Birds of Prey

Figures in a Landscape (1970) - Losey








Two English men are first seen running, with their hands tied behind their backs, from the relentless pursuit by a hellicopter. There is no explanation as to why or how or what. Figures in a Landscape is one of those 70s wtf movies steeped in metaphor that are gripping and hypnotizing nonetheless.

Robert Shaw (who also wrote the screenplay) along with young Malcolm McDowell, does amazing amount of cadio in an unnamed, rugged countryside (by looking at olive trees and snowy mountains at the end, my guess is Italy). After raiding a village at night, killing some villagers to steal some food, clothes and a rifle, the fugitives still find themselves the prey to the bird above. Things get more tense after Mac (Shaw) methodically shoots down one of the pilots off the copter. Now there is an army with automatic weapons pursuing their tracks along with the copter. With their visors firmly stuck in their faces, all the pursuers are silent and nameless.

Mac has no scruples about killing people but the young man is morally conflicted. Mac angrily accuses him as a hypocrite. Grinding his teeth and snarling, Mac is a great precursor to Quinn in Jaws. He even showcases his loony sense of humor when things go dire - as they are cornered in what it looks like a sugarcane field with the copter firebombing from above and angry farmers trying to put out the fire by releasing water from the irrigation dam, the duo has to resort to crawling in the muddy field surrounded by inferno. What does Mac do? He catches a little snake, waving around like a lunatic, happy as a clam.

The hellicopter serves as a dominating force - an oppressive government or a dictator, a bird of prey, toying with you from above with its absolute power until it comes in for the kill. As they approach an arbitrary border to freedom in the snowy mountain, Mac's obsession - bringing down that symbol of oppression - a copter/a shark from above, takes over, even if it means costing your life. Visceral and oddly captivating, Figures in a Landscape is a very interesting film.

Cold Fish

La Truite (1982) - Losey











From what I've read, Joseph Losey planned adaptation of Roger Vailland's book of the same name with Brigitte Bardot in mind. He got to make it much later with the one and only, Isabelle Huppert. The choice of Bardot makes a lot of sense to play a sexpot who can't be controlled by surrounding men and like a trout, would slip away from their grasp. But she would've been too obvious of a choice and the movie would've been less interesting. La Truite, instead, is a much more nuanced film about sexual power play, finding love in the cold society and fraternity of women.

Frederique (Huppert) works at a trout farm in the rural area. She is young and married to an effeminate young man, Galuchat, who grapples with his sexuality and has suicidal tendencies. Frederique is also disgusted by her father and his friend's behavior among village girls- 'taking them to his chalet' has an ugly connotation in her mind. It is revealed in constant flashbacks that she belongs to 'carefree girls club' where they perform rituals and swear to each other never give men what they want. It's maybe or never. Galuchat and Frederique meet an old couple, Rambert (Jean-Pierre Cassell) and Lou (Jeanne Moreau) and their friend St. Genis (Daniel Olbrychski), a rich business man while bowling. Rambert and St. Genis are immediately smitten by Fred. St. Genis offhandedly suggests to take Fred to his business trip to Japan. Rambert is mad jealous and Lou is pissed at Rambert. Fred rummages through high society and wreck a havoc.

Off they go to Japan. Fred soaks in her first plane ride and exotic culture and all the luxury St. Genis provides for her. But she never gives him what he wants. Because Galuchat's suicide attempt, Fred and St.Genis come back to France. Rambert and Lou are in the fritz because of Fred. Lou and Fred bond over their mutual understanding of men's folly.

It's all Huppert though. Her mixed naivete and nonchalance makes a hell of a complex, beguiling character. She can be brutal in kicking old pervert's balls several times but also can be remorseful after throwing the man's stuffed trophies out the window and seeing him cry. Another strong film that demonstrates Huppert's talent and charm.