An ambitious reporter gets in way-over-his-head trouble while investigating a senator's assassination which leads to a vast conspiracy involving a multinational corporation behind every event in the world's headlines.
Los Angeles private investigator Harry Moseby is hired by a client to find her runaway teenage daughter. Moseby tracks the daughter down, only to stumble upon something much more intriguing and sinister.
After she's been attacked in her apartment, Cathy starts reliving the event in her dreams. She seeks help at a sleep disorder research center, but in doing so she encounters some unexpected... See full summary »
American Walter Elbertson (Timothy Bottoms), in his late teens, is feeling lost within his family of overachievers. Thirty-something Englishwoman Lila Fisher (Dame Maggie Smith) is ... See full summary »
Alan J. Pakula
Don Jaime de Mora y Aragón
The wife of a murdered petrochemical company chairman and a banker investigating the liquidity of his new bank stumble upon an international financial scheme that could lead to global economic collapse.
Alan J. Pakula
The two brothers Treat and Philip lived alone since they were kids. Interdependent they dwell in a loft house and live on little thefts, until an aging minor criminal moves in with them and takes over the role of a father.
Alan J. Pakula
Joe Frady is a determined reporter who often needs to defend his work from colleagues. After the assassination of a prominent U.S. senator, Frady begins to notice that reporters present during the assassination are dying mysteriously. After getting more involved in the case, Frady begins to realize that the assassination was part of a conspiracy somehow involving the Parallax Corporation, an enigmatic training institute. He then decides to enroll for the Parallax training himself to discover the truth.Written by
Philip Brubaker <firstname.lastname@example.org>
At the suggestion of actor Warren Beatty and screenwriter David Giler, the profession of Beatty's character of Joseph Frady was changed from a police officer to a newspaper journalist. See more »
The sheriff's police cruiser switches from a 1973 Plymouth Satellite Custom to a 1973 Dodge Coronet where Frady takes a shortcut through a construction site. And when he crashes the cop car in a local Safeway, the cop cruiser is a 1973 Plymouth. See more »
Who are you? I simply have to know.
All right. I'm Richard Partun.
Why did you want us to think you were Richard Paley?
I needed a job. I got into a little difficulty in El Monte a couple of months ago.
What kind of trouble?
Is it important?
Well, I was drinking in this bar and, uh... I used to drink a lot. Next thing I know, I'm running around a laundromat, only I don't have any clothes on. And some old lady claimed I was trying to... you know, molest her.
I don't ...
[...] See more »
It has become commonplace to identify '70s Hollywood films as their own genre. I'll go one farther and identify this era as a collective, structural autuer.
If that hypothesis holds any water, this is one of its impressive works. Made shortly after Watergate, and less than a decade after the JFK assassination, this envisions conspiracies and assassinations not as a disruption of, but a cornerstone of the American establishment.
This is, in a sense, not a POLITICAL conspiracy thriller. The US government, or that of any other country, is presented as merely a dope of a greater power- that of the big corporations of whatever stripe. This is a dystopian capitalist democracy- one in which representatives are elected to "officially" be as clueless as the general populace about the real social reality around them.
Perhaps the most subversive thing about this very subversive film is that the assassinations don't seem catastrophic, or even troubling. When one takes place, the victim politician is basically a walking sound bite. His sacrifice seems only the continuation of a ritual of banal brutality.
In one scene, a film is shown that is supposed to condition the viewer to murderous obedience. It is a montage of images of Americana, including those of violence and oppression. In most '70s conspiracy thrillers, the evil that lurked beneath the surface had a predatory relation to the commonly understood reality. People were putting their trust in a machine that was not what it seemed. Here, the evil is the surface. America IS the conspiracy.
DP Gordon Willis has never impressed me more. In his work with Woody Allen and Francis Coppola his show-offy use of shadow and in-the-frame lighting sources seemed at times to distract from the tone or theme of the film, as if Willis was only interested in defining his "look" regardless of its relation to the film's content. Here, it fits the tone of the film perfectly. The final scenes, largely devoid of dialog, in a hall filled with terrifyingly "patriotic" imagery, is gorgeous. Many of the shots reminded me of de Cherico paintings.
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