Enquête dans l'impossible

The completely serious film (Man on a Swing) opens with a one minute-20 second scene shot with a camera mounted on the police car roof about a foot behind the flashing light bar. While I am sure it seemed dramatic in 1974, it's impossible to view now without remembering the comedic rendition of the same viewpoint that forms the opening of "The Naked Gun". While I can't be sure this was the only "cop movie" that had a similar opening sequence, it's pretty clear to me that this film alone would have been sufficient to inspire the Naked Gun spoof scene.

"Man on a Swing" is a movie based on a book which was about some actual murders that occurred near Dayton, Ohio. However, I couldn't find any information about the actual crimes, so I have no idea how close to the truth the movie actually is.

Cliff Robertson plays a sheriff in Laurel County who is in charge of investigating the murder of a woman found in a parking lot...stuffed in the floorboards of her VW. There aren't many clues and out of the blue, a man proclaiming he's psychic (Joel Grey) offers to help the police in the investigation. However, over time two unexpected things happen...another body turns up and the psychic seems to know too many details about the crime for him to not be a suspect as well.

The film was interesting and the acting pretty good (aside from a bit of overacting by Grey when he has his trances). But the film also felt a bit anticlimactic at the end...and wasn't a bad film but a slightly disappointing one.

Director Frank Perry( David and Lisa, Diary of a Mad Housewife)took a true story and turns it in to a very suspenseful film. Starring Oscar winners Cliff Robertson and Joel Grey, the film concerns a murder of a young girl in a small Connecticut town and the police chief(Robertson) who tries to solve the killing. Enter one clairvoyant(Grey) who claims to have visions of the killing and offers to help the police solve the crime.Director Perry keeps the viewer guessing the whole movie as to whether Grey is legitimate or not. Robertson is wary of Grey but keeps him around just by chance he is what he says he is. The ending has a bizarre twist and I wont reveal it here but remember, it was based on a true story and the film is well worth 90 some minutes of your time.

Oddball mystery that I suspect is not for everyone. Joel Grey plays a psychic, Franklyn Wills, who wants to help the cops solve a gruesome parking lot murder. On their first meeting he establishes some credibility by knowing a number of details not mentioned in the media, thus provoking the curiosity of head cop Lee Tucker (Robertson). How, we wonder, does Wills know these details. Is he a real psychic or maybe even the killer himself just playing games with the cops. Thus begins a stormy collaboration between the head cop and the psychic, as Lee not only investigates the murder but has to figure out what's going on with Wills who keeps coming up with more interesting facts.

This is one of the more unsettling films I've seen, mainly because Wills' behavior is completely unpredictable when he goes into his sudden psychic trances. He may leap on a desk, roll on the floor, or go into jerky spasms no matter where he is. Grey is an elfin-like presence anyway, so these sudden seizures are truly disturbing, even scary. When not in a clairvoyant state, he's not what you'd suspect from a killer, all smiles and disarming demeanor, even when Lee throws him against a wall in utter frustration. All in all, Grey delivers a cunning performance, one of the most unusual I've seen. His Franklyn Wills remains truly an enigma.

In contrast, Robertson wisely low-keys his role, with a deadpan expression, soft voice, and unblinking stare as he observes the strange little man who seems in communication with something—but what. And when Lee and his wife start getting strange phone calls and knocks on the door, everyone figure it's got to be Wills, but why. What could he hope to gain. His behavior seems beyond strange.

In a sense, the movie dwells almost obsessively with the relationship between these two. There are no real subplots or principal characters apart from them. Thus, it's two hours of trying to figure out whether Wills is a true psychic or not. The fact that the film is based on a true story makes the mystery even more intriguing. I suspect many folks are put off by the morbid undertones of the unvarying plot, and that plus an unconventional ending may have something to do with the film's obscurity. Nonetheless, for some folks, like me, it's a fascinating sleeper, with its own style of intrigue, and continues to cast a haunting spell.

Frank Perry's "Man on a Swing" is one of the most haunting movies that you'll ever see. Cliff Robertson plays a police detective investigating a murder who enlists the help of a man (Joel Grey) who claims to be clairvoyant. During his trances this man describes things that he couldn't have learned from the media...but is it real clairvoyance?

There are a couple of focuses. There's the investigation, but also the presumed psychic's trances that make you wonder if he's about to do something sinister. And then there are the strange things that start happening to the detective and his wife. Is it the presumed psychic or is something else going on?

The most haunting thing is that this movie is based on a true story that was still unsolved at the time of the movie's release (I don't know whether they solved it afterwards). Joel Grey puts on what must be the most impressive role of his career. Far from the jolly emcee in "Cabaret", his character here makes you feel as if you're walking on eggshells. It's one of those movies that keeps you guessing every step of the way. I recommend it.

The rest of the cast includes Peter Masterson (the husband in the original "Stepford Wives"), Lane Smith (the DA in "My Cousin Vinny"), Josef Sommer (Harrison Ford's superior in "Witness") and Penelope Milford (Jane Fonda's friend in "Coming Home").