An ambitious reporter gets in way-over-his-head trouble while investigating a senator’s assassination which leads to a vast conspiracy involving a multinational corporation behind every event in the worlds headlines.
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Digital, rewatched. Rewatch a Panavision movie on Cinemateca's small screen will not be ideal, much less with the quality of the projected copy, but what magnificence! A film from a now imbecilled industry that dares to make a thriller in dismembered action, looking for the silence in spaces, which hyperdimension them, and to the geometry with which the camera (re)construct it. The final sequence is anthological.
A cynical post-J/RFK view of assassination-conspiracy-as-machine cranking out patsies on an industrial scale. The film succeeds at two levels, although neither is in the thin maguffin-esque plot (yes, all allusions to Hitchcock). Accomplished control of mid-distance framing, shock-cut editing and dislocated sound provide a sheen to a surprisingly dour, biting view of authority control with its bogus commissions et al
Alan J. Pakula and DP Gordon Willis continue their 'paranoia trilogy' with "The Parallax View," a crackling action picture that also happens to be steeped in a 70's-era pessimism. Pakula and his collaborators stage setpiece after setpiece with aplomb, all the while never letting the viewer forget that conspiracy, assassination, and cover-up are - as the movie poster's tagline states - as American as apple pie.
Only the decade of the '70s could have made such an overwrought plot seem so frightening; the assassination scene in the convention centre is brilliant cinema and makes up for the more hackneyed twists that precede it. Gordon Willis' work creates a world of sleek, oppressively sinister spaces, where the machinery of the conspiracy is always just out of view.
The Parallax View was stunning. Beatty was great but Pakula's direction steals the show. I'm glad the movie didn't go in the goofy chase direction I was expecting and the last 20 minutes alone were the absolute antithesis of what I'd anticipated. Sure the plot's kind of laughable but Pakula made it frightening. Overall, astonishingly fantastic.
I find Warren Beatty's representation of masculinity about as progressive as John Wayne's. Pakula's story has some interesting exploratory ideas, but fails to match Pakula's renowned efforts, 'The Manchurian Candidate' and 'All The President's Men', for political bite.
An interestingly bleak paranoid thriller that offers all the elements of the standard 70s thriller. Beatty is gruff in this film and the cinematography is exceptionally gritty very reminiscent of Klute.