La esposa del asesino a sueldo Jay Mallory, Celandine, desaparece de su apartamento. Contratado por una organización internacional para un asesinato en Inglaterra, sospecha que están implica... Leer todoLa esposa del asesino a sueldo Jay Mallory, Celandine, desaparece de su apartamento. Contratado por una organización internacional para un asesinato en Inglaterra, sospecha que están implicados en su desaparición.La esposa del asesino a sueldo Jay Mallory, Celandine, desaparece de su apartamento. Contratado por una organización internacional para un asesinato en Inglaterra, sospecha que están implicados en su desaparición.
- Dirección
- Guionistas
- Elenco
Michèle Magny
- Melanie
- (as Michele Magny)
Dan Howard
- James
- (as Duane Howard)
Michael Eric Kramer
- Peter
- (as Michael Kramer)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
It is also a typical seventies thriller, very downbeat, slow, strange, where Donald Sutherland shines, as usual. And, as strange as it seems to be, in this offbeat thriller, I thought of KLUTE character, though not the same story and atmosphere either. But.... The mainly flaw is the pace, and romantic element, which is somewhat annoying in such a plot. But some supporting characters such as David Hemmings, Christopher Plummer, John Hurt, David Warner, enhance this interesting overall movie. Yes, I recommend this Canadian thriller, very in the mood of the seventies. But it will remain underrated. Excellent ending.
This film does a fine job of putting the viewer into the position of the main protagonist, Jay Mallory. It isn't until the climax of the film when Mallory and Christopher Plummer's character, Deverell, meet that the viewer can understand the disjointed, roller-coaster ride that Mallory has been on.
The haunting piano music beautifully reflects the tension of the film. The support cast is made up of outstanding English and European actors who give the feel of the film the pace so often brought to the screen of excellent non-US films.
The haunting piano music beautifully reflects the tension of the film. The support cast is made up of outstanding English and European actors who give the feel of the film the pace so often brought to the screen of excellent non-US films.
I had never heard of the "The Disapperance", but then again there are very few movies from the late 70s that come to my mind at all. But I do like Donald Sutherland and I try to see much of his contributions to film.
This movie almost made me give up. I found the beginning confusing, the setting boring, and the flashbacks frustrating. However for Donald's sake I struggled through. The feelings I experienced may well have been the intended design.
As the story progresses, it does become more interesting. The plot has some nice changes and I found myself more encouraged to concentrate on the developments, and eventually was actually enjoying the movie.
I don't know if I would watch this a second time, but I am glad I survived it the first time. The ending didn't surprise me, but if you are a fan of Donald's as well, you should try "The Disappearance" and see how you feel at the end of it.
This movie almost made me give up. I found the beginning confusing, the setting boring, and the flashbacks frustrating. However for Donald's sake I struggled through. The feelings I experienced may well have been the intended design.
As the story progresses, it does become more interesting. The plot has some nice changes and I found myself more encouraged to concentrate on the developments, and eventually was actually enjoying the movie.
I don't know if I would watch this a second time, but I am glad I survived it the first time. The ending didn't surprise me, but if you are a fan of Donald's as well, you should try "The Disappearance" and see how you feel at the end of it.
The good: excellent cast of actors. I mean these actors were the creme de la creme during the seventies and eighties and even beyond. And we get to see some excellent acting performances. This is an ACTOR'S movie!
The photography is of high quality as well, with many still shots without any words, that reveal the hand of a master at work.
Any bad? Unfortunately this movie is bogged down by ENDLESS flashbacks, that got on my nerves after half an hour. I get it, this story is like a puzzle and what better way of slowly revealing the plot than by using flashbacks. BUT there is a limit on how many flashbacks I can see, before I get annoyed by them.
Still worth a watch for the Donald Sutherland fans, because he gives one of his best performances.
The photography is of high quality as well, with many still shots without any words, that reveal the hand of a master at work.
Any bad? Unfortunately this movie is bogged down by ENDLESS flashbacks, that got on my nerves after half an hour. I get it, this story is like a puzzle and what better way of slowly revealing the plot than by using flashbacks. BUT there is a limit on how many flashbacks I can see, before I get annoyed by them.
Still worth a watch for the Donald Sutherland fans, because he gives one of his best performances.
Ostensibly, it should be hard to understand why certain movies slip into obscurity despite being loaded with talent, but then you come across a case like this one and the possibility suddenly becomes not just plausible but inevitable. On paper, this Anglo-Canadian "existentialist" thriller certainly had potential: an impressive cast Donald Sutherland, David Hemmings, John Hurt, David Warner, Christopher Plummer and Virginia McKenna was mouthing the words of screenwriter Paul Mayersberg under the guidance of director Stuart Cooper (the man behind recent Criterion DVD release, OVERLORD [1975]) and being lit by the late great cinematographer (and frequent Stanley Kubrick collaborator) John Alcott; besides, the whole thing was being overseen by producer Hemmings himself. So, where did the film go wrong?
Well, for starters, the central mystery itself is not very interesting: the neglected wife of brooding Donald Sutherland the No. 1 hit-man for an enigmatic espionage organization is forever threatening to leave him and does exactly that at the very start of the film; unfortunately, while Sutherland is very good in his role and literally the best thing in it, the actress playing his wife (Francine Racette) is as stiff and unappealing as one of her husband's handiwork. This fact renders the knowledge that Racette is none other than Sutherland's own wife in real life as well almost impossible to believe, since this is hardly borne by their interaction here least of all during a fragmentary sex scene that ludicrously apes Nicolas Roeg's DON'T LOOK NOW (1973) which, of course, also starred Sutherland! Actually, I had seen Racette act previously in two notable films Dario Argento's FOUR FLIES ON GREY VELVET (1971) and Joseph Losey's MR. KLEIN (1976) but I can't really say if her efforts were any better there. For the record, THE DISAPPEARANCE proved to be Racette's penultimate film before retiring to raise her three children with Sutherland. Thankfully, although most of them are practically extended cameos, the supporting cast of whom, I thought, John Hurt comes off best does keep one watching but, again, the utterly predictable double surprise ending closes the film with a whimper instead of a bang.
