Rider on the Rain (1970)

Waste of time

Did you people see the same film I saw?

This is a must-see and one of the best documentaries - and films - of this year.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

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.

I really love this movie... Yes, there are parts that are stupid, like when Bronson forces the french babe to drink alcohol.. What kind of technique is that?? And I didn't understand the walnut thing... I think Bronson must have been cracking them before he threw them... I heard he was one strong dude... I was only 14 the first time I watched it so one of my favorite parts was watching the french babe in her see through top... But the movie has stood up to time and it is as good or better, everytime I rewatch it... Since I live in the U.S. ,it is like taking a 1-1/2 hour trip to France, or at least what I would imagine France would be like, since I was never there... Great film, go see it... It is much better than most of the garbage films that are in the video stores today...

I disagree heartily with the idea that this film is all talk. the subtle symbolism alone is enough to keep any real film collector interested e.g., the use of the colors red and white, charlie always leaning on his right leg only, the walnut trick, etc...)the music score by francis lai is both beautiful and haunting. the dialouge and pacing is almost hitchcock-like in nature.along with charles trieschmann's film "two", would make an evening of fine film-going.

Rene Clement's film "Rider on the Rain" is a real disappointment in my opinion. The movie has been praised by critics and fans alike, but I didn't see what all the talk was about. Actually, there is way too much talking in this film if you ask me, and not enough suspense. Charles Bronson plays Harry Dobbs, an investigator on the search for a serial killer. His path leads to a small French village and to Mellie played by Marlene Jobert. The rest of the film basically consists of Bronson (also well known as "Chuck" or "Old Stone Face") confronting the Mellie character and forcing her to drink full pints of Jim Bean. The dialogue is not as creative as the critics may claim also. Chuck often refers to Mellie as "love, love"; this gets really old, really quick. The highlight of the movie is just watching old Chuck deliver his lines...the guy is such a character. I gave the film 5 out of 10 stars. If you want to see a real great Clement film watch "Purple Noon".