Le passager de la pluie

I read somewhere that "Rider on the Rain" was Charles Bronson's favorite of all the movies that he made. I don't really understand that. He made quite a few better movies than this one. It has taken me several viewings of this film to begin to appreciate it. "Rider on the Rain" is almost a really good movie. It has a nice vibe to it. Bronson and the dreamy Marlene Jobert work well together. The movie is a little bit too long and gets a little confusing at times. The music is hit and miss. Although "Ride on the Rain" doesn't quite hit the mark for me, I do find myself watching it every once in a while. Just for the record, I enjoyed this movie tonight more than I have in the past.

The film 'Rider On The Rain' (or, French title 'Le Passager De La Pluie') is simply a gem. But, do not buy the awful DVD from Orbit Media, released April 3rd 2006. There is hardly any colour and the print is atrocious! I have complained to Orbit and they said they are checking copies, but it is simply a case of poor quality in the Way the DVD has been made from the master. This is the worst DVD release I have ever seen. The picture is not clear enough either. I can't believe this mess. The only place you can get this film is France, but it's all in french (with Charles Bronson dubbed in French). However, the French DVD is by STUDIO CANAL and the print is breathtaking! Be warned.

This movie, simply put, is Charles Bronson at his absolute best, and proves that he does indeed have the ability to handle drama/suspense. He delivers an extremely convincing performance which is, arguably, his very best. It is too bad that this movie is as obscure as it is, because if it had been produced state-side and been more mainstream, he might have enjoyed a much more critically-acclaimed career, deserving of a lifetime achievement Academy Award. However, this is not the case and die-hard Bronson fans get to enjoy this little gem while the rest of the world misses out because they were too busy shunning the unfairly typecast Bronson.

René Clément was a great French filmmaker, which gave us masterpieces like "Purple Noon"(1960)Plein soleil(original title), "Joy House(1964) Les félins(original title), "Forbidden Games"(1952)Jeux interdits (original title), "The Deadly Trap"(1971)La Maison sous les arbres (original title), "Gervaise"(1956), etc., one better than another. "Rider on the Rain"(1970)Le passager de la pluie(original title), if it's not his best film, is definitely the most special, totally different from all the others. Based on a novel by Sébastien Japrisot (famous French author of crime novels), the film has a completely different atmosphere, a little strange, as if from another world, and yet so realistic, as in everyday real life. We have here two great actors, Marlène Jobert and Charles Bronson. Jobert is more delicious than ever, you feel the need to eat her, so sweet she is(the villain of the film has a very different opinion...). Bronson, the one and only Charles Bronson, is more relaxed and funnier than ever. It's probably his best role ever. All the actors are impeccable, including Jill Ireland, Gabriele Tinti, Jean Gaven, Jean Piat, Corinne Marchand, Annie Cordy. Francis Lai's music is superb. One of the greatest films in the history of cinema.

Here are some background facts about Rider on the Rain -it's my all-time favorite: I saw it many times in Philly during its initial release and bought a 16mm print from Avco Embassy in the '70s to study it, doing a shot-by-shot analysis.

CLEMENT: Director René Clément, an avowed Hitchcock admirer, in a book of essays about his own work (unfortunately never translated from French) stressed the importance of detail -little items of design, recurring motifs, repeated camera moves, as the essence of his cinema. Repeated viewings of Rider reward one with these carefully set up details that go beyond the usual surface effects (without Spoilers, watch for the shtick with the walnuts, subtle camera moves, and esp. the careful obscuring or revealing of objects in the frame, e.g., by the bus early on, or the camera angles of the body removal scene). He was a master director, winning 2 Foreign Film Oscars with diverse classics including Gervaise, Forbidden Games, Purple Noon, Battle of the Rails, Monsieur Ripois and The Walls of Malapaga, as well as one ripe for rediscovery -The Sea Wall. His love of detail is on full display in Jean Cocteau's Beauty and the Beast (Clément was technical adviser). It's no coincidence that the mysterious title character in Rider is named Mac Guffin as a Hitchcock nod, well-played by the sinister Marc Mazza.

JAPRISOT: The screenwriter, whose pen name was an anagram of his real moniker, based this script on Lewis Carroll's Alice's Adventures in Wonderland, opening the film with a perfect table-setting quote: Either the well was too deep, or she fell very slowly..., which explains heroine Mellie's adventure to come. Known for A Very Long Engagement, his other recommended films include the very clever Isabelle Adjani thriller One Deadly Summer, and the very odd film of his novel The Lady in the Car with Glasses and a Gun, directed by Anatole Litvak. Lady features perhaps the longest flashback scene used as an explanation in a film's denouement, even outdoing the flashbacks that were the basis of the Barry Newman TV series Petrocelli or even the current Lost series.

BRONSON: Rider was a key film in Charles Bronson's career -a huge hit all over Europe and his breakthrough as a star, after gaining int'l success in ensemble casts for Once Upon a Time in the West and The Dirty Dozen, as well as Far East popularity opposite Alain Delon in So Long, Friend. His name in the cast is Col. Dobbs, but on the soundtrack and colloquially in France his character was known just as The American (see soundtrack LP for The American's Theme), becoming something of an iconic figure. His assurance, mysterious manner and (as Charles Laughton once praised him) great presence/center of gravity on screen add immeasurably to the film. I met him once in NYC while interviewing Michael Winner during the filming of a Death Wish sequel, and Bronson at the time was planning to do an American remake of Rider on the Rain for Cannon Films but it never happened. For the French language version of Rider his role was dubbed by expatriate blacklisted director John Berry, and there has always been a debate over the value of the French vs. English soundtrack version of Rider (Bronson dubbed vs. rest of cast dubbed; analogous to Burt Lancaster in the 2 versions of Visconti's The Leopard).

JOBERT: Marlene Jobert was the most popular gamin actress in France at the time, having starred in L'Astragale (a remarkable true story adapted from the novel by the woman who lived it, Albertine Sarrazin), and went on to make unsuccessful international films but one classic, Maurice Pialat's We Won't Grow Old Together, which I saw at the NY Film Festival with her in attendance. She is central to Rider's success and was lauded by Judith Crist in a rave review when it came out. There is a great scene near the end of the film with plenty of Alice in Wonderland atmosphere when she is taken by prostitute Marika Green to see Corinne Marchand (the iconic French actress/chanteuse of Varda's Cleo from 5 to 7), in which Clément makes great effect of the height differential between the women. Jobert met and married Marika's brother Walter and their daughter is French star Eva Green of James Bond fame, an interesting followup to the Rider casting. Another more famous singer, Belgian star Annie Cordy, plays Jobert's mother in Rider, and it spring-boarded her acting career.

FRANCIS LAI: The soundtrack album (well worth hunting for) enshrines one of Lai's best and for me most memorable scores, truly indispensable to amplifying the strange, rainy day, off-season in a Riviera resort town mood of this unique film. Best known at the time for his A Man and a Woman score, he did Love Story soon after Rider.

SERGE SILBERMAN: The producer of Rider was a great filmmaker, now little remembered (outside of France) since his death. I got to interview him during one of his lesser efforts, filming James Toback's Exposed with Rudolf Nureyev in NYC (I appear unpaid as an extra in that film, one even Toback booster Pauline Kael couldn't love). Besides the 5 later films of Luis Bunuel he produced, Silberman has his share of other all-time classics as producer, not by accident: Melville's Bob le flambeur, Jacques Becker's Le Trou, Beineix's Diva and Kurosawa's Ran. It's an amazing track record spanning a career of only a couple dozen films.