Simple mortel is a French science-fiction film first released in 1991, directed by Pierre Jolivet.  The film stars Philippe Volter, Christophe Bourseiller, Nathalie Roussel, Roland Giraud and Maaike Jansen.  It has also been released under the title: A Mere Mortal.  Our overall rating for this film is: good.


Stéphane Marais, a researcher in ancient languages, begins to receive bizarre radio messages in one of the languages he is studying.  He is told that he has been chosen to undertake a task that will save humanity.  Stéphane is understandably sceptical and is certain that he is hallucinating.   To convince him, the messages warn him about disasters just before they happen.  Stéphane begins to realise that he is but a very small cog in a very large machine and that he has no choice but to fulfil his mission to save the world...

Simple mortel is an effective blend of minimalist science-fiction and psychological thriller which is both visually shocking and profoundly disturbing.  It is the work of Pierre Jolivet, perhaps one of the most underrated French film directors of the 1990s, who started out as a co-writer/co-producer with another prominent director, Luc Besson.

The idea of a man receiving radio messages from a non-terrestrial source is taken straight from Jean Cocteau’s 1949 classic Orphée (perhaps explaining why the main character is named Marais, after the actor who starred in Cocteau’s film).   Simple Mortel develops the idea further into a chilling thriller which, with the absolute minimum of special effects (and the maximum of existentialist flair) effectively shows mankind’s minuscule place in the universe.

An intense performance from Philippe Volter and the sombre cinematography create an impression of total isolation, with mankind entirely at the mercy of unseen external forces. The nights scenes are particularly menacing and very effective at evoking the sense of a hidden threat.

This is an unusual film which is inspired in both its concept and execution.  It is however slightly marred by a false ending which feels too cosy and simplistic and does not deliver a satisfying sense of resolution (just how is the world saved?).  There are also just too many plot contrivances for the film to be convincing (why would a celestial messenger speak to us in a long dead language?).  Despite this, the film is recommended for its originality, daring and impact, and it makes a healthy contrast to the traditional Hollywood sci-fi blockbuster.

© James Travers 2001

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