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IMDbPro

Um Lance no Escuro

Título original: Night Moves
  • 1975
  • R
  • 1 h 40 min
AVALIAÇÃO DA IMDb
7,1/10
20 mil
SUA AVALIAÇÃO
Gene Hackman in Um Lance no Escuro (1975)
Former footballer and present private detective Harry Moseby gets hired on to what seems a standard missing person case...
Reproduzir trailer2:14
1 vídeo
85 fotos
Detetive obstinadoTragédiaCrimeDramaMistérioSuspense

O investigador particular de Los Angeles Harry Moseby é contratado por um cliente para encontrar sua filha adolescente fugitiva. Moseby rastreia a filha, apenas para tropeçar em algo muito m... Ler tudoO investigador particular de Los Angeles Harry Moseby é contratado por um cliente para encontrar sua filha adolescente fugitiva. Moseby rastreia a filha, apenas para tropeçar em algo muito mais intrigante e sinistro.O investigador particular de Los Angeles Harry Moseby é contratado por um cliente para encontrar sua filha adolescente fugitiva. Moseby rastreia a filha, apenas para tropeçar em algo muito mais intrigante e sinistro.

  • Direção
    • Arthur Penn
  • Roteirista
    • Alan Sharp
  • Artistas
    • Gene Hackman
    • Jennifer Warren
    • Edward Binns
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,1/10
    20 mil
    SUA AVALIAÇÃO
    • Direção
      • Arthur Penn
    • Roteirista
      • Alan Sharp
    • Artistas
      • Gene Hackman
      • Jennifer Warren
      • Edward Binns
    • 128Avaliações de usuários
    • 69Avaliações da crítica
    • 82Metascore
  • Veja as informações de produção no IMDbPro
    • Indicado para 1 prêmio BAFTA
      • 2 indicações no total

    Vídeos1

    Night Moves
    Trailer 2:14
    Night Moves

    Fotos85

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    Elenco principal33

    Editar
    Gene Hackman
    Gene Hackman
    • Harry Moseby
    Jennifer Warren
    Jennifer Warren
    • Paula
    Edward Binns
    Edward Binns
    • Joey Ziegler
    Harris Yulin
    Harris Yulin
    • Marty Heller
    Kenneth Mars
    Kenneth Mars
    • Nick
    Janet Ward
    Janet Ward
    • Arlene Iverson
    James Woods
    James Woods
    • Quentin
    Anthony Costello
    Anthony Costello
    • Marv Ellman
    John Crawford
    John Crawford
    • Tom Iverson
    Melanie Griffith
    Melanie Griffith
    • Delly Grastner
    Ben Archibek
    • Charles
    Dennis Dugan
    Dennis Dugan
    • Boy
    C.J. Hincks
    C.J. Hincks
    • Girl
    Max Gail
    Max Gail
    • Stud
    • (as Maxwell Gail Jr.)
    Susan Barrister
    • Ticket Clerk
    Larry Mitchell
    • Ticket Clerk
    Susan Clark
    Susan Clark
    • Ellen
    Phil Altman
    • Crewman
    • (não creditado)
    • Direção
      • Arthur Penn
    • Roteirista
      • Alan Sharp
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários128

    7,120.2K
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    Avaliações em destaque

    psychoren2002

    Great film, great acting, a real surprise

    "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.
    6izzynfrank

    Good film by a very good director with a great actor

    NIght Moves falls into that category of movies that was not so loved when it came it but since time has passed, people have come around to it. It also benefits from being from that new golden era of cinema, the 70s, where the films showcase a gritty side to characters, often played by some of the best anti-hero actors of all time -- Hackman, in this case. Night Moves is a good movie and a lot of fun but it has some limitations which keep it from being more than that.

    First of which, the story really doesn't make sense. It's clear when the case is more or less solved about an hour in that the movie is really going to be about something else. In this case, it's more about Hackman's character, a guy who despite his love of things like chess, can't seem to really figure stuff out. So we are taken through his marriage, his wife's infidelity. an attempted reconciliation, etc. All that stuff is great for a great actor like Hackman who makes you feel how lost he is.

    The problem is that the ties that connect that to the real story, that of the art smuggling, which is the real mystery, are very thin. Also, the ties that connect the plot points of the smuggling story are very week. Too much coincidence, too many people happen to be exactly where they need to be. Too much crossing the country - - LA to Florida in the blink of an eye. One second Gene Hackman is chasing James Woods around LA on a motorcycle. The next scene, he finds him in Florida.

    I read that the film was shot in 1973 and then shelved until 1975, meaning that there must have been issues with it then. There must have also been a lot scenes cut, because a lot is in there, it's just hidden very deeply with no way to get at it. I think this is a film to check out and enjoy for some very good elements. I just don't think we can put our blinders on and make it a 70s classic. Good film. Worth a watch.
    7secondtake

    Neo-noir, with Hackman pouring it on in the best ways...

    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.
    JasonDanielBaker

    The Real Mystery Is Figuring Out That Some Likable People Do Bad Things

    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.
    d_stores

    Hackman's greatest role

    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.

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    Interesses relacionados

    Barbara Stanwyck and Fred MacMurray in Pacto de Sangue (1944)
    Detetive obstinado
    Casey Affleck and Michelle Williams in Manchester à Beira-Mar (2016)
    Tragédia
    James Gandolfini, Edie Falco, Sharon Angela, Max Casella, Dan Grimaldi, Joe Perrino, Donna Pescow, Jamie-Lynn Sigler, Tony Sirico, and Michael Drayer in Família Soprano (1999)
    Crime
    Mahershala Ali and Alex R. Hibbert in Moonlight: Sob a Luz do Luar (2016)
    Drama
    Jack Nicholson and Faye Dunaway in Chinatown (1974)
    Mistério
    Cho Yeo-jeong in Parasita (2019)
    Suspense

    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      Debut credited film role of Melanie Griffith and her first nude scenes. It's been reported that she was 17 when she appeared in this film, but if the film started filming in Oct. 1973 as reports state, that means Griffith turned 16 two months before, in August 1973.
    • Erros de gravação
      A considerable amount of time had passed between when Harry brought Delly home and when he had Paula return to the crash site to retrieve some of the treasure. It makes no sense that Tom and Paula wouldn't have already retrieved the treasure.
    • Citações

      Ellen Moseby: [of a football game] Who's winning?

      Harry Moseby: Nobody. One side is just losing slower than the other.

    • Conexões
      Featured in The Day of the Director (1975)

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    Perguntas frequentes15

    • How long is Night Moves?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 30 de agosto de 1975 (Itália)
    • País de origem
      • Estados Unidos da América
    • Idiomas
      • Inglês
      • Espanhol
      • Francês
    • Também conhecido como
      • Secreto oculto en el mar
    • Locações de filme
      • Sanibel Island, Flórida, EUA(Florida scenes.)
    • Empresas de produção
      • Warner Bros.
      • Hiller Productions
      • Layton Productions
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      • 1 h 40 min(100 min)
    • Cor
      • Color
    • Mixagem de som
      • Mono
    • Proporção
      • 1.85 : 1

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