Missing

"Missing" is a strong, powerful political thriller about the real life story of a man and woman who search for their missing son/husband during the 1973 coup in a volatile South American country. Jack Lemmon and Sissy Spacek give brilliant, Oscar-nominated performances as Ed and Beth Horman, the father and wife of their beloved one who has disappeared without a trace. The film follows their frustrating search in a country (which is Chile even though the movie never reveals) that I would not dare live in. Things get more frustrating for the Hormans when they start to believe that the American representatives there are not telling them everything. Directed by Costa-Gavras ("Z"), "Missing" is an emotional film that keep me interested for its entire two hours. Lemmon and Spacek are great as usual, and there are supporting roles for Melanie Mayron and Joe Regalbuto, a couple of years before they turned up on TV's "Thirtysomething" and "Murphy Brown", respectably. "Missing" is one of the best, strongest political thrillers ever made.

***1/2 (out of four)

I saw 'Missing' for the first time the other night. I was 12 when 'Missing' was released in theaters, too young to understand about the cold war paranoia and political brinksmanship of the CIA and the American government at work in Chile during the 1970's. Unlike other 80's political thrillers like "Under Fire", "Salvador" and "Target", 'Missing' is a movie less about action than it is about a father who realizes he has been betrayed by his own beliefs and government.

Jack Lemmon gives another standout performance (in a career that had many) as the uptight father that learns to accept his son only after his suspected death. The emotional evolution from devout christian/disapproving dad to grieving father with 'opened eyes' is engaging to watch. Sissy Spacek shows the strength that should have won her a second oscar 2001 for "In The Bedroom" as the wife who never stops looking for her husband. But the clear winner in this politcal thriller is the director Costa Gravas, who constantly keeps the politcal tension high, without upstaging the performances of the leads.

A great drama that deal with life/death and the bond between parents and their children.

Jack Lemmon portrays a father searching for his son, whom he think has fallen in with a group of naive liberal thinkers. By the end of the movie, Lemmon's character realizes he had fallen in with a group of naive conservative thinkers. This movie portrays the odyssey of the father searching for a missing son in an unstable foreign country. He believes in the powers of the American embassy to protect all Americans. He believes everyone who keeps his nose clean is left alone. He believes in the power of the American people. The movie allows us to feel with him with its careful directing, and to feel for the other characters close to him and his son. We don't choose sides in the movie. We just hold back the tears, knowing that sadness looms, and obviously the father knows sadness looms, too. The religious beliefs, occupation, and history of the father are played down and unimportant. We are left to realize how unimportant it all is when looking for a loved one whom we feel is not in good fortune. A lot of movies claim to change a character in their film, but they're always left to resort to extreme exposition, usually even making the character proclaim that he or she has changed, and more often than not it isn't believable. This movie makes you believe. It is the best example ever of a character making a change throughout a movie.

A terrific and brutal political thriller. It's supposed to shake you up and it really succeeds. It's a shame that they don't make films like this anymore. Costa-Gavras's "Missing" is emotionally riveting and thought provoking. For it's time, it still has the power to change the views of todays movie viewers. A must see. 5/5.

There's a particularly chilling scene in this movie. It comes near the end in a confrontation between Charles Horman (Jack Lemmon) and staff members of the American ambassador in post-coup Chile, 1973. To this point the staff has sounded polished and professional in their concern for Horman's missing son, an apparent casualty of the coup. But in this scene the devious reality of American policy begins to emerge from behind the velvet glove, and Horman's passage from credulous liberal to disillusioned skeptic is complete. In a nutshell, the scene symbolizes one of the great divides in American political life, between the polished propaganda face our government presents to the people and the grim realities that face covers over, especially in dealing with Third World countries like Chile. Horman represents the frustration many feel in trying to deal with a cosmetic facade supported by both major political parties, when beneath it crouches the murderous policies of imperial rule.The real question the film poses is what Horman will do upon returning home.

The film itself remains a gripping eyeopener from first to last. Costa-Gravas is especially good at recreating the abject terror of fascist rule: where long hair is forbidden and women are forced back into skirts, where people are present one minute and gone the next, where a democratically elected government is present one minute and gone the next, and where a Henry Kissinger can do the behind-the-scenes dirty work and be honored for it (not in the movie, but true nevertheless). The acting is first-rate, and a tour-de-force for Lemmon in particular. Ditto, the often overlooked Charles Cioffi who puts the real chill in the confrontation scene. Two complaints: the arch symbolism of the riderless white horse conflicts with Costa-Gravas's documentary approach, and why, oh why, did they have to make Horman's son so cuddly. The audience gets the point without spooning on the sugar. Anyhow, this remains a fine piece of revelatory film-making and retains as much relevancy for today's audience as it did twenty years ago.