While investigating a high-profile murder case, a savvy but unorthodox veteran police inspector has to cope with a bad conscience, bad health, an overzealous partner, a timid superior and ...
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Elliott Gould and Diane Keaton take out a lease on love with an option to buy in this glossy romantic comedy costarring Paul Sorvino, Victoria Principal and Candy Clark. Unhappily divorced ... See full summary »
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In Berlin in the early 1940s, romance is forbidden between the young countess who is studying veterinary medicine and a young man she meets at the home of a former professor. But they fall ... See full summary »
While investigating a high-profile murder case, a savvy but unorthodox veteran police inspector has to cope with a bad conscience, bad health, an overzealous partner, a timid superior and interference from political interests. This is an existential whodunit, but a good one, and like any good whodunit, ends with a very surprising conclusion, which will be spoiled for you if you read much of anything at all about the movie. Written by
"You're playing chess with yourself?" ... "I'm the only one I know who plays at my level."
Maximilian Schell directed, co-produced, and co-adapted this screenplay, based on Friedrich Dürrenmatt's book "The Judge and His Hangman", about a cunning murderer who began his crimes in 1940s Istanbul with the thrill-killing of his friend's girl; thirty years later in Switzerland, the friend is now a Commissioner who links his former acquaintance to the murder of a patrolman. Jon Voight plays an investigator who has an affair with the lover of the deceased, not knowing she's also involved with the criminal suspect. Martin Ritt and Robert Shaw are the adversaries, and both are exceptional, with Shaw (in a bald cap) glimmering with decadent evil. However, Voight (his accent on and off) and Jacqueline Bisset fail to come up with anything interesting, and neither is photographed well (both look white and pasty). The film's monotonous rhythm is helped occasionally by the punchy editing, but Schell seems to lose his grip on the narrative after the intriguing opening sequences. Some of the director's small, throwaway moments are best, but his grand gestures do not work at all. *1/2 from ****
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