Word: parallaxes
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...killer, involves us so totally that the girl-in-the-abandoned-warehouse routine at the end doesn't even appear schematic (well, it does, but we're still scared to death). You gotta credit Alan J. Pakula though, who here, as in All the President's Men and the Parallax View, conveys the someone-is-always-watching-you motif with incomparable creepiness. Donald Sutherland is an intelligent, if pallid detective, but the protagonist is Jane all the way, the frustrated hooker trapped by the emotional and physical perils of her profession. Her best performance to date...
...complicated subject of Italian political turmoil. The film's theme of political assassination and a growing police state conjures up frightening Orwellian visions of Big Brother-type repression. It is even more eerily prophetic as it was made in 1975, before the Moro killing and more compelling than The Parallax View (an American film with the same theme of assassination) as it probably reflects a greater measure of reality...
...made artistic progress in his more recent films, seemingly surrendering to his press image as another pretty-faced glamour boy. The promise of his career as seen in his earlier, more substantial roles, in films like Splendour in the Grass, Bonnie and Clyde, McCabe and Mrs. Miller, and The Parallax View appears undeveloped in his more recent roles as George, the heartily-sexed hairdresser in Shampoo and as Joe Pendleton in this film...
Other subjects suffer from a factual parallax. And there is a recollection gap in Haldeman's account of my suggestion to Nixon that he listen to his tape of his March 21, 1973, meeting with John Dean to determine the dimension of his problem with Dean. Haldeman writes: "At that point I thought Ehrlichman didn't even know about the tapes." In fact, I did not know of the taping system then. But I had been told that Nixon had taped that one meeting with Dean. Haldeman had told...
...they settled on was Alan Pakula, who had just come off another study in American political paranoia. The Parallax View, but whose work on Klute was what had really impressed both actors. They felt he had done an excellent job in building by visual means menace and tension into a script that had lacked those qualities. "If our project was to succeed, we'd need the same kind of tension," Hoffman remembers thinking. He adds: "Bob liked him because he felt he wouldn't jump on a liberal bandwagon. Redford saw the film as a detective story...