Every film that has ever been nominated for an Academy Award in any category. Enjoy!
Three Days of the Condor
His CIA code name is Condor. In the next seventy-two hours almost everyone he trusts will try to kill him.
A bookish CIA researcher finds all his co-workers dead, and must outwit those responsible until he figures out who he can really trust.
The shadow of Watergate looms large over this story of agencies within agencies, secret organisations shaping the world around us. The Nixon scandal was the springboard for Hollywood to produce a number of high quality thrillers exploring similar themes, all wrapped in a healthy dose of paranoia.
Robert Redford puts on a superb display as the man-on-the-run constantly looking over his shoulder with the CIA hot on his footsteps. He keeps the tension in place from the moment he walks back into his office and discovers every single working colleague has been murdered whilst on the lunch-run.
The idea behind the film from Redford's point of view is a little far fetched although he brings a lot of credibility to…
A movie about sinister forces at work in the CIA with big scenes set at the World Trade Center and in a Ford Bronco? It's like the nexus of all conspiracy theories!
Now that's how you do a 1970s political thriller. Dark, mysterious, and still as relevant today as it was 40 years ago.
I may have mentioned before that I find Robert Redford's eyes to be beautiful. He has a little sadness in them, just the right amount, and a little squint he does that denies you just the right amount of the whites. They're blue, but they don't stand out like some blue eyes (cough Newman cough). They're subtle, but they are very expressive. With a face that seems prematurely lined, with such a famously handsome countenance, his eyes still stand out somehow. They are a work of art. I always find it distracting when he covers them with glasses, because they distract from the way his face naturally frames his eyes to be perfect little metaphysical windows. They put new meaning…
I don't remember yesterday. Today it rained.
Sydney Pollack and Robert Redford might not have been the greatest director/actor duo in film, but they managed to put together some solid films with a few great ones in the mix. This is one of them. A political thriller based on James Grady's novel Six Days of the Condor. It was changed to "3 Days" for the film because Redford doesn't need 6 days to pull off this sort of shit.
Screenwriters David Rayfiel and Lorenzo Semple Jr. adapted a near perfect political thriller from the novel. They manage to take Redford's character, Joe Turner, and put his life in immediate danger without him knowing the reasons behind it or…
First off, this movie is an enjoyable spy thriller. All the aspects of it that relate to spies, spying, double crosses, hitmen, Max von Sydow, conspiracies, veiled threats, not-so-veiled threats, John Houseman, Max von Sydow (seriously, he's really good here), are all great. Top-notch. Lot's of fun.
But this is one of those films where men are men (in this case a rather bookish Robert Redford) and women are plot devices. Everything dealing with Faye Dunaway in this movie (except for Faye Dunaway herself, because 70s Dunaway was pretty awesome) was horribly awkward, and a touch, well, rapey. The interactions between Redford and Dunaway veer into an unbelievable night of romance (as in I couldn't believe it was happening NOT…
Faye Dunaway let's Robert Redford fuck her even though he kidnapped and abused her because obviously. I mean, come on have you seen Robert Redford in 1975?
This review reportedly contains spoilers. I can handle the truth.
I can't believe that I have ignored this film for so long, thinking it to be some minor entry in the whole sub-genre of Watergate-era paranoid conspiracy thrillers. It's wonderful. I love its silences, its muted wintry palate, its loping groovy soundtrack of Rhodes jazz and occasional Xmas carols, , its melancholy, its New York apartment interiors of books, books, tapestries and books, Redford's wardrobe, Faye Dunaway's bare-landscape sadness, the weird Edward Snowdon parallels, how it seems to be caught halfway between the mid 70s cinematic aesthetics of European and American cinema, and poised between an America of security and plenty and an oil-crisis America of doubt and fear, and I really like how Max Von Sydow gets to reprise the role of Death, but Death with a really neat hat and sinister mustache.
Exuding with 70s cool Pollack still finds warmth in his characters.
This classic '70's spy tale is cynical and paranoid, a bit of a Hitchcockian thriller ... one of four such films of the period that I dearly love and can watch again and again (the others being "The Parallax View," "All the President's Men" and "The Conversation"). All of them reflect the spirit of the times (in fact one is a fairly faithful rendition of a true story) ... we're dealing with a period when dissatisfaction and mistrust of corporations and the government was so high that any film depicting them as the villain required relatively little suspension of disbelief on the part of the audience. I'm not sure we are very much less cynical today, which might be why…
The spy plot was fine and good, kept you on your toes and finished with a suitable ending. But, God, the misogyny of that weird romantic rape plot! Faye Dunaway, actor rockstar of the 70s, deserves so much better!
Gets by almost purely on style, but it’s got it in spades. As if we would ever believe that Redford is some kind of nerdy analyst. You might think that’s what you want, but the movie knows better. Condor’s “bookworm” is the open-shirt pea-coat man with aviators who just stepped out of some fashion magazine. The same thing happens in President’s Men; the guy just plain looks cool doing his shit so you tend to believe him.
The plot of this ought to have more resonance post-Snowden, but the movie doesn't explain things well enough to drum up any intrigue. However, this movie came out in 1975 and it’s got scenes of social engineering and phone phreaking. Awesome. Sydow’s character…
“I don’t remember yesterday. Today it rained.”
Sydney Pollack’s 1975 film Three Days of the Condor first came on my radar after reading reviews of last year’s Captain America: The Winter Soldier. The comparison to such films like Three Days of the Condor made sense to me despite never actually seeing the films. The 70s, even without witness, gives off a state of paranoia that could only be met subtextually in the decade to follow.
Pollack, unlike the 1980s political thrillers, creates a sense of realism. He uses real locations and creates real characters. Though the film is based on a novel the character choices, especially wardrobe are of the 70s. Pollack doesn’t rely on heavily suspenseful music to create…
Pollack's movie may have been thrilling in the seventies, but today there's something stale about it. I just could not buy into the relationship between Redford's rogue CIA agent and Dunaway's normal woman. The plot isn't completely clear, but that is one of the movie's strengths, that it works so well at making intrigue intriguing.
The good: Much of plot, which is a pretty engaging and enjoyable archtypical paranoid spy thriller*, Max von Sydow and his character, and Faye Dunaway (and parts of her character)
The less good: A *really* skeevy romantic subplot, some drab cinematography, and Redford, who is never convincing as a nerdy everyman forced into this role, both because of his looks and the fact that Redford was and is a fairly limited actor.
6.5 B-, Netflix Instant
*Spy movies come in two broad types: Spy thrillers (think this, or Tinker Tailor Soldier Spy) and spy action movies (Bond, Bourne, MI)
From the NYT website:
This list is drawn from the second edition of The New York Times Guide to the…
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