Word: redfords
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Dates: during 1970-1979
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...keeps its word. It is hard to get indignant about it, or enthusiastic either. There is no clear compliment the movie can be paid without an immediate qualification: it is smooth but forgettable, bearable but brainless. The film has nothing novel to say and nothing to offer except Robert Redford. But the way things work in Hollywood these days, Redford is enough...
Three Days of the Condor should be considered not so much as a movie as what Hollywood calls a project. Based on a least-selling novel called Six Days of the Condor, by James Grady, such a project is conceived and comes into being only because Redford agrees to show up in it. Redford is a good, shrewd, sometimes very funny actor, but the fact that movies like Three Days of the Condor are not really worth making at all is a thought that occurs to no one. Neither Redford, Director Sydney Pollack (The Way We Were...
...these melancholy thoughts occur during Condor because there is little else to think about. Everything in the movie is familiar. Redford appears as Turner, a blithe, intelligent functionary in an unimportant CIA office in New York. He finds all his co-workers slaughtered one day. Figuring that he is next on the list for removal, he takes it on the lam. Turner calls into headquarters for help, but it seems that headquarters wants to kill him too. Everyone wants to kill him, except the melancholy, liquid-eyed Kathy (Faye Dunaway). Redford rewards her by commandeering her car and apartment, tying...
...cookbookers, of course, were all over the actors. "That's it! It must be a male camaraderie movie!" Male camaraderie was very big last summer, and suddenly Altman was playing the Newman-Redford. Woodward-Bernstein game. Depending on what: they thought of the picture, the critics had California Split down as a good army-buddies film, or a poor take-off on The Sting...
...first scenes are done in a saccharine style that only certain parts of Gatsby could equal (the scene where Redford and Farrow take nearly half a minute to run into each other's arms across a seemingly endless expanse of screen comes to mind). Locusts opens with Tod (William Atherton) driving Faye Greener (Karen Black) through the streets of Beverly Hills, past the well-cultivated lawns of auspicious mansions, as "Isn't it Romantic?" plays on the soundtrack...