Word: dunaway
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...noir, but this adaptation is as plodding and routine as most police work-or as a police novel unredeemed by narrative surprises or a galvanic prose style. The plot doubles back on itself and wanders off on pointless tangents. A subplot involving Delaney's critically ill wife (Faye Dunaway) is never integrated into the manhunt story, and Dunaway is wasted in a role that keeps her flat on her back. Mostly, she is forgotten as the gumshoe and the hobnail boots approach each other for the climactic confrontation. But Delaney is never in real danger: when Blank is finally...
...panoramic vistas or colorful neighborhood shots we've come to expect of movies set in the Big Apple, but in interior New York, the New York of hospitals, precinct houses, and apartments. Hutton flashes back and forth from one interior to the other, first by Barbara Delaney's (Faye Dunaway) bedside, then to the prowling killer, then to the stalking Delaney. But never does he make clear the connection between his three protagonists, whose movements parallel, counter, and shadow each other through the most critical moments of the film--though one is never sure to what...
...Faye Dunaway literally withers away before the camera's eye, becoming merely a living mask of death by the story's conclusion. It's a touching performance, but one wonders if an actress of Dunaway's magnitude is required to deliver it. Daniel Blank (David Dukes), the killer who strikes concurrent with her periods of medical crisis, suffers periodic fits that make him prowl the city, striking down victims with a particularly vicious mountain climber's icepick. Yet here too is caricature--the screenplay never sufficiently explains the root of his troubles, nor why he feels compelled to shave...
...curve by presenting an alternate suspect, never even temporarily blocking Delaney's inexorable march to solution of the puzzle. The ingredients of the film are delicious on their own merits--it's only when so combined that the recipe fails to pan out, as neither Sinatra's nor Dunaway's performance can provide enough spark to carry the entire story by itself. In short, the first deadly sin was for a dogged director like Hutton to attempt to translate Lawrence Sanders' novel to the silver screen. The second deadly sin is to force it upon the unsuspecting public...
...what's a family when you've found a soul-mate, another mover and shaker and eater of Maalox? Tynan's lack of concern for his non-political life is matched and complemented by Karen's similar interests. In a scene reminiscent of Faye Dunaway and Peter Finch's "business lunch" in Network, the senator and the lawyer share information about their upcoming confrontation with the Supreme Court nominee while performing stress tests on their new Posturepedic. Streep, tackling with stunning confidence an entirely different role from that she played in The Deer Hunter, evinces a magnetic attraction to power...