Equally to blame for the film's ultimate failure is Stuart Cooper whose direction is pretentious to a fault and, unsurprisingly, he too faded exclusively into TV-movie limbo soon after; for what it's worth, many years ago I did get to watch two of his TV ventures A.D. (1985) and THE FORTUNATE PILGRIM (1988) both of which were large-scale productions. Having said that, screenwriter Mayersberg is himself well-known for his non-linear scripts but the would-be audacious time-jumping techniques abused here merely attempt to imbue an obscure and thin plot with some elusive sense of significance; incidentally, even if the 88-minute version I watched was 12 minutes short of the original, I doubt that the missing footage would made things any clearer! Unfortunately for the viewer, Stuart Cooper is no visual stylist like Nicolas Roeg, much less a master film-maker in the league of Alain Resnais! Besides, given the structure and themes of the film, at times I couldn't help but unfavorably compare it to John Boorman's vastly superior POINT BLANK (1967)...
Well, for starters, the central mystery itself is not very interesting: the neglected wife of brooding Donald Sutherland the No. 1 hit-man for an enigmatic espionage organization is forever threatening to leave him and does exactly that at the very start of the film; unfortunately, while Sutherland is very good in his role and literally the best thing in it, the actress playing his wife (Francine Racette) is as stiff and unappealing as one of her husband's handiwork. This fact renders the knowledge that Racette is none other than Sutherland's own wife in real life as well almost impossible to believe, since this is hardly borne by their interaction here least of all during a fragmentary sex scene that ludicrously apes Nicolas Roeg's DON'T LOOK NOW (1973) which, of course, also starred Sutherland! Actually, I had seen Racette act previously in two notable films Dario Argento's FOUR FLIES ON GREY VELVET (1971) and Joseph Losey's MR. KLEIN (1976) but I can't really say if her efforts were any better there. For the record, THE DISAPPEARANCE proved to be Racette's penultimate film before retiring to raise her three children with Sutherland. Thankfully, although most of them are practically extended cameos, the supporting cast of whom, I thought, John Hurt comes off best does keep one watching but, again, the utterly predictable double surprise ending closes the film with a whimper instead of a bang.
Equally to blame for the film's ultimate failure is Stuart Cooper whose direction is pretentious to a fault and, unsurprisingly, he too faded exclusively into TV-movie limbo soon after; for what it's worth, many years ago I did get to watch two of his TV ventures A.D. (1985) and THE FORTUNATE PILGRIM (1988) both of which were large-scale productions. Having said that, screenwriter Mayersberg is himself well-known for his non-linear scripts but the would-be audacious time-jumping techniques abused here merely attempt to imbue an obscure and thin plot with some elusive sense of significance; incidentally, even if the 88-minute version I watched was 12 minutes short of the original, I doubt that the missing footage would made things any clearer! Unfortunately for the viewer, Stuart Cooper is no visual stylist like Nicolas Roeg, much less a master film-maker in the league of Alain Resnais! Besides, given the structure and themes of the film, at times I couldn't help but unfavorably compare it to John Boorman's vastly superior POINT BLANK (1967)...
¿Sabías que…?
- TriviaDonald Sutherland had played supporting parts (mostly small) in Britain for nearly ten years before his roles in "The Dirty Dozen" and "Joanna" brought him to Hollywood's attention. When he began receiving American offers, he had a problem, which was that he simply didn't have the money to fly out to California and support himself and his family until deals were finalized. He turned to fellow-Canadian Christopher Plummer, with whom he had worked in both "Hamlet" for television and "Oedipus The King" for the cinema. Despite the fact that they knew each other only slightly at that time, Plummer advanced him $5000, and Sutherland's Hollywood career began.
- Versiones alternativasThere are three different versions of The Disappearance (1977).
- Version 1: The original director's cut which runs at 101 minutes and is healthily non-linear, influenced by the temporal experiments of earlier films such as Hiroshima mi amor (1959), Venecia rojo shocking (1973) and A quemarropa (1967).
- Version 2: An unauthorized, shortened, re-edited version by Fima Noveck that runs at 81 minutes and attempts to put the narrative into a more coherent order by reducing the complexity of the narrative by coding the instances of non-linearity as flashbacks; and reducing their frequency and length.
- Version 3: A third version that runs at 91 minutes but maintains the jumbled time frame and comes across as a leaner and more abstract version of the original.
- ConexionesEdited into Give Me Your Answer True (1987)
- Bandas sonorasPiano Concerto in G
By Maurice Ravel
by arrangement with United Music Publishers Limited.
Played by Leslie Pearson
Selecciones populares
Inicia sesión para calificar y agrega a la lista de videos para obtener recomendaciones personalizadas
- How long is The Disappearance?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- Países de origen
- Idiomas
- También se conoce como
- Sein letzter Mord
- Locaciones de filmación
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- CAD 1,800,000 (estimado)
Contribuir a esta página
Sugiere una edición o agrega el contenido que falta
Principales brechas de datos
By what name was The Disappearance (1977) officially released in India in English?
Responda