The scenario of this film has the structure of a complex counter-point, more precisely that of a double-fugue (fugue: from Latin fuga=pursuit!)
Indeed, in the first part of the movie, we see two independent stories developing in parallel:
1- A Nazi named Szell (Laurence Olivier), nicknamed "Der weisse Engel=the white angel", hiding in South-America after having committed numerous war crimes as SS-führer of a concentration camp, is forced to quit his refuge and to go in USA in order to recover his fortune in diamonds, which originates from the plundering of Jews. His brother, who manages the fortune in USA, plays, so as to say, Olivier's counter-subject.
2- The young jewish student (Dustin Hoffman), is the "marathon man", a persistent man "who bends but doesn't break", leads his life as he wants, despite the mockeries of his neighbors. His brother (Roy Sheider), a secret agent involved with Szell's business, plays the corresponding Hoffman's counter-subject.
In the second part, we see the two "themes of the fugue" mixing together, Olivier's and Hoffman's worlds interacting; and finally, comes the rousing climax, the concluding "stretto".
Of course, the only scenario, as good as it be, cannot ensure the success of the movie. It requires an corresponding quality of actor's prestation. Sure that Hoffman and Olivier did the job!
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