Il segno degli Hannan

This small pic was a preview of great things to come from Jonathan Demme, who went onto MELVIN & HOWARD, SILENCE OF THE LAMBS, STOP MAKING SENSE, to name a few other notable works. This was a decent 100 minute time waster that you either got or you didn't, liked or hated. Roy Scheider turned in his always good performance and I didn't mind looking at Janet Margolin in the bathtub.

6 out of 10

A mysterious man, who works for a mysterious organization, is being chased by some mysterious killers, for some unknown and mysterious reason. Has all the trappings of a bubblegum thriller and when you scrape away all the flashiness that is really all you get.

Not that it isn't entertaining. The camera movements and angles are downright dazzling. I especially liked those frantic zoom shots that look like it's shot from a camera put on a roller coaster car. There is also some interesting use of lighting and framing. Not to mention some terrific on location shooting especially the Niagara Falls finale. The story is very fast paced with a new twist coming with literally every scene. There is also a wide assortment of other gimmicks used that on a non-think level can be fun, especially during the first hour. The haunting music score is good too although it gets played a bit too much.

The problem really comes with the fact that all these twists and turns really add up to a lot of nothing. Too much is left unexplained and the final revelation seems far-fetched. There is a wide segment of other loopholes and there is just the plain old fact that you have probably seen a lot of this before. It also becomes very cliched and even kind of annoying at the end. The film expects you to become close to characters that on the whole are very poorly fleshed out.

The movie does offer a great opportunity to see Janet Margolin who is a very uniquely and naturally beautiful woman. Even when she is made to look frumpy she is beautiful. She has a face that looks like it never got past 21. She closely resembles 80's porn stars Kelly Nichols or Jennifer Noxt.

Scheider does not fare as well. He looks alright, but his presence is very transparent. He just doesn't seem to have a strong enough personality or acting ability to really create a memorable or forceful impression. Also that white suit he wears all the time has really got to go.

Overall despite it's best efforts it is still just a poor man's Hitchcock. The real thing is still better.

"Last Embrace", directed by Jonathan Demme, takes itself way too seriously, for such a shallow film. The whole thing smacks of audience manipulation, and the exciting conclusion above Niagara Falls, in no way redeems what has preceded it. Someone is trying to kill Roy Scheider, and fine actors Christopher Walken, John Glover, and Charles Napier are essentially wasted as "red herrings". The story is far from tight, and leaves plenty of loose ends dangling uncomfortably. Once you witness the highly unlikely tub scene, you will better understand the lack of logic in this film. Everything about "Last Embrace" is disjointed, confusing, and really never comes together as entertainment. - MERK

Although Jonathan Demme's 1992 Oscar-winner THE SILENCE OF THE LAMBS was his first major suspense thriller, it wasn't the first film he'd ever made in that genre. That honor goes to Demme's 1979 thriller LAST EMBRACE (LE), which I first saw and loved during its original theatrical run. At the time, LE was touted as a romantic Hitchcockian thriller. While LE definitely has strong elements of VERTIGO and other Hitchcock classics, I've always considered it to be more of a paranoia thriller with film noir touches, which I guess makes LE what might be called "film shachor." :-) Cool, craggy yet suave Roy Scheider had long been one of our family's favorite tough-guy actors; to many fans. At first glance, he might not seem vulnerable enough to be convincing as a beleaguered paranoia film hero. However, Scheider proved to be perfect casting as Harry Hannan, a government agent with more baggage than Louis Vuitton. Harry is still heartbroken and guilt-ridden about his beloved wife getting killed while she accompanied him as cover on one of his assignments. After he spends time in a Connecticut sanitarium recovering from his nervous breakdown, Harry has barely had a chance to lose his institutional pallor when he's almost shoved in front of an express train. When he returns to his spy agency in New York City, his slippery spymaster Eckart (Christopher Walken) keeps him at arm's length; maybe Eckart thinks Harry's sharp cream-colored suit makes him too conspicuous for undercover work. Worst of all, Harry discovers he's one of several Jewish men getting death threats written in Biblical Hebrew from an unknown "Avenger of Blood"…and so far, he's the only one still alive.

