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This movie had the misfortune of being released just around the time of JFK's assassination, where it got swallowed up in the general grief of the time. It did not do well at the box office, and one of its publicity stunts backfired when Dallas police saw personal ads in the newspaper signed by "Lee" and asking to meet up at an appointed place. The police thought it might be a Lee Harvey Oswald connection, not a Lee Remick stunt -- and spent some time chasing down this blind alley.

I caught the film while flipping channels in the middle of the night and quite enjoyed it.

Laurence Harvey plays an airline pilot/owner who loses out when a two-days' late insurance premium lets his insurance company deny his legitimate claim after he crashes his plane in the sea, narrowly escaping with his life. An honest guy with a love of risk-taking and a mutually reciprocated passion for his beautiful wife, Lee Remick, he decides to get back at the insurance company by faking his own death, with his wife's reluctant collusion. She hopes that this will get his anger out of his system and give them enough money to live comfortably, which seems to be why she goes along with the scheme. But at heart she just wants a quiet, comfortable life, an "ordinary life", she tells him. He, however, takes to life at the edges quite wonderfully, and pretty soon he's all about living the high life and risking their freedom with additional swindling schemes.

Alan Bates plays the insurance investigator who comes round to the wife asking questions after her husband's "death". He has a whole Columbo thing going on, asking questions in an affable, bumbling way that always seems to indicate he knows more than he is letting on. He turns up again in Malaga, Spain, where the couple has gone with the insurance money to start their new life. Again, he's got the questions that could be innocent or could be a dogged inspector following his prey.

Harvey decides that the best way to keep an eye on Bates is to invite him along to enjoy the Malaga sun and surf with the two of them. The three of them hang out together, swimming and eating and drinking and enjoying what Bates says is his vacation time and Harvey claims is a working vacation. Remick is supposed to be the new widow, technically single, who gravitates to the orbit of the Australian rich guy that Harvey is impersonating.

At the movie's emotional core is, yes, a love triangle, as Lee Remick grows disenchanted with her husband's attraction to the James Bond lifestyle while discovering that Alan Bates likes museums and quiet walks, like she does, and seems to like her.

So it's cat and mouse between the two guys on two levels -- over the insurance money and over the woman. The Malaga locations are glorious and reminded me of the villages in Romancing the Stone where Kathleen Turner and Michael Douglas run across weddings, dancing, and general romantic danger.

The movie doesn't take itself seriously, and the characters are conflicted in a way that you don't know what to hope for and what the final moral and romantic resolutions will be. Will the husband redeem himself? Will the wife stay true to him or fall in with the man who is on his tail? Harvey is not irredeemable and we do feel sympathy for him, and see that he is more oblivious to his wife's unhappiness than deliberately mean. He treats her as an extension of himself and just doesn't recognize that she has no interest in playing Bonnie to his Clyde.

Good flick. Not great, but good.

Sorely underrated and dismissed at the time of its release, THE RUNNING MAN can now be seen for what it it: a highly effective thriller. Director Carol Reed was said to be shaken after being dismissed from MUTINY ON THE BOUNTY, but it really doesn't show. He conducts us deftly through a nicely conceived intrigue, with no time wasted. If a viewer can forgive a small handful of plot contrivances, this movie delivers in suspense, interesting characters, acting, and pleasing use of locations. The cast is superb: Laurence Harvey might look underfed, but his character is richly drawn he seems to have a great time. Lee Remick has never been better: a woman who sees her husband for what he really is when he assumes a new identity. And Alan Bates, an actor who radiated charm, brings a lot of substance to his part. Watch for Fernando Rey and Fortunio Bonanova (the singing teacher from CITIZEN KANE--"Impossible! Impossible!") as a bank manager. The script has a good helping of humor along with the suspense. And William Alwyn's music score enhances the film as well. It may not be THE THIRD MAN, but THE RUNNING MAN is likely to satisfy most fans of thrillers, the director and the estimable cast.

This movie surprised me. It started out as one type of movie and ended up as another - it was a pleasant enough surprise though.

Laurence Harvey plays charter pilot Rex Black who fakes his death allowing his wife, Stella, to claim the insurance. Although Harvey was not particularly loved by many of his peers, he made some great movies. I always liked him and his Rex Black is cocky and edgy.

Lee Remick plays Stella. Time spent watching Lee Remick on the screen is never wasted. She was an actress whose abilities were sometimes under-appreciated because she was so beautiful. She is as disarming here as she was in everything she did.

Alan Bates plays Stephen Maddux, an insurance agent who investigates Rex's death and later fancies Stella when they cross paths in Spain - he thinks she is a widow, and Rex assumes another identity. Bates plays it low key while Harvey's character becomes darker and more aggressive as he attempts further scams, and is prepared to do anything to stop his plans unravelling.

Sadly all three actors went far too early - cancer in each case.

Directed by Carol Reed, the film has an unusual energy. It starts out as a light caper film, but by the half way mark we realise that the game has become more dangerous. The ending has a similar touch to the one that made "The Third Man" so memorable.

The film was made in 1963, and although it benefits from great locations in Spain, it actually feels a little like British films of the 40's and 50's.

The score by William Allwyn has a lot to do with that. For a long while British film music had a distinctive sound with some brilliant scores. It had a different timbre to the typical Hollywood score. You could tell a film was British as soon as the main title music started, but by the late 50's, composers like John Barry and John Addison brought a fresh sound that was far more international. However the score for "The Running Man" was a throwback - it was Allwyn's last score - maybe Reed had asked for him - but it could almost be a score for a film in 1948.

Although "The Running Man" does not represent the best work of those involved it is more than watchable and has a couple of twists worthy of Hitchcock.

A decent enough thriller but one that really needed a Hitchcock or at least a director who knew how to mould the somewhat far-fetched material into something more plausible than this. Instead we get Carol Reed on something of an off-day and he seems more content to let the material carry itself rather than actually do something with it.

Laurence Harvey is seriously miscast as the serial insurance fraudster pursued to Spain by Alan Bates' insurance investigator while Lee Remick does what she can with the rather thankless part of Harvey's wife. Bates is very good and just about carries the picture while the cat-and-mouse scenario is often exciting and Robert Krasker's widescreen cinematography, (it was shot mostly in the South of Spain), is certainly attractive. It's the kind of film you might expect from someone like Michael Anderson or a host of other serviceable directors slumming it in some exotic locale but from Reed you really do expect more.

Watchable but somehow unmemorable suspense thriller from a major British director. The plot, cleverly written by John Mortimer, has some quite subtle twists and turns; the acting good. Laurence Harvey as a dislikeable insurance fraudster, Lee Merick is particularly fetchi9ng as his increasingly uncertain wife, Alan Bates gives his usual sensitive performance as investigator who might be on to them, all convince. But Carol Reed (director of such classics as The third Man, Odd Man Out, Oliver) never manages to give it quite enough urgency or edge. It all comes across as something of a pot-boiler in his career. The scenery in Spain and Gibraltar is atmospheric, but it's one of those films that relies just a bit too heavily on pleasing sunny locations.