Radiance Films collects three films from Robert Hossein: “The Wicked Go To Hell,” “Nude in a White Car,” and “The Taste of Violence” is this fantastic new set.
The Films
Radiance Films collects three films from French writer-director-actor Robert Hossein as part of the “Wicked Games” collection. It’s a fitting title, as each of these films uses how people play one another, with dangerous and, yes, wicked ways; shifting rules, situations, and working in and out of society. These three films may be rather different on the surface, with vastly different genres, all boil down to twists and turns of personal wants, figuring these out as a viewer and character, and unexpected conclusions.
The Wicked Go to Hell (1955); adapted from a novel by Frederic Dard.
Hossein’s first film finds two men breaking out of prison, both accused by the others and prisoners as police informants, and find themselves at the beachside home of a couple. Killing the husband, they use and cajole the wife. It’s a wonderful noir, a dance of allegiances, betrayal, unsurity from the audience on the truth of any situation. Marina Vlady is mesmerizing as Eva, the woman at the center (after the film, Hossein would marry her; they’d break up in 1960). Radiant and unreadable (in a good way), she proves a central point. I do with the film reached this drive earlier than it did, with the prison portion going on a tad long; nice to set up the stakes and character as they start to crack in the pen. Still, thrilling and driving across. First feature kinks to be had, but a well-done film.
Nude in a White Car (1958); also adapted from a Frederic Dard novel. (also known as Blonde in a White Car)
A man, played by director Hossein (he had a small role in the first film) is out for a walk when a blonde woman lures him into her car. She’s nude and ready for a tryst. After, she tries to kill him, but he gets the plate number. Following the trail, the car belongs to a villa inhabited by a pair of blonde sisters. He ingrains himself into their lives; both are kind, but Eve (Played by Marina Vlady, who also played an “Eve” above but in a very different role) is paraplegic, and Helene (Played by Vlady’s actual sister Odile Versois) is stuck there for her sister and claims to never leave the house. Both seem like they’re stuck in a rut, and he can be the way out; of course, neither seems like they could be the woman in the car. So who’s lying and why?
There’s a sort of drawing room Hitchcock to it, in the intrigue of the layered truths, but even akin to Henri-Georges Clouzot’s Diabolique. The writers of that also wrote the book of Vertigo, which shares qualities with this film. Funny is that the special features, both in commentary and the video essay, touch on this. Made my notes while watching more solidly. It’s a wicked thrill to see the characters play on one another, hold, and reveal the secrets. It’s fun to determine who is messing with whom, what histories are right, and the sheer simmering sexiness of it.
The Taste of Violence (1961), written by Hossein and others.
Hossein turns to Zapato! Western (it might be the first of the sub-genre) for the third film in the set. A rebel, Hossein, again, a freedom fighter, kidnaps the daughter of a dictator. She, he, and two other companions travel across the landscape to make the switch, dealing with the dangers along the way: the army, the terrain, and one another. As noted in the intro and title, wicked games of who trusts whom and why, who is dangerous, or a friend… or both?
All three of these films are visually stunning, but this is the most so. I loved the look of the night sequences, with deep darks and stark lighting. There’s a Kurosawa quality to the shot design and how it plays. The film was a big influence to Leone, who would start his Western cycle soon, and even used Hossein as an actor. Giovanna Ralli is just as entrancing as the women at the center of the first two films, with a piercing Barbara Steele-like stare. This was my favorite of the set, with the strongest drive and character oomph.
The Package
Each film is located on its own disc and case with reversible slips with new and original art from Time Tomorrow. They are collected in a hard cardboard case, shared with a booklet with essays. The set is limited to 3000 copies. The box has Radiance’s removable slip with synopsis and information.
The Video
Each film has a 2k restoration. They look great, maybe a little soft at times, but overall shine with a strong image and great use of the darkness, especially in Nude and Violence.
The Audio
All three films feature the original uncompressed French mono with English-only subtitles. Sound is crisp.
The Special Features
All features are new outside an interview with Marina Vlady.
All three films feature a commentary by Video Watchdog’s Tim Lucas. Great commentaries, serving as a 4.5-hour overview of Hossein’s fascinating multi-hyphiate career and life, how each film came to be, discussion and analysis of the text of the film, and the culture/history around each film in the cultural and film worlds.
The Wicked Go To Hell
“Picking Strawberries” Making of with historian Lucas Balbo and archival interviews with Hossein and Jean Rollin (15m)
Discusses the history of the story from book to stage and then to movie, mostly with Lucas Balbo, but cutting around. Balbo has a lot to say, but his readings are very awkward; from cue cards, perhaps, but I get it he’s working in a different language. Good discussion of Hossein and how he learned on the go.
“Behind Marked Eyes: The Cinematic State of Robert Hossein” – Howard S. Berger on the director and his long career (27m)
Loved it. I knew of Hossein before diving into this set, but we learn so much of the man, working well with the commentaries to paint a picture of a wide-ranging career.
Nude in A White Car
Interview with Marina Vlady – Filmed in a loud hotel lobby (a little distracting due to noise) Vlady talks about her relationship with Hossein and working on his films. A nice insight. (9m)
“Evolution of the Femme Fatale in Classic French Cinema”, a visual essay by critic Samm Deighan. Deighan’s essay is totally fascinating. She explores the multi-national lead up to the film in question, specifically Hollywood Noir, and the whole of the sub-genre, its influences, and what it influenced. Added a slew of films to keep an eye out for (17m)
The Taste of Violence
An appreciation by Alex Cox – The Repo Man filmmaker (and multi-hyphenate himself) talks about how much he adores the film and how Hossein influenced Leone. (7m)
C Courteny Joyner – The history of the Zapato! Subgenre, where it came from, how it influenced later spaghetti westerns, and the importance of Euro westerns to the world.Loved it. (26m)
Each disc has a trailer for the connected film.
Final Notes
Radiance Films has put together another fantastic set, highlighting underserved film niches. Each film is wonderful and looks great with a solid complement of features, including a commentary, an interview, and a historical essay each film.