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The professional mercenary Sir William Walker instigates a slave revolt on the Caribbean island of Queimada in order to help improve the British sugar trade. Years later he is sent again to... See full summary »
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A detective uncovers a formula that was devised by the Nazis in WW II to make gasoline from synthetic products, thereby eliminating the necessity for oil--and oil companies. A major oil company finds out about it and tries to destroy the formula and anyone who knows about it.Written by
Marthe Keller replaced Dominique Sanda on this picture. George C. Scott allegedly stated during rehearsal readings that Sanda's French accent was too thick for him to understand. Sanda was reportedly paid out of her contract, which amounted to approximately US $350,000. See more »
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This film may have even more relevance today than in 1980, when it was released. Most in this country would love to be left to their own devices by marketing/consuming fuel based on American coal derivatives like those delineated in the "Genesis" formula instead of depending upon foreign petroleum. The parallels outlined here are close to today's, especially the popular theories these days that big oil is suppressing valid fuel alternative projects that would undercut their energy dominance, hence, their financial status.
Unlke some other reviewers, I thought the film moved along at a nicely orchestrated pace, making it, perhaps, a more analytical movie than a Hollywood flash-and-dash melodrama. The film follows a logical progression of events that lets the viewer absorb the contents in easy to swallow doses, that is, as long as he/she pays attention to the plot development.
I was impressed by mostly all the actors, especially Marthe Keller, who acquitted herself very well in her portrayal by staying well within her character and by her impeccable timing and fluid delivery. Mr. Brando's rather short stint in the film was punctuated by terse, cynical and penetrating dialog, playing the enterprising villain who continually cuts to the chase with large doses of street-wise metaphors. George C., as usual, is a no-nonsense good cop who only wants to see justice prevail, regardless of who gets burnt. Yet inside him, demons from the past lurk and can't help but surface from time to time: you can see it in the non-verbal communication that Mr. Scott so characteristically exudes.
Thanks to TCM for showing these kinds of films that are usually omitted on other movie channels.
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