This year happens to be the 50th anniversary of Henri Verneuil’s iconic film, Peur sur la ville. In English-speaking territories, it was released under the title Fear Over the City and The Night Caller. Originally released in 1975, the film stars the incomparable Jean-Paul Belmondo as maverick cop Letellier. He is both a hero mired in regret and forced to face the shadows of his past with the emergence of a new evil. As Letellier rides through the crowded streets of Paris, he’s going all in against a serial killer hunting the city’s women. At the same time, he struggles with the emotional burden of one such case he lost, resulting in tragedy.
Shot against the dark backdrop of Paris, Peur sur la ville merges addictive crime drama with pulse-pounding chases and shootouts. The film’s narrative revolves around Letellier, who is burdened by the memory of criminal Marcucci’s escape following a bank heist. As he attempts to keep the city safe, a new menace emerges: a serial killer whose actions throw Paris into chaos.
It all combines to make for a thrilling movie climax! Belmondo’s character is lowered by cable from a helicopter and crashes through the window of a high-rise skyscraper. This centerpiece chase perfectly captures the film’s bold energy and is a testament to Belmondo’s willingness to tackle his stunts himself. He once stated, “I’m sure that when I do a stunt for Henri, I’ll be very well filmed. People will see it’s the actor doing it and it would ruin it if you couldn’t see that.”
Filming that car chase on top of a Métro train. In this exciting scene, Belmondo jumps clear in spectacular fashion to avoid the onrushing under-arches. This fearless move is merely the first part of a 15-minute continuous shot that stands against anything from any modern action film. The opening portion of this shot-stealing sequence showcases a wild chase over Parisian landmarks, most prominently around Opéra and Galeries Lafayette.
Famed stuntman Gil Delamare and his crew handled the elaborate stunt work in Peur sur la ville. Celebrated stunt performer Rémy Julienne was instrumental in their stunning execution. Julienne brings decades of stunt experience to the industry tableau. He underscored his interest in high-speed action by declaring, “I’m a guy who likes to have an accelerator.”
Belmondo’s commitment to authenticity in his performances resulted in serious on-set injuries. As a result, he missed a jump between tiled roofs and badly broke his hand in the process. The accident continued to serve as a scar though. This dedication to realism went a long way in creating the film’s immersive atmosphere.
Peur sur la ville in particular was attacked for looking like American police movies. It succeeded at the box office and secured Belmondo’s reputation as an action star. More than anything, it was his character’s resilience and determination that struck a chord throughout the film. It’s the underdog story we all still can’t get enough of.
Reflecting on his early days, Belmondo shared insights into his passion for stunts. “When I was young, I did stunts for my own pleasure.” His passion for the adrenaline euphoric and performance art is clear in each frame of Peur sur la ville.
The film’s exciting chase scenes and overall action-adventure aspects have had an influence on French cinema ever since. Critics have obviously criticized the film for drawing inspiration from American cinema. Still, its title visual flair and Belmondo’s scene-stealing turn are what really catapult it into the absolute classics. Richard Eder remarked on its distinctive qualities by stating, “Through some odd work with the trans-Atlantic scissors,” highlighting how the film blended influences from various cinematic cultures.
As Peur sur la ville celebrates its milestone anniversary, it stands as a testament to Henri Verneuil’s directorial vision and Jean-Paul Belmondo’s remarkable talents. The film truly exemplifies thrilling narrative storytelling and represents an evolution of action cinema in France.
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