CHASTITY (1969)

Title: CHASTITY

Year of Release: 1969

Director: Alessio de Paola

Genre: Drama

Synopsis: A young woman from a troubled family background takes to the road hitchhiking, finding some happiness, but also angst, along the way.

Within a film history context: Films which feature hitchhiking characters have been around in cinema since the silent era. E. Mason Hopper's THE RIGHT DIRECTION (1916), is an early documented example of this. A young woman begins hitchhiking to take herself, and her younger brother, to a better life away from their miserable existence, and finds problems with the family of the man who picks up her and her brother. One of the most famous scenes of hitchhiking can be found in IT HAPPENED ONE NIGHT (1934), directed by Frank Capra. With Claudette Colbert attempting to gain a ride for her and Clark Gable in a most amusing sequence, it was one of the best ever scenes of hitchhiking to be presented in cinema. William Dieterle's DR. SOCRATES (1935), had a supporting character who was a hitchhiker, in this crime film which starred Paul Muni in the title role. In the overtly titled HITCH HIKE LADY (1935), directed by Aubrey Scotto, a mature woman hitchhikes from New York to California to visit her son, who, unbeknown to her, is in jail. With Leigh Jason's THAT GIRL FROM PARIS (1936), an opera star hitchhikes after leaving her husband-to-be in the lurch, and encounters romance and adventure while hitchhiking. On the other hand, HEAVEN WITH A BARBED WIRE FENCE (1939), directed by Ricardo Cortez, starred Glenn Ford as a young man who hitchhikes across America, accompanied by another man and a woman, to reach his land in Arizona. As with the 1930s and prior, the 1940s also had varied hitchhiking scenarios.

Preston Sturges' SULLIVAN'S TRAVELS (1941), was the story of a film director who conducts unconventional research as a vagrant for his next movie, finding romance along the way. It featured a lead character, played by Joel McCrea, who hitchhiked as part of his personal journey. DETOUR (1945), directed by Edgar G. Ulmer, was much more dramatic. As with SULLIVAN'S TRAVELS, it also had a hitchhiking male protagonist, this time a pianist who becomes enmeshed in intrigue, taking on the identity of the mysterious man with whom he rode. Tay Garnett's THE POSTMAN ALWAYS RINGS TWICE (1946), had a central character who hitchhiked his way into the lives of others in the movie, causing torment. Another film with a shady hitchhiker was THE DEVIL THUMBS A RIDE (1947), directed by Felix Feist. In this tale, an upstanding man takes in a murderous hitchhiker, with many unexpected consequences. Similar to THE POSTMAN ALWAYS RINGS TWICE, Delmer Daves' DARK PASSAGE (1947), began with a main character who hitchhikes to another life, this time escaping from jail, leading to an intricate set of compelling events. Into the 1950s, there were equally interesting hitchhiking scenarios and characters.

As was the case with the films of the mid to late 1940s with their dark post-war premises, TOMORROW IS ANOTHER DAY (1951), directed by Felix Feist, followed a couple involved in a crime who hitchhike to evade capture. Dangerous hitchhikers are again presented in Ida Lupino's THE HITCH-HIKER (1953). In this movie, two fishermen make the grave error of picking up a psychotic man who gives them a chilling pronouncement - after they arrive at their destination, he will kill both of them. Equally tense was THE NIGHT HOLDS TERROR (1955), directed by Andrew L. Stone. A wealthy man picks up a hitchhiker who, along with several others, cause mayhem for the man and his family. In a more exploitation, but surprising vein was Charles Saunders' KILL HER GENTLY (1957). A man picks up two hitchhikers who are wanted criminals, but does not turn them over to the authorities, instead, he propositions them to murder his wife. As with other film decades, the 1960s also had diverse hitchhiking themed films.

A benign view of hitchhiking was brought forth by the Elvis Presley vehicle IT HAPPENED AT THE WORLD'S FAIR (1963), directed by Norman Taurog. Here, two friends hitchhike to the Seattle World Fair as their mode of transport was confiscated by police, finding romance and fun. Marc Lawrence's NIGHTMARE IN THE SUN (1965), co-starring real life couple John Derek and Ursula Andress in the lead roles, followed a married woman who picks up a male hitchhiker, their affair leading to intrigue and murder. A romantic view of hitchhiking could be found in WILD SEED (1965), directed by Brian Hutton. A young woman runs away from home after discovering her true parentage, and meets a drifter, their fraught relationship blossoming over the course of the movie. In contrast, Dennis Hopper's EASY RIDER (1969), altered the mode of transport from automobile to motorcycle, the bikers in the film picking up a number of hitchhikers on their way across the country. CHASTITY is one of the most serious, measured of the movies about a hitchhiker, in this instance, a woman.

