously having an ending that you can't possibly keep to yourself has got to be pretty high on the all time greats list. Watch Diabolique (1955), then listen to Lost in Criterion.