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.
Excellent 70s conspiracy flick. The plot is far fetched but I loved it anyways for its illuminati like implications of a secret corp killing off politicians that stand in the way of its agenda. The direction and editing here is very tight. Beatty is good, as is the rest of the cast, but Cronyn steals the show for me. Cinematography is also excellent. Not much else to say, other than watch it asap. 4.5 stars
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
I admire its cynical 70s view of the world and there is some chilling material here but I felt that it lost momentum in the final third and I get frustrated that the organisation behind the conspiracy is so faceless. Warren Beaty's character is also a bit of a dick.
Monumentally cool; the chill awaking of the individual to the presence of the shadow state! Impeccably acted and fearfully made in symmetry and asymmetry, each frame is laden with dread potency. The cruel hyper-reality breathes fire over a Computer Generated posterity.
Wow they must have re-digitized this classic from the original film, it is absolutely beautiful. You could freeze every frame as a piece of art. In these days of Blair, Bush and now Trump, along with Beatty's bleeding-edge style (!), Parallax looks and feels like it was made today.
Un superbe et puissant film politique, directement inspiré de l'assassinat de John Kennedy qui nous retraduit avec intelligence, efficacité et punch, les arcanes d'un immense complot. En fait, un admirable et magistral chef-d'oeuvre de violence sourde et de dénonciation limpide que seul le cinéma américain peut produire... www.cinefiches.com
Warren Beaty plays a strangely passive investigative reporter, so laid back his thinking and actions are always just too slow to catch the evil ones. More attention to investigation and less to his hair could be the solution. The tone is inconsistent moving from a western-style bar brawl to sinister senator election assassination. Our hero is not paranoid enough to survive.
An engaging film with some unexpected twists. It's not the strongest or most suspenseful script, but what it did it did well - such as allowing the viewer to be on a journey with the main character, while at the same time being witness to things he was oblivious to - helping to add to the suspense. Some nice cinematography and the punctuation of events with brief, slow-paced scenes, helped add depth to the experience
Fair but mediocre conspiracy film despite the fact that it sits well in the psyche of 70s America. Pakula delivers a fairly classy visual style but away from that the film lacks punch, depth and suspense. It also feels half-baked with a number of passages begging belief or being too naive to be taken seriously. Warren Beatty does little to infuse character to the film.
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.
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.