In general, female hitchhikers were not an uncommon presence in the pictures prior to CHASTITY's release. There were quite a few examples of female hitchhikers, beginning with THE RIGHT DIRECTION, and continuing with IT HAPPENED ONE NIGHT, HITCH HIKE LADY, THAT GIRL FROM PARIS, TOMORROW IS ANOTHER DAY, and WILD SEED. The scenarios were mainly dramatic in nature, with some comic exceptions such as IT HAPPENED ONE NIGHT and THAT GIRL FROM PARIS. CHASTITY was of the dramatic persuasion, with humor not an element in this case. The movie also lacked the obvious suspense elements which permeated many of the films which had a male hitchhiker, instead featuring a slow buildup of events which examined the lead female hitchhiker in detail for the viewer. It was all psychologically motivated and character-driven, without resorting to action and adventure. CHASTITY offered no easy answers for its protagonist, and could be seen as the most realistic, if pessimistic, of entries about a female hitchhiker. It afforded an intensive look into the psyche of Chastity, making her a thoroughly three-dimensional figure. Romance, if anything, was an ephemeral notion in the picture, thus distancing CHASTITY from WILD SEED, with its happy ending. A solemn portrait of a female hitchhiker, CHASTITY offers a candid insight into its subject for spectators. 

Overview: Alessio de Paola is an American director with only one motion picture to his credit, being CHASTITY. He does not appear to have any other television or stage credits to his name, therefore, this overview will examine his contributions to CHASTITY. With CHASTITY, Alessio de Paola has made an interesting work. Taking as its focus a young woman hitchhiking across the country, and charting her various adventures, and reactions to situations in which she finds herself, it is a passable movie. The strength of the picture is in its showcasing of a complex protagonist, the eponymous Chastity. A young woman who appears rough and tough at first glance, the film presents narrative situations where her character is slowly unraveled to the audience, and why she projects the world-weary, blunt air she possesses. This is the most satisfying, and fascinating part of the movie, whereby the spectator gains a thorough understanding of its central figure. CHASTITY, though, is not a perfect movie in any sense of the word, despite its compelling lead character.

While it is admirable that the film takes its time with the events it portrays, some scenes are overlong. Chasity's experience in the bordello is one of these instances. It seems to take forever, with some grating moments. The sequence with Chastity and client Tommy is one part that could have been successfully abbreviated. Its slow, repetitive nature rapidly gets on the nerves. The best thing which comes out of the bordello scenes, though, is the appearance of lesbian madam Diana Midnight, a woman of many moods and passions. Aside from Chastity, she is the most entrancing character in the film, but it would have been fruitful to learn more about this individual, provocative personality. In addition, further background to Chastity's personal plight would also have been helpful. The final stretches do answer questions about Chastity which were posed throughout the film, but even more information would have been welcome. A well-intentioned work that unfortunately veers towards unevenness, CHASTITY is a solid attempt at giving depth to its main hitchhiking character, and why she has taken to the road in the first place.

Acting: There are three performances in CHASTITY which stand out. In the lead role of Chastity, Cher is excellent in the best of her early roles. Painting a vivid portrait of a young woman burned by life, trying to find her way despite many difficulties, and living by her wits, she brings emotional force and truth to the picture, making the end of the movie shattering to witness. As Eddie, the student who befriends Chastity along her journey, Stephen Whittaker brings a relaxed charm to the part of a man who is her polar opposite, but manages to smooth some of her rough edges. With his personable ways and comely demeanor, Mr Whittaker makes the audience wish that he can win over the hardened Chastity. On the other end of the moral spectrum is lesbian bordello madam Diana Midnight, played with style by Barbara London. With her quiet authority and subtle mannerisms, Miss London is a distinctive actress, whose presence lends an air of mystery, and glamour, to CHASTITY.

Soundtrack: CHASTITY has a soundtrack which works well accompanying the visuals. The opening scenes have a haunting score composed by Sonny Bono which heightens the drama in this sequence, and the closing scenes. There are variations of this score employed throughout the picture that also emphasize the emotive nature of the material. The use of 'Chastity's Song', performed by Cher, builds a picture of the footloose life of the movie's protagonist, but is not nearly as effective as the score in its stirring nature.

Mise-en-scene: What is presented to spectators on screen in CHASTITY is of a high standard. Cinematography by Ben Colman captures everything beautifully, and with crispness. Both indoor, and outdoor scenes are lovely to witness. Exterior locations have been carefully chosen, with the highway, cafes, shops, and other locations adding realism. The main interior used in the movie, being Eddie's house, reflects a dedicated young man whose life is anything but messed up, contrasting this with Chastity's three sheets to the wind view of life. Sadie Hayes' costuming is also excellent, drawing comparisons between Chastity's modern, minimalist attire, and Diana Midnight's cool elegance as the seductive femme fatale of CHASTITY.

Notable Acting Performances: Cher, Stephen Whittaker, Barbara London.

Suitability for young viewers: No. Brief female nudity, adult themes.

Overall Grade: C

Link: IMDB Page

Trailer