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Ted Kramer's wife leaves her husband, allowing for a lost bond to be rediscovered between Ted and his son, Billy. But a heated custody battle ensues over the divorced couple's son, deepening the wounds left by the separation.
In New York, the brother of an infamous Nazi war criminal is killed in a head-on collision with an oil truck. Shortly thereafter, members of a covert U.S. government group called the Division begin being murdered one by one. Meanwhile, graduate student and marathon runner Thomas "Babe" Levy researches history as his father, who committed suicide after the Communist witch hunts of the McCarthy era ruined his reputation. When he sees his brother, one Division member, stabbed to death, it is revealed that Christian Szell, the White Angel of Auschwitz, is wrapping up loose ends to smuggle priceless diamonds from the United States. Written by
Anthony Hughes <firstname.lastname@example.org>
Joseph Spah (billed as Ben Dova), portraying Szell's brother, is the driver of the stalled car involved in the opening car-truck collision. Mr. Spah was a survivor of the Hindenburg disaster. See more »
At the beginning of the film, the radio announcer notes "unusually" high temperatures, and the owner of the Impala is angry that his a/c does not work. However, he is wearing a sweater, which would suggest a cooler day. Also, the man who is guiding the fuel oil truck into the street before the crash is wearing heavy jacket, which would also suggest a much cooler day. It is later reported that this was Yom Kippur, which occurs at the beginning of fall, when a hot day is still very possible in New York City. See more »
Szell's brother's been killed in Manhattan. An accident with an oil truck.
Oh, boy. Any changes?
They're getting all the couriers.
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The end credits scroll with Babe's jogging route as a backdrop. See more »
Quite apart from the infamous torture scene, which I found extremely difficult to watch without howling in horror (actually that's a lie, I DID howl) this film is FULL of nervous tension that occasionally boils over - the way it's been done is masterful. The bouncing-ball scene in the darkened building should be utterly prosaic, but it really isn't - the way it's choreographed and shot brings such an air of menace and trepidation you'll be biting your nails off. There's much of a similar vein in 'Marathon Man', and although the storyline is sometimes almost buried through the relentless suffocating tension, it's extremely watchable (with a cushion to hide behind at certain points) and one of the greatest non-Hitchcock thrillers I've ever seen. Don't hesitate!
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