Movie Mahal

* * *

In René Clément’s peculiar Rider on the Rain (1970), the film wields an enigmatic allure, driven largely by the magnetic presence of Marlène Jobert. Known for his rugged demeanour, Charles Bronson plays second fiddle here, emerging in a compelling yet understated role during his fascinating European phase. Jobert, however, commands every frame with a screen presence that oscillates between cold alienation and surreal comedy. Her performance, at once mechanical and mesmerising, is the film’s true nucleus. Set against the backdrop of a tranquil South of France resort, this semi-noir Hitchcockian pastiche follows Jobert’s character, Mélancolie, as she becomes ensnared in a desperate bid to conceal her murder of a sex maniac, killed in self-defence after a brutal assault. Bronson’s character, Harry Dobbs, adds layers of complexity to the plot; he is not merely hunting a killer, but rather shadowing Jobert for reasons that unfurl with tantalising deliberation.

Clément crafts a tense game of cat and mouse between Jobert and Bronson, infusing their interactions with a bizarre, almost inadvertent humour—most notably in a peculiar ‘nut-cracking’ competition that verges on the absurd. Jobert’s portrayal of Mélancolie evokes the icy blonde archetype of Hitchcock’s leading ladies, though her distinctive red hair presents a striking deviation from the norm, hinting at Clément’s subversive approach to the genre. The film’s narrative coherence might be debatable, yet its stylistic elements remain arresting. A particularly noteworthy aspect is Francis Lai’s avant-garde score, which weaves a modern tapestry of quasi-ambient and electronic sounds. Listen closely and you might discern the embryonic strains of The Doors ‘Riders on the Storm’, with Jim Morrison himself having cited Lai’s work as a creative influence.

Rider on the Rain is a curious artifact of its time, blending suspense with a disquieting charm. Its disjointed narrative, underscored by Lai’s innovative music, leaves an indelible mark, emblematic of Clément’s daring yet idiosyncratic vision.