Ruth and Michel separate after Ruth finds another man, Paul. Ruth and Paul go to her sunny, idyllic beach side villa to spend summer. They are having a great time together, and then things ...
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Ruth and Michel separate after Ruth finds another man, Paul. Ruth and Paul go to her sunny, idyllic beach side villa to spend summer. They are having a great time together, and then things start happening. The brakes of the car fail, and Ruth narrowly escapes death. The driving equipment goes faulty, and Ruth almost drowns. Michel turns up at their doorstep for an uninvited social call, and Paul asks him in. Ruth suspects Michel of being the person behind the mechanical faults of the car and the diving equipment, but Paul dismisses such a possibility - but he does suggest it to Michel. Then, the heat does go up... Written by
"In the Eye of the Hurricane" rode the wave, so to speak, of the deceit-ridden thrillers that were flooding out of Italy in the late 60's and early 70's, such as "Orgasmo", "Bird With the Crystal Plumage" and "The Case of the Scorpion's Tail". It has become an obscure film for some reason, with only one known video release (in Holland), but this is a film that is ready to be rediscovered. The plot is not at all unlike Umberto Lenzi's previously mentioned "Orgasmo", but the real backbone of the film is the excellent cast: Analia Gade (from "Murder Mansion"), Jean Sorel, star of "One on Top of the Other" (and who spends most of the film shirtless), Tony Kendall (from "The Loreli's Grasp"), Rosanna Yanni (from both of Jess Franco's "Red Lipps" films) and Maurizio Bonuglia (from "Perfume of the Lady in Black") all play their roles well and help the film to overcome some shortcomings in the script, namely the ending, which is not as strong as the first 75% of the film. Other treats herein include visually pleasing 70's interiors and clothes (especially Yanni's floppy hat and boots and Gade's outfits), terrific easy listening music on the soundtrack that can only be described as "cool", and the terrific seaside photography and cinematography are also first-rate, and director Jose M. Forque did a terrific job leading his cast from one scene to another, and the well-made car crash sequence is better than similar scenes in bigger budgeted films.
As previously mentioned, the conclusion is a little weak, but the majority of the film is so pleasing, and, at times, quite taut and well-honed, that this is one hurricane that is worth setting through.
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