El archivo de ODESSA

Just a sad reminder of how gripping thrillers were a dime-a-dozen in the 70's, as compared to the suspense-bankrupt modern day. 2 hours of entertainment & not one single explosion!! Jon Voigt once again establishes himself as one of the best actors of the decade in his principal role as the tenacious journalist bent on revenge. The film & its subject matter could have easily been more confusing, and tho some scenes defy logic (a supposedly lethal hit man is reduced to dunderhead status in the film's pivotal fight scene), the story steams ahead fluidly til the climactic denoument. This is Voigt's movie, but the supporting cast is effective in small roles, especially Maximillian Schell in his few scenes & Mary Tamm, as Voigt's along-for-the-ride girlfriend who also happens to be very easy on the eyes. And look, there's Derek Jacobi, long before he met Kenneth Branagh, in a tiny, yet pivotal role! Forge, Derek, forge!! Not as good as "The Conversation" but infinitely better than any movie starring Sharon Stone or Steven Seagal (or both). 7 out of 10.

This film is remarkable on many levels, but two stand out: 1) the realistic portrayal of the events in Riga, wherein thousands of Jews were massacred by the Nazis, and 2) the fact that the "butcher" of these events in the film was not a fictional ploy but an actual SS officer named, as in the film, Rosschmann. The latter point is of interest, since the film provoked a world wide hunt for this murderer, who was located in South America, and who then fled to Paraguay where he died in 1977. The first part of the film is near perfect, though it gets more melodramatic in the latter part, with a number of unconvincing dramatic events added. One example: the journalist(Voight)attacking the burly professional hit man sent to kill him, and then actually winning a hand to hand struggle with him.

After the suicide of an elderly Jewish man, journalist Peter Miller (Jon Voight) discovers the mans journal detailing his account of witnessing former SS captain Eduard Roschmann (Maximilian Schell) at an opera three weeks prior to his suicide. Roschmann was the commandant of Riga concentration camp where was held captive at during WWII.

As Miller begins to investigate the sighting of Roschermann, he stumbles across Odessa, a group made up of former SS officers. They have fled Nazi Germany during the tail end of the war, but who are still committed to the cause. They have deep Influences in all aspects of government including the police across many countries. This leads Miller down a treacherous rabbit hole of dark alleyways, untrustworthy informants and suspicious men in fedoras following him in the dead of night, as he gets closer to discovering their ultimate plot.

Jon Voight turns in a good performance as Peter Miller, a man who's on a singular mission of justice, whether it costs him his life or not. Voight brings a-lot of credibility to the film, the scenes in which he has to portray emotional weight feel sincere. Maximilian Schell also gives a terrific performance in his portrayal of the malevolent, fiendish SS captain.

The Odessa File is directed by Ronald Neame, the film is well shot and edited. It deals with real world atrocities, that have been mixed/adapted with different names/places for the most part. It's an effective political thriller, the film manages to keep it's plot constantly moving and involving, even if at times it feels like it's treating its subject matter a bit too safe. The film doesn't have too many memorable moments or scenes to make itself standout in a time where political thrillers were dominant during the 1970s. It doesn't have the same ferocious impact as a film like Marathon Man. The Odessa File falls slightly short of the heights of the best political thrillers of the 1970s. It still is an Interesting film, and one that deserves to be discovered again.

Good and exciting film plenty of tension , action and entertainment . This intelligent picture is packed with historic events , tension , hectic intrigue and the suspense is maintained throughout . The deeds of the movie start in Hamburg, 1963 . An elderly Jewish commits suicide , leaving a newspaper that falls into the hands of an attractive and intrepid journalist named Peter Miller (John Voight). The German Peter goes to a Nazi convention celebrating the ¨Division Siegfried¨ where is detained. After that, he discovers a secret organization named Odessa that may expose some former Nazis and the unthinkable crimes of cruelty , torture and mass murder carried out by the captain of the SS Eduard Roschmann , commandant of the notorious extermination camp in Riga (Latvia). It seems that Roschmann (Maximiliam Schell) survived the defeat of the Nazis, and that lives in some place of South America under a fake identity . Miller starts then a relentless pursuit , decided to meet him . The journalist isn't alone, as he collaborates with the famous Nazis hunter Simon Wiesenthal ; in addition to receive precious aid by the Secret Service agents (Peter Jeffreys) of Israel , the Mossad , that try to avoid some rockets full of biological virus to be taken by Nasser , President of Egypt .

Excellent film based on one the first successes of famous novelist Frederick Forsyth , a bestselling author . This stirring picture is full of suspense , tension , thrills and is very entertaining . The film's intrigue snowballs toward an exciting final. Extraordinary casting , all of whom give admirable acting as starring Jon Voight ("Midnight Cowboy") who plays perfectly as dynamic journalist ; brilliant the British Derek Jacobi , the German Klaus Lowitsch , and of course the Maximilian Schell's interpretation who steals the show as haughty Nazi.

We see this sensational film not only by its action and intrigue but also by the historical deeds that are well depicted and related to Simon Wiesenthal and concentration camps as Riga and Flossenburg where was executed Admiral Canaris . Even only for that reason the film worthwhile seeing . Spectacular musical score fitting to action by nowadays very famous Andrew Lloyd Weber , including a lively and jolly Christmas song at the main and ending titles . Furthermore , colorful and atmospheric cinematography by classic cameraman Oswald Morris .

The motion picture is compellingly directed by Ronald Neame . Ronald's smoothly persuasive direction attracted reception by the public and was a success at the box office . Neame was one of Britain's best cameraman in the 1930s and 40s, working for David Lean, later he turned to direction in 1947 with 'Take my life'. His biggest hits was undoubtedly 'The Poseidon adventure' , 'Scrooge' , Gambit' , 'The prime of Miss Jean Brodie' , and 'Odessa file' . Rating: Splendid and excellent, above average .

Sometime between 1979 and today, filmmakers have lost the ability to tell a suspenseful story, to flesh out characters, so that today we see more style than substance, more gore and mayhem than plot development.

The Day of the Jackal, Marathon Man, Eye of the Needle, The Boys From Brazil and others will be labeled boring by many here because they must wait for something to happen. A typical example from Odessa is the reunion scene. Voight infiltrates the meeting of old German soldiers, make that old devoted Nazis, gathering in a beer hall. He snaps a photo of the speaker, shouting what sounds like the words of the pre-war Deutschland uber Alles. One man comes and begins his eviction from the hall. In the next scene we see him nursing his wounds, which are far more serious than the pushes we see. Tell me that today we would not witness a brutal beating punch by punch, kick by kick.

Films then used violence to advance the plot, such as the "Is it safe?" interrogation in Marathon Man. Seventies films are no shorter than today's masterpieces, but so much more intricate plot is compressed into their time frame.

Three Days of the Jackal is a perfect telling of a Forsyth book; we never become involved with the characters but watch in fascination. Here we follow Miller (Voight) giving us a horse in the race. I have reservations about the final confrontation with Schell and Miller's motivations but I have none about the story in general.

Only in the score does Odessa fall short; the music sounds almost if it was added as an afterthought and does nothing to enhance moods or foreshadow scenes. Worse, the score seems the beginning of a pattern that continues to this day where in some scenes the music is the main character. Only the bier-hall singing of the old Nazis sounds appropriate.

I rated the film 8 of 10.