O Passageiro da Chuva

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.

We are in the South of France, the gorgeous Mélancolie 'Mellie' Mau finds a mysterious stranger is stalking her. She is then raped by the man and after finding him still in the house after the attack she shoots him dead and throws his body into the sea. Sometime later, tough grizzled American, Col. Harry Dobbs, walks into her life and appears to know everything that has happened.

Every once in a while i come across a film that leaves me both intrigued and highly frustrated, Le Passager de la pluie is one such film. I have rated it down the middle with a 5/10 rating because i have to sit on the fence with it, it has many qualities that obviously hit the spot for many viewers, yet it's something of a chore to get through as well. Filmed as a sort of dreamy pondering piece by René Clément, the film is never less than interesting, and at times quite beautiful in texture. Just going by the user comments on IMDb it's apparent that the appearance of Charles Bronson has divided many a viewer, those proclaiming that this turn shows a depth to his acting are quite right, it does, but ultimately when his character gets mean and kicks some, it's the high point of the film, a victim of typecasting it may be, but if it ain't broke, don't fix it Charles.

Fans of Bronson macho movie heaven need not apply here, this is a different animal completely, those into art-house cinema will love the dream scape feeling on show here, René Clément knows his onions for sure, and i was personally enthralled by the performance of Marlène Jobert as Mélancolie 'Mellie' Mau, if i can get any other films she has been in then i'll be an interested viewer. Yet the film falls down for me because after an opening third that is quite brilliant, one that makes me feel that a sense of fear and dread has invaded my well being, the piece sinks into that mantra of style over substance that appears to be pandering for all genre watchers.

I'll never watch it again, but i'm strangely glad that i did catch it.

I find it hard to say why exactly but I liked this film. It was well made, well acted and different enough that it wasn't the usual predictable Hollywood pulp. I'd recommend it for anyone who has more than a few brain cells to rub together as at least a refreshing change of pace that shows films can be both different and entertaining.

Charles Bronson has a reputation for making mostly the other kinds of films so this is very different for him. The French spin adds something hard to define but enjoyable. The female lead is wonderful to watch too.

I found I really enjoyed the sets and locations and, yes, especially the rain. Perhaps rain overdoes some moodiness in a way but I find I love to see a film with rain in it as a backdrop. Maybe that comes from living in a place where I rarely see and real rain.

Nevertheless, I'd buy this if I could find it locally, especially if it was on wide format DVD. I don't think anyone who was behind the project gave it enough support when it was a new film (I originally saw it in an "art house" cinema) and I certainly don't think the mainstream types will support it now. I think it's a rare gem of film making and deserves to be preserved, owned and watched by lots of new people. I'll keep looking for it along with other rare but obscure gems I'd love to own.

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.

*Note: the review title in subject refers to a line from the classic song "Riders on the Storm" by The Doors. Allegedly, singer/songwriter icon Jim Morrison was a fan of this movie and it inspired him to write what is perhaps the most legendary song of the band. If this piece of trivia info is only even remotely truthful, it's enough reason to track down and watch the film!

As for the film itself, "Rider on the Rain" is an absorbing and uniquely mysterious thriller with a downright fabulous first half hour and very atypical but brilliant performance by Charles Bronson. Throughout most of the 60's, Bronson depicted supportive characters in big productions ("The Magnificent Seven", "The Great Escape", "The Dirty Dozen", "Once Upon a Time in the West") and from the mid-70's and onwards he became hopelessly typecast as a lonesome and silent action hero ("Death Wish", "The Mechanic", "Telefon"…). But what few people know is that Charles Bronson appeared in a number of vastly superior European (more specifically French and Italian) cult movies during the late 60's and early 70's, and in these films he actually illustrated intellectual, eloquent and occasionally even very sinister characters. "Rider on the Rain" truly has one of the moodiest intros ever filmed, as we witness how a tall and uncanny looking man gets off a bus in a French coastal town near Marseille. Whilst meandering in the pouring rain, he spots the feisty redhead Mellie and follows her home. He rapes the girl, but she manages to kill her assailant with a shotgun. As she has an egocentric mother and a mistrustful husband, Mellie chooses not to call the police and dump the body from a cliff into the sea. This goes well until the next weekend at the wedding of a friend; Mellie is approached by a handsome but mysteriously behaving American who asks her a lot of strange questions. This man, Mr. Dobbs, suspiciously seems to know a lot about the crime Mellie committed and brutally attempts to force her into confession.

"Rider on the Rain" actually spirals down TOO MUCH into Hitchcockian mystery/thriller territory. The first couple of encounters between Mellie (short for Melancholy, in fact) and Mr. Dobbs are truly intense and compelling because you assume that the pieces of the puzzle will gradually fit together later on. But then the emphasis stubbornly remains on secrecy and endless dialogs and we receive not the slightest bit of information in return. The film is quite long – just over two hours – and we literally have to be patient until the climax before getting any answers. Your curiosity stays, of course, and the acting performances from both Charlie Bronson and the foxy Marlène Jobert remain a joy to behold, but sadly the movie eventually is too talkative and overlong to be considered as an essential must-see in the thriller genre. This is already the second time I run into this issue with a René Clément film, actually. "The Deadly Trap" also revealed absolutely nothing of its plot until the final five minutes. Luckily enough, "Rider on the Rain" still has a fascinating concept, a strong opening and excellent performances, whereas "The Deadly Trap" was just an incoherent and pretentious mess from start to finish. Clement is often referred to as the French Hitchcock, but from what I've seen he tries to be too much of a Hitchcock copycat. I will urgently have to check out some of his older work, like "Forbidden Games" and "Purple Noon", as those are reputedly genuine masterpieces. And yet, this one still comes warmly recommended if only to see a totally different side of Charles Bronson.