Anton Ludvik, aka Gerard, is vice-minister of Foreign Affairs of Czechoslovakia. He realizes he is watched and followed. One day, he is arrested and put into jail, in solitary confinement. ... See full summary »
During WWII SS officer Kurt Gerstein tries to inform Pope Pius XII about Jews being sent to extermination camps. Young Jesuit priest Riccardo Fontana helps him in the difficult mission to inform the world.
In occupied France during the WWII, a German officer is murdered. The collaborationist Vichy government decides to pin the murder on six petty criminals. Loyal judges are called in to convict them as quickly as possible.
Reciprocal consolation. The background of two middle-aged people (Michel and Lydia) is gradually unfolded. Michel's wife is incurably ill. They had agreed that she would take her life on ... See full summary »
In September1973, in Chile, the American journalist Charles Horman arrives in Valparaiso with his friend Terry Simon to meet his wife Beth and bring her back to New York with him. However, they are surprised by the military coup d'état sponsored by the US Government to replace President Salvador Allende and Charles is arrested by the military force. His father Ed Horman, a conservative businessman from New York, arrives in Chile to seek out his missing son with Beth. He goes to the American Consulate to meet the Consul that promises the best efforts to find Charles while the skeptical Beth does not trust on the word of the American authorities. The nationalism and confidence of Ed in his government changes when he finds the truth about what happened with his beloved son.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
'The A.V. Club' website reports that film director "Costa-Gavras actually got an official response to Missing (1982) from the U.S. government, which is included on the DVD". See more »
In the opening scene, as Charlie and Terry are getting out of Capt. Tower's car, Terry opens her door just a bit and pauses, as Capt. Tower hands her his card. Shot is from outside the car on Terry's side. In the next shot, from Capt. Tower's side, the door hasn't been opened yet. See more »
Consul Phil Putnam:
Listen, Mr Horman, I wish there was something we could say or do.
Well, there's something I'm going to do. I'm going to sue you, Phil. And Tower and the Ambassador and everybody who let that boy die. We're going to make it so hot for you you'll wish you were stationed in the Antarctic.
Consul Phil Putnam:
Well, I guess that's your privilege.
No, that's my right! I just thank God we live in a country where we can still put people like you in jail.
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There's a particularly chilling scene in this movie. It comes near the end in a confrontation between Charles Horman (Jack Lemmon) and staff members of the American ambassador in post-coup Chile, 1973. To this point the staff has sounded polished and professional in their concern for Horman's missing son, an apparent casualty of the coup. But in this scene the devious reality of American policy begins to emerge from behind the velvet glove, and Horman's passage from credulous liberal to disillusioned skeptic is complete. In a nutshell, the scene symbolizes one of the great divides in American political life, between the polished propaganda face our government presents to the people and the grim realities that face covers over, especially in dealing with Third World countries like Chile. Horman represents the frustration many feel in trying to deal with a cosmetic facade supported by both major political parties, when beneath it crouches the murderous policies of imperial rule.The real question the film poses is what Horman will do upon returning home.
The film itself remains a gripping eyeopener from first to last. Costa-Gravas is especially good at recreating the abject terror of fascist rule: where long hair is forbidden and women are forced back into skirts, where people are present one minute and gone the next, where a democratically elected government is present one minute and gone the next, and where a Henry Kissinger can do the behind-the-scenes dirty work and be honored for it (not in the movie, but true nevertheless). The acting is first-rate, and a tour-de-force for Lemmon in particular. Ditto, the often overlooked Charles Cioffi who puts the real chill in the confrontation scene. Two complaints: the arch symbolism of the riderless white horse conflicts with Costa-Gravas's documentary approach, and why, oh why, did they have to make Horman's son so cuddly. The audience gets the point without spooning on the sugar. Anyhow, this remains a fine piece of revelatory film-making and retains as much relevancy for today's audience as it did twenty years ago.
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