7/10
Obscure, slow-to-get-started, but intriguing film
8 July 2005
Warning: Spoilers
This very artsy movie has within it the elements of a fine noir thriller, but stumbles over its own excesses. First the good news: there are three superb performances here. Martin Ritt (best known as director of "Norma Rae","Hud", "Sounder", "The Spy Who Came in From the Cold", and many others), is superb as the weary but guileful old detective out to settle a score. So is Jon Voight as his newly assigned assistant; Voight's performance right from the beginning suggests he is a seriously unbalanced character and makes much of the remaining action plausible. Though dismissed by some reviewers as bad acting, this really was the only way to make this character work. Finally, Robert Shaw is the bloodless villain, recreating essentially the same character as he did the previous year in "The Taking of Pelham One, Two, Three." Now for the bad news: the plot is murky and the ending illogical; the direction and cinematography are grotesque (apparently there is more fog in Switzerland than London and Kodak had a special on grainy film); and the score is so whimsical that it suggests a parody of the genre. Best subtle scene: after Martin Ritt's character is apparently mauled by the Shaw character's guard dog, he (out of everyone's sight) removes a protective shield he had under his coat. That's a first clue that the old detective is up to something.
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