À cause d'un assassinat

You won't get any answers from this film. Because giving us definitive answers would be contrary to the entire point of the film. If you have a single definitive answer (or view), then you don't have a parallax (view).

Everyone will come out of this film with a different idea of what it was about or what really happened -- their own interpretations of the information presented to them -- kind of like how conspiracy theorists generally operate.

For example, Zapruder shot his JFK film from one angle -- and 12 other people also shot films or photos at the moments of the assassination, all from different angles (or points of view). Not to mention the many other people who were present that day to witness it, who also saw things from their own point of view. Some folks saw movement in the grassy knoll, others didn't.

In the end, we'll probably never truly know the answers to these sorts of things. And the search for the answers can be a slippery path to travel... Which is what we can only assume Warren Beatty's character learns in the final moments of the film. But really, that's just from my point of view.

Independent minded Senator Carroll is assassinated on top of the Space Needle. The assumed killer falls to his death and a commission declares him to be a lone gunman. Three years later, Lee Carter pleads with reporter Joe Frady (Warren Beatty) to investigate the Carroll assassination. The people around Carroll on that day are getting killed off. Frady finds something disturbing. He is attacked by Sheriff Wicker. He kills Wicker and discovers the name Parallax Corporation among the sheriff's belongings. His boss is Bill Rintels (Hume Cronyn) doesn't believe him at first. He suspects that they are recruiting psychopaths and he intends to infiltrate the organization.

The first half is really compelling. There is a good sense of paranoia. It fades a little after the plane bombing. They couldn't film the plane exploding. It's the first sign of the movie's limitations. I wish the movie could find the next gear but it's not really there. I also wasn't impressed with the long montage sequence that Frady sits through. It could be much more compelling but it feels derivative of 'A Clockwork Orange'. It's still a very good paranoid thriller.

Alan J. Pakula's The Parallax View works best when it is showing us the unexplained phenomena that beg to be investigated and linked together by an enterprising and clever reporter to demonstrate the existence of a conspiracy. In those moments it's a tense, intelligent thrille, aided by great cinematography. Warren Beatty is credible and likable in the role. Paula Prentiss was outstanding in a brief but crucial role. The movie works less well when it focuses on the reporter's back story and on the chase scenes in cop cars, which 70s era movies loved so much. The overall effect is a positive one, to get us to think about how we are manipulated and could be mortally manipulated. You don't have to actually believe in any one particular consiracy theory to see the value of this film.

PARALLAX VIEW is an impressive political thriller with an unusually specific and scary viewpoint. It posits that many conspiracies work because relatively few people are in on the whole joke; some are involved in the set up, some in the telling, and some in the punchline, but only a precious few are given the whole picture, making detection almost impossible. The argument is compellingly made.

It is the perfectly machine-tooled "punchline" role the Powers That Be assign to an unwitting Warren Beatty that makes PARALLAX VIEW such a frightening movie. There seems to be a thread running through many of the bigger conspiracy movies (see ARLINGTON ROAD, ROLLERBALL, NETWORK, THE INSIDER, etc.) that suggests unless the individual can find an inroad to make themselves useful to the system, the system finds a role for individual (often not to his liking). In the case of NETWORK, individual Howard Beal is initially spared by one geopolitical phase of the corporate system and allowed continue to rant on TV once he is properly slotted by Ned Beatty, but he is ultimately murdered when the corporate television arm of the system no longer has a use for his declining ratings. He becomes a punchline.

In THE INSIDER, Russell Crowe is initially hung out to dry by the system until Al Pacino is able to find a way to manipulate the television arm of the system to find a value for Crowe. Crowe becomes the instrument of the telling.

In ROLLERBALL, James Caan is beloved by part of the system as the greatest celebrity sports figure of his time, but ultimately sabotaged by another part of the corporate world which is trying to espouse the notion in the game that the individual can never beat the system, something Caan has been indirectly doing by being too successful in the game. Caan successfully defeats the setup, telling and punchline (though he's probably not long for this world.)

In the case of Warren Beatty in the PARALLAX VIEW, he is elected to take the fall for a political assassination which will simultaneously discredit his own conspiracy investigations. The task is accomplished with such cold blooded efficiency and clever precision, one has to seriously doubt whether our own Federal government could do it. But then, is that perceived incompetence of our officials just another con being perpetrated on us by "Them"? Beatty's mistake is that he underestimates "the set-up" and becomes the posterchild of the system's "punchline."

It is in this battle between individual and system that THE PARALLAX VIEW really distinguishes itself. What initially appears to be the ambiguous paranoia of a decidedly neurotic woman is gradually allowed to organically grow such that we can begin to see tips of the iceberg along the way, but don't want to believe what we're seeing even when the truth is apparent. That iceberg subtly floats by in different forms every time Beatty investigates further or reexamines his own position, yet remains nearly invisible possibly because it is so big it cannot be seen or contemplated?

Certainly there are aspects which lurch toward absurdity. For instance, the non-fallout from the cartoonish bomb explosion of Beatty's plane (containing an important political official no less) certainly should have aroused greater attention and suspicion. A car chase about 2/3rds of the way through feels particularly tacked-on. However, the overall focus of this movie, which is the slow peeling back of the layers to get to the irresistible mystery, is highly effective. People can judge for themselves whether any of the dirty tricks this movie documents really go on, but that's really not the point.

This is a story full of intriguing moves and clever counter-moves. Scams and ploys and scams inside of ploys. Most of these details are fascinating and we feel like Pakula is letting us in on some of the dirty little subversive things we've always feared may occur behind the doors of the seat of government. But ultimately, this is a story about a man who looks too long at the sun and is so intrigued yet blinded by what he sees, he ignores the nature of the sun, which is to both illuminate and to burn. Whether any of the conspiracy suggested is true, it remains one of the most compelling efforts of the seventies, and is a must-see. See it and judge for yourself.

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.