Seconds

"Seconds" is a fascinating and engrossing realistic fantasy tale that deals with the question of the identity and above all, the exploration of madness symbolized by the search of material happiness and the search of eternal youth which leads to the most claustrophobic fate. "Please be yourself !" can be the warning of this film. The innovative and the post-expressionist cinematography of James Wong Howe (the use of the 9.7 mm fish-eye lens, extreme chiaroscuro, tilted low angle shots, hand-held camera shots) combined with the stylish graphic work of Saul Bass and a cold, taut and harsh music of Jerry Goldsmith makes it like a Faustian tragedy with a Kafkaesque approach. The whole film is about distortion. The twisted vision of the main character trapped in his own nightmarish world, full of "re-borns" and "employees". But the real nightmare is the dreary routine of his existence. For instance, the scene of the train when Arthur Hamilton is reading his newspaper and feels suddenly sick with his life. We see very short shots of the train window and his sad face. The more oppressive scenes are silent just extreme close-ups of faces. Perhaps, the best film directed by John Frankenheimer and the best paranoiac film ever created. "Classic" is a weak word to define this masterpiece of modern terror. "Seconds" is the last film of the John Frankenheimer's paranoiac trilogy, without forgetting : "The Manchurian Candidate" and "Seven days in may".

Just had to add a note of admiration for this greatly overlooked masterpiece of modern angst. I saw it when a student in Glasgow in 1969. That is probably why it has stayed to haunt me - possibly to the grave. Beyond that, I really don't know.

I'm no film critic but like several of the cinema cognoscenti, I was surprised Rock had a movie like this in him. Probably his best. The camera work takes you right in. You don't remember willingly suspending disbelief. It is as plausible and convincing as a good nightmare. Bleak, black and white, terse like John Boorman's Point Blank. Round about the same time as Blow Up appeared. Also a surprisingly mature performance from David Hemmings, matched the mood of powerlessness and fatalism that pervades Seconds.

A little further off it recalled the Incredible Shrinking Man. The same mood of fatalism pervades but from a different perspective. In the latter, the isolated individual is redeemed by some metaphysical union with the universe. In Seconds the isolated, narcissistic self implodes.

John Frankenheimer's modern Frankenstein. Or another parallel universemight be Dorian Grey. It is a multi layered movie.

After just seeing Seconds, I can't fully describe my feelings about it. For its time, it was VERY innovative and its no suprise that it didn't do well at the box office. The camera angles, especially the ones where it was 'pinned' on the actor's shoulders were genius. I'm amazed that movies back then, even in black and white, look better than most movies in color today....the cinematography was excellent. There's something very appealing about black and white films when they're done right. As far as the story, I was very suprised at how the film ended. Its a suitably depressing end to a very depressing and disturbing film. I'm curious as to why the lead character thought he failed at his 'second chance'. But like Mr. Wilson said, maybe he never had a dream to be fulfilled, which is why he ultimately failed.

This is a film that I wish could be exposed to more people. This is very effective and daring filmmaking, something we need more of today. Although, this film is only for people who like to think. Seconds is a wonderful film that I was privileged to experience.

*** out of **** stars.

In Seconds life's become pretty boring for John Randolph, no interest in the little woman any more, a dead end job, all the money in the world, but no interest in spending it anywhere.

So when he gets a call from an old friend who he's heard has died, the possibilities are intriguing. Start over with a newly reconstructed body and a little more spring in your step so to speak.

As you can gather this is a service that only the people that Robin Leach talks about can afford. It's kind of hush/hush and news of it is passed on by word of mouth. We just don't want any slug out there being able to have something like this. Imagine going in for some heavy duty surgery going in John Randolph and coming out Rock Hudson?

Of course not everyone quite takes to the new life, but The Company that provides this new life and identity has their ways of dealing with unsatisfied customers.

John Randolph/Rock Hudson plays the man seduced by the promise of eternal youth and health and pleasure. It's one of Rock Hudson's most highly rated performances and deservedly so.

Production wise, Seconds does resemble a rather long episode of the Twilight Zone, but that's not a derogatory comment. The Company provides some people to help newbies transition. Two of the best performances are Wesley Addy as a rather creepy factotum assigned to Hudson and Salome Jens as a woman who evinces interest in the new man that is Hudson.

Seconds is not a feel good movie, but it's a great horror story told without any of the usual monsters, blood, and gore associated with the genre. If you see Seconds, it will raise some disturbing questions.

SECONDS decries the dehumanization of the middle class. The protagonist is a successful banker, though successful at banking, in late middle age finds his life devoid of purpose. Given an opportunity to completely start his life over he jumps at the chance even though it means he must "die" and be reborn in a new body.

Filmed in black and white SECONDS has that unsettling jumpy-jangly editing and sound track I associate with 50s film noir. It keeps the viewer off balance and out of kilter, like the banker who slides slowly, effortlessly into a more ominous dehumanized existence than the one he left. An oddly (but successfully) cast Rock Hudson gives a great performance as the 'reborn' banker. Recommended when in the mood for something different.