Zeuge einer Verschwörung

A US Senator is assassinated and the official inquiry concludes it was the work of a lone gunman. Three years later, with 6 witnesses dead, a TV reporter present at the killing is frightened for her life. She takes her fears to a journalist ex-boyfriend. At first he is sceptical...

Brilliant paranoid thriller from Pakula, utilising choppy realism and naturalistic dialogue to create a bleak and uncompromising picture of cynical, corporate conspiracy within US politics. Beatty has never been better as the ambitious journo-hack Joe Frady, and he is superbly supported by Cronyn, Daniels and a deeply compelling cameo from Prentiss. You can bet this wasn't diluted by audience testing prior to release... unmissable.

The late Alan J. Pakula's 1974 film about political murders is a superbly crafted thriller that holds the audience in its quiet, unsettling grip.

Warren Beatty gives his character of Joe Frady, a "third-rate" journalist, just the right balance of recklessness and determination to enable one to have faith in this man to uncover such shady, potentially threatening goings-on.

Beatty is ably backed up by the supporting cast, most notably Hume Cronyn as Frady's editor, and Paula Prentiss and William Daniels as, respectively, a television reporter and columnist both in fear for their lives.

Composer Michael Small's main theme (used at strategic points throughout the film and often playing on the traditional patriotic sound of the trumpet) has a quality both mournful and despairing that relates effectively to what we are watching. It is a rather sparse music score, but this seems to add to its power. Gordon Willis's Panavision photography conveys threat in even the most everyday of locations (his rendering of modern architecture is especially strong in suggesting a faceless, omnipotent threat), while the editing rhythms and sound design contribute a great deal in throwing the audience off-balance.

Pakula has been involved in more widely-known projects such as All The President's Men and Presumed Innocent, but The Parallax View is definitely one of his best and most powerful films.

When I hear mention of Warren Beatty these days I almost begin to snore, but before Beatty became a boring old fart he made a handful of very interesting and adventurous movies like 'Mickey One', 'McCabe & Mrs Miller' and 'The Parallax View', hardly safe Hollywood movie star material. 'The Parallax View' is THE definitive 1970s paranoid thriller, beaten only by Coppola's 'The Conversation', released incidentally the same year. The movie has to be watched in the context of when it was made. It's shot through with post-Watergate cynicism and the Kennedy assassinations cast a long shadow over the plot. Beatty gives a very subtle, relaxed performance, and for me is totally believable. The supporting cast is first rate. Veteran Hume Cronyn ('Shadow Of A Doubt') plays Beatty's editor, Paula Prentiss ('The Stepford Wives') a hysterical fellow journalist, and William Daniels (Dustin Hoffman's father in 'The Graduate') has a brief but memorable bit as another witness who fears for his life. Also keep an eye out for the legendary Bill McKinney (who nobody who's ever seen 'Deliverance' will forget!) as an assassin, Anthony Zerbe ('The Omega Man') as a psychologist (playing Pong with a chimp!), and Earl Hindman ('The Taking Of Pelham One Two Three') in the bar fight scene. Much of 'The Parallax View' was later used in 'Arlington Road', an unconvincing movie which was much too contrived for me to be believable. It just didn't have the subtlety that this one has, and spelled everything out, seeming assuming its audience wasn't bright enough to get it. 'The Parallax View' is still one of the most intelligent, tense and effective conspiracy thrillers ever made, and the direction by the late Alan J. Pakula is just about flawless. Highly recommended.

I saw this film first some twenty years ago and loved it. I saw it again this week and found the film superior to most other films of director Pakula and found it to be another gem from cinematographer Gordon Willis.

"Parallax View" never won Oscars or other major awards for Pakula but this film along with "Klute" and "Sophie's Choice" are his finest works. Articles on Pakula often focus on his award-winning work and neglect this fine movie.

What was great in this film that was missing in "All the president's men" or "The pelican brief"? Here the element of existentialism sucked in the viewer to participate in the whirlpool of deceit, exemplified most by the test given to the lead character in the offices of Parallax Corporation, the staccato editing (John Wheeler) that exemplifies the individual's helplessness, and the imaginative photography (Willis) that stunts the individual (not crowds) against the himalayan landscapes of glass and steel.

The film was made at a time when Hollywood was brimming with great films with a similar line of thought (Spielberg's "Duel", Coppola's "The Conversation", Penn's "Night Moves", Polanski's "Chinatown", Antonionni's "Zabriskie Point", Altman's "Nashville", Boorman's "Point Blank", etc.) internalizing the external, as Camus would have best described it. "Parallax View" among all these films touched the subject of politics using the least obscure metaphors and similies.

Can one forget the dead calm in the sea before the explosion/assasination? Or the assassination viewed from the roof top of the victim's cart colliding with empty tables and chairs towards the end of the film? None of Pakula's other films have such hardhitting scenes as these, even if one were to discount the unconvincing cool response of the lead character in the airplane when he realizes that there is a live bomb on it.

This is a film that grips you nearly 30 years after it was made, when US politics seems to be at a point very close to what the film depicted three decades ago.

"The Parallax View" belongs to one of my favorite movie genres -- the paranoid 1970s political thriller. Cashing in on a decade of assassinations and government corruption, the film stars Warren Beatty as a journalist who infiltrates a shadowy organization that's training people who fit certain psychological profiles to become assassins of political figures. It's got a satisfying, eerie vibe and pretty accomplished direction from Alan J. Pakula, who certainly knew his way around a thriller with political overtones. Gordon Willis's deservedly lauded cinematography goes a long way to making the film work, using lighting and framing to create oppressive and sinister compositions. The editing is a bit ragged in spots, resulting in abrupt transitions that can be disorienting. And I'll admit that toward the end I sort of lost the thread of what was going on. But overall this was an entertaining if maybe minor contribution to the world of disaffected 1970s cinema.

Grade: A-