Gene Hackman is an ordinary man, a kind of noir character adapted to the "modernity" of the seventies. Without charm or glamour, "Night Moves" develops as a mix between the romantic dilemmas of the protagonist, and an investigation that leads to other circumstances. None of these two sides of the plot have a great development, but the dark and obscure spirit of the Arthur Penn's style helps the viewer to be ...
Le cinéma d'Arthur Penn dans toute sa maîtrise, avec un Gene Hackman admirable reconstituant le puzzle d'un personnage à la recherche d'une vérité extérieure sans intérêt, vers une découverte de soi, lucide et désespérée. Une oeuvre difficile qui mérite et nécessite une attention soutenue du spectateur... www.cinefiches.com
With its roughhewn, made-for-TV flavour - which refracts noir's B-movie origins - Night Moves' look, tone, and (lack of) cinematic flair means it will always fall under Chinatown's luminous shadow. And while Hackman is an apt choice for the cuckolded anti-noir detective, the movie shoots itself in the foot by rendering him so doggedly demure and ordinary that he often rings more bland than existentially profound.
What an excellent little throwback noir. Hackman is ace as ex footballer gone detective. The French Connection it isnt, this is a whole different type of cop story, driven more by characters then style. Penn may have made his best work here, although I admit I am not the most well versed in his catalog. Essential for fans of 70s cinema, and great acting in general. Not to be missed.
A film that's as much about the contribution of the detective narrative to our consciousness as also being another addition to that... Accordingly unglamorous, reactionary. At what point does a film about the futility and worthlessness of Hollywood ideals also contribute to our understanding of classical new (or here 70's) ideals. I like cynical films, this boasts a great ending which is a bit traditional for intent
Crossover detective/Éric Rohmer inspired flick. Gene Hackman is pretty good but his character doesn't have the complexity that could make this movie more interesting. I'm not the biggest fan of adultery stories (i'm definetly not a Rohmer fan) so this film failed to keep me interested.
In the case of many director, their BEST work is often overshadowed by their most INFLUENTIAL work. Such is the case with Arthur Penn who will go down in cinematic history for Bonnie and Clyde and not for Night Moves. A brilliant homage to film noir that, by ironically covering old Hollywood grounds, manages to tell a story of change. It also offers a depiction of sleazy Hollywood that rivals Wilder's and Lynch's.
Reminded me of The Long Goodbye and American Friend because it's a film that relies on the charecters perception and atmosphere over plot direction- this is shown through the plots increasing lack of direction as harry himself looses interest. Whilst i'm an avid fan of gritty american films like Scarecrow and The Conversation i felt Night Moves could be a tad to vague and loose at times. 3.5/5
A brilliant twist on the more conventional PI mystery plot with Sharp and Penn more worried about studying the man than the narrative. It's a truly subversive and ultimately though-provoking character study, a backstage look at the life of a PI if you will. All the moral and ethical issues of a profession glorified by the movies are her portrayed in gut-wrenching fashion. Plus, it treated the audience with brains.
Poor Eric Rohmer never stood a chance against Harry Moseby's undeniably pedestrian gait about everything surrounding his life, a simple man working his way as a private eye while trying to get a hold of his tumbling marriage are the two elements in which this very memorable film edifies itself, but the real surprise lies not in uncovering the plot but in the withdrawal of understanding the real motivation of it all.