Everyone scoffs at poor Harry's jitters. Who can he trust? Certainly not his brother-in-law (Charles Napier), a fellow spook who blames Harry for his sister's violent death ("You're careless with people, Harry"). Our hero eventually joins forces with Ellie Fabian (Janet Margolin), a pretty New York graduate student who sublet his apartment while he was in the sanitarium. But the vulnerable Ellie seems to have her own issues and secrets. Will that spell doom for both Ellie and Harry? And how does a turn-of-the-20th-century Jewish brothel figure in the sinister fix Harry has found himself in? Scheider and Margolin had fine chemistry together; their characters' sensitivity and wariness made me feel for them, and they even had playful moments along the way. Ms. Margolin was at her loveliest, too. (Sadly, she died of ovarian cancer in 1993 at the age of 50. Janet, we hardly knew ye.) Scheider, Margolin, and Walken are aided and abetted by a rogues' gallery of stellar New York character actors, including John Glover as Ellie's insecure professor boyfriend; Marcia Rodd as Harry's nervous agency contact; David Margulies as a rabbi with connections; Joe Spinell and Jim McBride as thugs; Captain Arthur Haggerty as a bouncer waiting to use the phone; Mandy Patinkin and Max Wright in bit parts as commuters who may or may not have some 'splainin' to do; scene-stealer Sam Levene as the crotchety but likable head of a secret Jewish society; and director Demme himself cameo-ing as a stranger on a train.

Some critics complained that despite Demme's obvious affection for the Hitchcockian material, LE could have used more of The Master of Suspense's zest and verve. I won't deny that the pace slows down at times, but with Roy Scheider at his peak and Janet Margolin's touching, multifaceted performance, I was willing to be patient. Demme and screenwriter David Shaber (adapting Murray Teigh Bloom's novel The 13th Man) make up for the film's flaws with plenty of appealingly quirky Demme-style characterization. Judaism's key role in LE's plot was fresh and intriguing, as well as making excellent use of an elaborate, well-crafted red herring. The settings contribute to the film's Demme-ness; his ace Director of Photography Tak Fujimoto really makes the New York City and Princeton, NJ locations integral to the plot and its Hitchcockian motifs, especially the bell tower sequence and an exciting climax at Niagara Falls (I can hear you making lewd jokes :-)). The film brims with only-in-New-York characters and situations; for instance, the competition for living space in Manhattan provides amusing undertones to Harry's first awkward encounters with Ellie. Miklos Rozsa's swooningly romantic yet foreboding score pulls together the film's emotional undercurrents beautifully. Between LAST EMBRACE and STILL OF THE NIGHT, if I'd been Roy Scheider, I'd have stayed out of Central Park and environs for fear of elusive assailants! LAST EMBRACE is also available on DVD: http://www.mgm.com/view/movie/1084/Last-Embrace/

I don't know exactly why I find this film interesting. The plot is pretty thick and often hard to follow and sometimes the story moves at a glacial pace. Still, it's rather neat. Roy Scheider always looks kewl when carefully groomed in up to date wardrobes. And the nose, that nose, pointing in half a dozen different directions at the same time. Janet Margolin was so beautiful. It's difficult to take your eyes from her when she in on screen. She projects a sort of pathos, a winsome helplessness, even after is is revealed that she can be a pretty cold-blooded babe underneath all that vulnerability, a primordial fatale monstrum. She has one or two sexy scenes that almost in themselves justify watching the movie. And I've always found John Glover a magnetic actor. He's never quite able to mask that Maryland accent. Here he plays a snobbish Princeton professor in seersucker, jealous of Margolin's attraction to Scheider. And when we first see Sam Levene's face, as a stranger on a train, there is the shock of recognition on our part. What a long absence, Sam! Nice shots of Princeton's campus. There's a shoot-out (the only one) in the empty quad and campanile producing enough ringing bells to drive you mad, which Miklos Roszas score does not to. It's unmistakably his own and evokes other earlier black and white noirs. The climactic scene was shot at Niagara Falls.