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Contract hitman Jay Mallory works for an unknown organization. He returns to his apartment one day to find his wife, Celandine, gone. Mallory initially thinks that Celandine has left on her own, but soon, believes her disappearance may be associated with his last job. The organization assigns Mallory another job in, England, about which Mallory feels there's something unusual. He's given little information, including not knowing who the target is, and that it too, is associated with Celandine's disappearance. Despite feeling he's being set up, Mallory decides to take the job anyway to see how it plays out, and if it leads him back to Celandine.Written by
Director Stuart Cooper said in an interview that the one hour and twenty-one minute version is "a disaster", and said that much to the producers when they screened it for him. See more »
There are three different versions of The Disappearance.
Version 1: The original director's cut which runs at 101 minutes and is healthily non-linear, influenced by the temporal experiments of earlier films such as Hiroshima Mon Amour, Don't Look Now and Point Blank.
Version 2: An unauthorized, shortened, re-edited version by Fima Noveck that runs at 81 minutes and attempts to put the narrative into a more coherent order by reducing the complexity of the narrative by coding the instances of non-linearity as flashbacks; and reducing their frequency and length.
Version 3: A third version that runs at 91 minutes but maintains the jumbled time frame and comes across as a leaner and more abstract version of the original. See more »
This film does a fine job of putting the viewer into the position of the main protagonist, Jay Mallory. It isn't until the climax of the film when Mallory and Christopher Plummer's character, Deverell, meet that the viewer can understand the disjointed, roller-coaster ride that Mallory has been on.
The haunting piano music beautifully reflects the tension of the film. The support cast is made up of outstanding English and European actors who give the feel of the film the pace so often brought to the screen of excellent non-US films.
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