The Naked Prey is a suspenseful and very well made film from 1966. For its era it contains some surprisingly savage scenes, but thankfully none of them are gratuitous or exploitative. Another surprise is the extraordinarily low amount of dialogue in the film. Since the advent of sound I can think of very few films with as little dialogue as this one. Yet even without words, it comes across as a compelling film – a true example of film as a visual medium, with a thoughtful mix of panoramic vistas and intense close-ups. There is a bit of sound – some African drum scoring for the dramatic scenes, plus a very organic and natural background hum throughout – and it is used very cleverly and sparingly to maximise impact.
A group of white hunters on a 19th century safari offend a local tribe by refusing to exchange gifts with them. The safari manager – known simply as The Man (Cornel Wilde) – warns that this is not wise, but he is ignored by his clients. Later the tribesmen attack the safari party and take its members prisoner. One by one the white hunters are killed – some are hacked to pieces, one is bitten by a snake, one is encased in clay and roasted over a fire. The only one left alive is The Man. He is to be used for sport – the tribesmen strip him naked, give him an arrow-shot distance head start, then pursue him like a wild animal into the blisteringly hot African bush. What follows is an epic struggle to stay alive, as The Man attempts to outrun and outwit his pursuers. But the longer he lasts, the more his survival instincts become primitive and barbaric.
Cornel Wilde shows an impressive eye for detail as the director of this film, and as actor he is convincing as a man simply desperate to remain alive. The role seems physically demanding, and Wilde is equal to it. There is inevitable violence – and it definitely isn't for the squeamish – but it is done tastefully and realistically within the context of the story. Where The Naked Prey loses out slightly, for me, is in the sparseness of its characterisation. There's a lack of depth to the pursuers and the pursued, perhaps deliberately, which just makes it that little bit harder to "feel" anything for them as real people. But the spectacle of the hunt is certainly vivid enough, and Wilde's overwhelming desire to stay alive is captured very clearly. A blink-and-you'll-miss-it scene at the end – where the Leader of the Hunters and The Man exchange a salute of mutual respect – is wonderfully done. This is a very atypical product from 1960s Hollywood, and one which should be seen by anyone with an interest in the "visualness" of the film medium or anyone who likes a rattling good adventure flick.
A group of white hunters on a 19th century safari offend a local tribe by refusing to exchange gifts with them. The safari manager – known simply as The Man (Cornel Wilde) – warns that this is not wise, but he is ignored by his clients. Later the tribesmen attack the safari party and take its members prisoner. One by one the white hunters are killed – some are hacked to pieces, one is bitten by a snake, one is encased in clay and roasted over a fire. The only one left alive is The Man. He is to be used for sport – the tribesmen strip him naked, give him an arrow-shot distance head start, then pursue him like a wild animal into the blisteringly hot African bush. What follows is an epic struggle to stay alive, as The Man attempts to outrun and outwit his pursuers. But the longer he lasts, the more his survival instincts become primitive and barbaric.
Cornel Wilde shows an impressive eye for detail as the director of this film, and as actor he is convincing as a man simply desperate to remain alive. The role seems physically demanding, and Wilde is equal to it. There is inevitable violence – and it definitely isn't for the squeamish – but it is done tastefully and realistically within the context of the story. Where The Naked Prey loses out slightly, for me, is in the sparseness of its characterisation. There's a lack of depth to the pursuers and the pursued, perhaps deliberately, which just makes it that little bit harder to "feel" anything for them as real people. But the spectacle of the hunt is certainly vivid enough, and Wilde's overwhelming desire to stay alive is captured very clearly. A blink-and-you'll-miss-it scene at the end – where the Leader of the Hunters and The Man exchange a salute of mutual respect – is wonderfully done. This is a very atypical product from 1960s Hollywood, and one which should be seen by anyone with an interest in the "visualness" of the film medium or anyone who likes a rattling good adventure flick.