That Man from Rio is a find. It’s a dazzling picture that’s as comedic as it is entertaining bursting with a Brazilian energy that brings to mind the Bossa Nova rhythms of Sergio Mendes somehow married with the world of James Bond. And it’s true, there’s without question a major debt to be paid to Dr. No and From Russia with Love. It’s a good old-fashioned international thriller in the most delightful sense.
Jean-Pierre Belmondo is one of our intrepid albeit reluctant heroes–more of a Gilligan than a masterclass spy–a bungling Bond if you will. In fact, Adrien is fresh off a stint in the air force with a week’s worth of leave. And he’s planning on some nice relaxing R & R with his best girl our spunky heroine Agnes (Francoise Dorleac). But that all quickly goes to hell.
Because he doesn’t know what’s going on while his train is rolling into the station. A mysterious statue belonging to the indigenous Maltak peoples of the Amazon Rainforest is purloined from its place at a Parisian museum in the wake of a silent murder. It’s in these opening moments that the film feels strikingly similar to the following year’s caper comedy How to Steal a Million starring Audrey Hepburn and Peter O’Toole.
However, the story rapidly leaves behind the museum corridors for territory more at home in, if not Bond films, then certainly Tintin serials. Most memorably pulling from his adventures in South America as well as snatching some eerily similar plot points from Herge’s Prisoners of the Sun and Red Rackham’s Treasure.
Belmondo quickly is thrust into the ruckus as our comical and nevertheless compelling action hero who can be found riding a commandeered motorcycle through the Parisian streets in pursuit of his kidnapped girlfriend.
He’s more than once seen pitifully chasing after a car on foot and his being in the air force must explain why he’s utterly lacking in hand to hand combat skills, more often swinging wildly with blunt instruments and getting knocked to the ground for his efforts. There’s a bit of Indy in him with his own personal Portuguese Short Round, the local shoeshine boy and if rumor serves as fact it’s no surprise that Spielberg supposedly saw the film nine times in a flurry of infatuation. If the influences of Tintin can be seen in Rio, then the film undoubtedly inspired Raiders and its sequels, making it no surprise that Spielberg would produce a Tintin picture of his own.
The madcap antics are in one sense reminiscent of It’s a Mad Mad Mad Mad World also featuring trains, planes, and automobiles of every color and description. It too has an outlandish progression of events that nevertheless make for a thoroughly entertaining adventure.
The stolen statue and murder lead to kidnapping and a spur of the moment trip to Rio where Adrien somehow snags a ride on a flight so he can catch up to his girlfriend. But soon they’re both on the lamb, looking for the missing statue and trying to rescue Professor Catalan (Jean Servais), a friend of Agnes’s late father who as luck would have it, also winds up kidnapped. That’s about all you need to know to latch onto to the workings of the plot as they surge ever onward through crazy chase scenes, frantic escapes, bar fights, and whatever else you could possibly imagine.
Phillippe de Broca’s film right from its opening credits boasts gorgeous photography that positively pops making the most of Parisian streets and most certainly the luscious Brazilian locales that still somehow purport a grittiness. There’s the juxtaposition of the worn street corners that at times feel cavernous and somehow still manage to be quaint with a tropical affability thanks to the myriad locals and tourists who inhabit the world.
Having first become acquainted with Francoise Dorleac in The Young Girls of Rochefort opposite her sister Catherine Deneuve, it was easy to consider her the lesser star despite being slightly older. That’s how hindsight gives us an often contorted view of the past. After all, following her own tragic death in a car crash, her sister Catherine has gone on with an illustrious career that has kept her at the forefront of the public consciousness as one of France’s preeminent cinematic treasures.
But after seeing The Soft Skin and now Our Man in Rio with Cul de Sac still to see, it could easily be questioned whether or not Dorleac or Deneuve was a greater star early on as both were involved in some stellar projects. Umbrellas of Cherbourg probably still gives Deneuve the edge but a film like Rio and its star at the very least deserve a brighter spotlight.
Alongside Belmondo, Dorleac is his comic equal as they gallivant frantically every which way both pursuing and being pursued. And from both actors, there’s an obvious exercising of their comic chops that really becomes the core of this film even with its certain amount of intrigue. In truth, they both perform wonderfully and their work here serves as a light, refreshing change of pace. Do yourself a favor and enjoy it.
4/5 Stars
There might be an initial predilection to call The Soft Skin Francois Truffaut’s most conventional film to date, but for me, it shows at this fairly early point in his career he seems to have grasped the main tenets of traditional filmmaking. Because his first films are full of life, energy, and idiosyncratic verve that easily charm their audience but here we see a film that in most ways looks like other classic works, well constructed and still quite engaging. Because within this very framework Truffaut is able to play around with issues that in themselves are still quite compelling. Love, intimacy, infidelity, and the like. Even with familiar names like Truffaut and Raoul Coutard, it feels very un-Nouvelle Vague. And that’s okay.
4 Star Films 