The Night of the Hunted

This Rollin movie takes us into a surreal world, the cold architecture of satellite cities, with touches of 70s sci-fi from Rollerball to Rainer Erler, but nevertheless with Rollin's usual sex and gore obsessions. Several actresses had previous experience in the hardcore genre and provide gratuitous nudity, while any gore-hound will remember the suicide scene when the woman kills herself by stabbing a pair of scissors through her eyes into the brain. No, this is not a movie for the faint-hearted, but by no means a simple exploitation flick either.

Let us take a closer look at the story. Robert, a young man, drives through the night, when suddenly Elisabeth (Brigitte Lahaie) appears in front of his car. She seems confused and remembers nothing except her name and that she was trying to escape - but from where and from whom? Robert takes Elisabeth to his home, but a doctor followed them and he takes Elisabeth back to the place she ran away from - a lunatic asylum in a skyscraper. Robert has doubts that this a normal psychiatric hospital, it rather looks like a prison with the heavily armed guards. Does the doctor have a secret to hide?

This is a surprisingly quiet movie, literally. Music is often absent from the soundtrack. This stylistic means fits the situation of the mentally ill who complain about their loss of memory or lack of ability to use their limbs. Many scenes are painfully slow moving, but if you liked other movies by Rollin, you won't mind. That is setting a mood of intensity and concentration that you get into or you don't. The human touches are well done, especially the scene when Elisabeth feeds another inmate who cannot hold a spoon with her hands. Furthermore, I want to point out the memorable performance of red-haired Dominique Journet (in her first screen appearance!) as Véronique, Elisabeth's friend who tried to escape with her. When she loses the ability to speak and wanders around with empty eyes - behind which lies a scream -, such are moments of absolute horror, but in a very sophisticated way. The motif of two girls trying to survive together in a strange, hostile world, by the way, is one of the most typical for Rollin, see "Les Deux Orphelines Vampires" for example. And just like that later film, "La Nuit des Traquees" is a good movie for its low budget!

A young man driving through an unnamed French city chances upon a startled girl in a nightdress. To say she's confused is an understatement, as she asks for help, forgets about asking for help, forgets about where she is, what her name is, and general seems to have her mind wiped completely clean. The young man drives her back to his house, unheeding of the other girl left behind in the woods.

The rescued girl is called Elisabeth, but that's about all she remembers. Our young man, Robert, settles her down in is home, not knowing that some mysterious people have followed them there in a car. After a morally dubious, lengthy sex session with Elisabeth, Robert sets off for work only for a doctor and nurse to appear and take Elisabeth 'home', which turns out to be a huge monolithic black tower.

By the time Elisabeth has forgotten all about Robert, and is taken back to what she's told is her room, where a similarly stricken girl called Catherine lives. Elisabeth, as far as she can perceive, realises that everyone in the tower block is like her, with the exception of a rape happy orderly, the doctor, and those armed guards stopping anyone from leaving. There's also Veronique, who turns out to be the girl who tried to escape with Elisabeth at the start of the film.

The question is, why is Elisabeth there and what is the purpose of the doctor and his minions? Don't expect a custard pie fight and a sing-a-long at end of this one as the film descends into gory murders and suicides, gun fights, and another escape attempts due to Elisabeth finding Robert's phone number in her pocket (she doesn't remember him of course, but he remembers her!).

Between this and The Grapes of Death, I cannot believe that Jean Rollin was the man responsible for the terrible Zombie Lake. Both Grape and this are short on plot but high in atmosphere, and this one, although not exactly a pulse-racing action fest, is fascinating as a mystery and a grim modern horror. The clinical interiors of the black tower just add to the unease, as does the brutal violence that comes out of nowhere.

This being a Jean Rollin film, and a French film, every lady in this one gets naked. This is why I love tracking down all these films, there's always one or two that come out of nowhere and surprise.

I've never made to the end of Zombie Lake, but I'm going to give it another go.

I went into "Night of the Hunted" not knowing what to expect at all. I was really impressed.

It is essentially a mystery/thriller where this girl who can't remember anything gets 'rescued' by a guy who happens to be driving past. The two become fast friends and lovers and together, they try to figure out what is going on with her. Through some vague flashbacks and grim memories, they eventually get to the bottom of it and the ending is pretty cool.

I really liked the setting of this one: a desolate, post-modern Paris is the backdrop with lots of gray skies and tall buildings. Very metropolitan. Groovy soundtrack and lots of nudity.

Surprising it was made in 1980; seems somewhat ahead of it's time.

8 out of 10, kids.

The ever gorgeous Brigitte Lahaie wanders aimlessly through this Kafka-esque plot about an amnesiac trying to escape from a strange clinic where the staff tortures and sexually abuses patients as part of some undefined rehabilitation process. Could have been interesting had the ideas been better developed, but director Rollin concentrates more on getting Ms. Lahaie and the other female cast members out of their clothes rather than trivial matters such as story and characterization. The sterile atmosphere makes for some bland visuals and without Rollin's trademark gothic settings, there is little to entice the eye, apart from said lovelies.

Night of the Hunted is ostensibly something of a departure for French horror auteur Jean Rollin. Its story is on the face of it unusual for the director. Its about a mysterious clinic in a high-rise building where patients have a mental disorder where their memories and identities are disintegrating due to an environmental accident. The setting is in the middle of a city and the visuals are ones of sterile urban alienation as opposed to the Gothic surrealism more typically associated with Rollin. Yet, within this veneer is a film that anyone even remotely familiar with the director's work can identify quite easily as one of his films. It has the typical Rollin characters - alluring yet strangely asexual young women in the central roles and extremely dull men in the periphery. The dialogue is as poor as always. The story is as flimsy and senseless as its possible to be. There is an abundance of nudity. It has the strange melancholic, romantic atmosphere which always makes his movies so odd for horror films. And it also displays Rollin's eye for the surreal. The ending in particular on the grassy viaduct over the city being a perfect example of this. In other words, Night of the Hunted, despite surface differences contains all the strengths and weaknesses that all Rollin films have.

The story and setting itself very much recalls the work of David Cronenberg. But the similarities are entirely superficial. As Rollin is pretty much diametrically opposite in approach to Cronenberg as a filmmaker. Where the latter is highly scientific in his approach, Rollin is a pure romantic. In fairness, the story here could have done with a bit of developing to make it entirely satisfying but then you could probably say that about all the other films in the directors oeuvre to some extent. There is a quite nice score which certainly adds to the atmosphere well; while Brigitte Lahaie is a good presence and by some distance the only memorable actor in the entire film.

If you have any hope of enjoying this film you need to be able to buy into the weird haunting world typical of this director. You need to have some appreciation of his visual ideas too. Otherwise I expect you may dislike this rather a lot. I wouldn't say this is a particularly accessible Rollin film; I'm not really sure there is such a thing.