Tom Levy, who is nicknamed Babe by his older brother Henry Levy, an oil executive who in turn is nicknamed Doc by Tom, is a Ph.D. candidate in History at Columbia University. He is also training to run a marathon. Tom is paying homage to his deceased father, H.B. Levy, in pursuing the same studies as him, his father who committed suicide while being under investigation solely for being a Jew. Tom's work doesn't sit well with Doc who wants Tom to move on with his life. While at Columbia, Tom meets and begins to date Elsa Opel, a foreign exchange student also in History. While out for a walk in Central Park late one day, Tom and Elsa are mugged, the unusual aspect of it being that their attackers were men in suits. Tom will learn that the mugging was not a random attack after someone close to Tom is found murdered, the deceased who was not who he purported to be. From here, Tom is thrown into an international plot concerning a WWII Nazi named Christian Szell in hiding, and a large cache...Written by
At the zoo Elsa incorrectly spells the French word phoque ("seal") as "foc". See more »
[In the car with Babe]
All right, things are starting to come together. Keep your head down before you get it blown off. Those two guys I just wasted work for a man named Christian Szell. Does that name mean anything to you?
He ran the experimental camp at Auchswitz, where they called him "The White Angel" - "The Weisse Engel" - because he has this incredible head of white hair. He's probably the wealthiest and most wanted Nazi left alive. And he's hiding out somewhere in Uruguay. In 1945, ...
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The ending 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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