Um Lance no Escuro

Night Moves (1975)

An odd convolution of 1940s film noir and 1970s New Hollywood. The hero is a kind of watered down Bogart—not as romanticized, and with less exaggerated one-liners (which film noir lovers will miss but which those who like realism will appreciate). Gene Hackman is terrific, and he plays Harry Moseby, a down and out ex-football player with a drained candor that makes him pathetic as much as likable. He ends up mixed up in a Dashiell Hammett kind of plot, for sure, looking for the daughter of a rich woman and then getting way over his head.

The artifacts of New Hollywood liberation are plain to see: nudity (female only) and a kind of sexed up background even when the plot is going somewhere else. This was for the sake of an audience still astonished that the movies could do such things (they couldn't before 1967) and it's still kind of raw and edgy in a lasting way. It also feels dated, too, making you wonder if it was really so sexually liberated back then.

The trail for this daughter takes us to the Florida Keys and out into the ocean. There are mysterious motives everywhere, and it's only Moseby we trust. Completely. And we even feel him starting to get a grounding for his drifting self amidst these miscellaneous people. And we see a kind of generosity that is based on this selfish need to do something right, and all its conflicting meanings. So eventually the movie is less about who killed who for this or that reason, and more about this man and his quest for clarity.

But clarity has a cost, and the movie will take several surprising turns. Not all of the plot is supported very well. We are led along at times, and frankly told things that might have been better revealed through the plot. It's not a perfectly nuanced drama in this way. These are nitpicks, for sure, because the larger feeling takes over and is commanding. And that's the lasting reputation of the film, that it pulls off this kind of modernized noir world with originality.

The director is Arthur Penn, who's great "Bonnie and Clyde" kicked off the shift into New Hollywood sensibility. (Beatty is always given too much credit for that film's audacity because he starred and funded it, but the film was Penn's at heart.) This might be called the last of Penn's great cycle from the period, and if not the equal to his 1967 breakthrough, it is in many ways more delicately felt and mature. And so in a way more watchable today a second or third time. Hackman is the one great actor here, however, and if there's a key problem with "Night Moves," it's that he almost but not quite supports the film alone. The three or four secondary characters are all of them thin, or contrived to be types, and so it falters.

See it anyway. It surprised me the way "Point Blank" from this era did. Excellent.

This is the perfect role for Hackman as the aging sports star unable to find his role in life once the playing days are over. He is the accidental jock, too sensitive to play the stereotype and so finding no sense of belonging. He has become a detective but he is a bumbling amateur compared to a Philip Marlowe type. He is shy and hestitant and is frequently made to feel discomfort by the seedy, untrustworthy people he comes into contact with. He has none of Marlowe's self assurance. It begs the question why has he become a detective? Maybe it is partly due to his abandonment by his father who years later Hackman tracks down only to fail in confronting him. He is condemned to search for people to whom he is of no importance.

This idea of the lonely seeker is Hackman's own turf. His affable charm conveys a sense of a lifetime's wrongheaded idealism. In the wrong job, deluding himself, looking for a way out. Eventually, he is able to see clearly and see how his drifting has allowed the people around him to manipulate him in their games. Unlike many of this film's peers such as 'Chinatown', 'Taxi Driver', 'The Long Goodbye', we are not left to be slightly repulsed by the lead actor's ways. Hackman plays the everyman character as an affable, amateur sleuth whose hestitancy and chronic lack of commitment give him a fallibility more recognizable to an audience.

"Night Moves" was a surprise to me. I assumed it could be a far more simple mystery/action film, but the whole thing caught my attention and really amazed me. What a great study in murder, infidelity, cruelty, sex, and relationships between strangers. A kind of film noir with dark overtones and a slow but effective suspense, the story starts as a simple investigation about a runaway teenager, but grows more and more into a complex drama plenty of unexpected twists. Gene Hackman is superb as the rude detective, the rest of the cast is also in fine form, but the real shock is to see a very young, hot (and naked) Melanie Grifith doing a terrific performance. James Woods is also here, with less impact but great to see too. An excellent film, one of the finest 70's underrated movies.

Private investigator Harry Moseby (Hackman) has his hands full retrieving a teen runaway (Griffith) from the Florida Keys back to Los Angeles. A routine case shuffled off to him by a rival, the matter nevertheless evolves into a complicated multiple murder plot. Normally distant Harry has difficulty separating his personal feelings from the facts.

The first half of this film is such a dull and plodding downbeat soap opera that it challenges the patience of the viewer. The relationships of a group of emotionally broken people hinting at personal guilt over sordid pasts thrown together by less than ideal circumstances don't always tie in with the actual narrative. But they aren't really meant to.

The real mystery of the story rests within the human interactions and what is important vs what is trivial. Harry is in fact a very poor detective. He lets those few emotional connections he is able to make with people cloud his judgments whilst assuming guilt on the part of those he doesn't like. What makes him a hero nevertheless is that he doesn't quit even if it means discovering personal betrayal.

Telling moments are rife. The way different people react differently from each other is a continual source of confusion for Harry. His inability to connect with his own wife on an emotional level has made her feel alone even in their most intimate moments together. Yet he lets his guard down with the wrong kinds of complete strangers. It certainly isn't by choice that he has chosen misread both the situation and the people surrounding it..

This is a more sophisticated form of detective story in that it offers an examination of the mindset of the detective - one who happens to be emotionally vulnerable and even a tad fragile.

I've seen Night Moves twice, 20 years apart. Both times, I felt strangely obligated to love this movie, for two reasons: (1) Gene Hackman is one of my favorite actors; and (2) I enjoy detective stories, especially those featuring Philip Marlowe or Lew Archer (the primary inspirations for Hackman's character, rather than Sam Spade, who is misleadingly name-dropped here).

Unfortunately, both times I was frankly bored by this movie and struggled to get into it. What's the problem? Well, detective stories are a funny genre. They tend to have very little action or incident, and instead rely on character development and witty dialogue to sustain interest. For this approach to work, the dialogue must sparkle, and the cast of characters must be really compelling.

Night Moves gets this all about half right. Some of the dialogue is sharp, but the seduction scenes have rather laughable "deep" and "sexy" lines. The movie is also weighed down by a protracted marital infidelity subplot that goes nowhere interesting.

I'll say this, though - the violent finale is terrific and really sticks in the mind.

In short, it's hard to write detective fiction as well as Raymond Chandler or Ross Macdonald, and this kind of pale imitation / updating of their work mostly just annoys me. Hackman is great, and the story kind of holds together, yet somehow this movie fizzles rather than frizzles.