O Dossiê de Odessa

Sometime between 1979 and today, filmmakers have lost the ability to tell a suspenseful story, to flesh out characters, so that today we see more style than substance, more gore and mayhem than plot development.

The Day of the Jackal, Marathon Man, Eye of the Needle, The Boys From Brazil and others will be labeled boring by many here because they must wait for something to happen. A typical example from Odessa is the reunion scene. Voight infiltrates the meeting of old German soldiers, make that old devoted Nazis, gathering in a beer hall. He snaps a photo of the speaker, shouting what sounds like the words of the pre-war Deutschland uber Alles. One man comes and begins his eviction from the hall. In the next scene we see him nursing his wounds, which are far more serious than the pushes we see. Tell me that today we would not witness a brutal beating punch by punch, kick by kick.

Films then used violence to advance the plot, such as the "Is it safe?" interrogation in Marathon Man. Seventies films are no shorter than today's masterpieces, but so much more intricate plot is compressed into their time frame.

Three Days of the Jackal is a perfect telling of a Forsyth book; we never become involved with the characters but watch in fascination. Here we follow Miller (Voight) giving us a horse in the race. I have reservations about the final confrontation with Schell and Miller's motivations but I have none about the story in general.

Only in the score does Odessa fall short; the music sounds almost if it was added as an afterthought and does nothing to enhance moods or foreshadow scenes. Worse, the score seems the beginning of a pattern that continues to this day where in some scenes the music is the main character. Only the bier-hall singing of the old Nazis sounds appropriate.

I rated the film 8 of 10.