After being released on parole, a burglar attempts to go straight, get a regular job, and just go by the rules. He soon finds himself back in jail at the hands of a power-hungry parole ... See full summary »
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 <email@example.com>
Although the first preview of the movie was successful, second one which was shown in San Fransisco did not go well. Audience complained on all the violence in the movie so director John Schlesinger and editor Jim Clark deleted following scenes; Fight scene near beginning of the movie in which Doc fights with two assassins who killed his friend, graphic and gory close-ups of Szell disemboweling Doc with his wrist blade, and both of the torture scenes were heavily cut. Graphic insert shots from torture scene which were filmed by Clark were removed. Some photos, such as original lobby cards and still shots show Szell torturing Babe longer with dental instruments in first torture scene and actual onscreen drilling of Babe's tooth in second torture scene. See more »
When Doc dies on the floor of Babe's apartment, he has what seems to be a piece of tape stuck to the bottom of his shoe. Then, when he is next shown again with chalk outlines around him, the piece of tape is gone. See more »
Listen, I want you to rob my apartment.
There are some guys out there after me, I got a gun in my desk drawer, and I want you to get me some clothes.
What's in there for me, man?
I got a TV set, I got a hi-fi, you can take it all. Do it.
What's the catch?
The catch is it's dangerous. Please do it.
That ain't the catch. It's the fun.
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The end credits scroll with Babe's jogging route as a backdrop. See more »
The high ratings for Marathon Man are no doubt focused on the substantial talent assembled to pull it off, and they succeed as long as one dispenses with every expectation of logic or common sense. Schlesinger builds substantial suspense, and there are plenty of satisfying scenes, but the plotting and story points are ridiculous beyond measure. This might not be a problem if it were any other type of picture, but the progressive unfolding of an initial puzzle to a somewhat sensible (or at least rational) set of revelations is one of the hallmarks of the government intelligence thriller. The story here, however, is so thin that virtually nothing happens for the entire first half of the picture, and the second half is really nothing more than one long chase sequence. The biggest problem is that the central objective of the action is precipitated by a murder that, if contemplated for more than about twenty seconds, reveals itself to make absolutely no sense whatsoever. And the illogical story points are not just structural. There are numerous details throughout that are obviously (and, to my mind, condescendingly) designed as mere conveniences for the the action, regardless of how inane or inexplicable they may be. The veneer of star power and sophisticated production values did not--for this viewer, at any rate--successfully obfuscate the movie's considerable flaws.
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