The Parallax View

"The Parallax View" belongs to one of my favorite movie genres -- the paranoid 1970s political thriller. Cashing in on a decade of assassinations and government corruption, the film stars Warren Beatty as a journalist who infiltrates a shadowy organization that's training people who fit certain psychological profiles to become assassins of political figures. It's got a satisfying, eerie vibe and pretty accomplished direction from Alan J. Pakula, who certainly knew his way around a thriller with political overtones. Gordon Willis's deservedly lauded cinematography goes a long way to making the film work, using lighting and framing to create oppressive and sinister compositions. The editing is a bit ragged in spots, resulting in abrupt transitions that can be disorienting. And I'll admit that toward the end I sort of lost the thread of what was going on. But overall this was an entertaining if maybe minor contribution to the world of disaffected 1970s cinema.

Grade: A-

A US Senator is assassinated and the official inquiry concludes it was the work of a lone gunman. Three years later, with 6 witnesses dead, a TV reporter present at the killing is frightened for her life. She takes her fears to a journalist ex-boyfriend. At first he is sceptical...

Brilliant paranoid thriller from Pakula, utilising choppy realism and naturalistic dialogue to create a bleak and uncompromising picture of cynical, corporate conspiracy within US politics. Beatty has never been better as the ambitious journo-hack Joe Frady, and he is superbly supported by Cronyn, Daniels and a deeply compelling cameo from Prentiss. You can bet this wasn't diluted by audience testing prior to release... unmissable.

When I hear mention of Warren Beatty these days I almost begin to snore, but before Beatty became a boring old fart he made a handful of very interesting and adventurous movies like 'Mickey One', 'McCabe & Mrs Miller' and 'The Parallax View', hardly safe Hollywood movie star material. 'The Parallax View' is THE definitive 1970s paranoid thriller, beaten only by Coppola's 'The Conversation', released incidentally the same year. The movie has to be watched in the context of when it was made. It's shot through with post-Watergate cynicism and the Kennedy assassinations cast a long shadow over the plot. Beatty gives a very subtle, relaxed performance, and for me is totally believable. The supporting cast is first rate. Veteran Hume Cronyn ('Shadow Of A Doubt') plays Beatty's editor, Paula Prentiss ('The Stepford Wives') a hysterical fellow journalist, and William Daniels (Dustin Hoffman's father in 'The Graduate') has a brief but memorable bit as another witness who fears for his life. Also keep an eye out for the legendary Bill McKinney (who nobody who's ever seen 'Deliverance' will forget!) as an assassin, Anthony Zerbe ('The Omega Man') as a psychologist (playing Pong with a chimp!), and Earl Hindman ('The Taking Of Pelham One Two Three') in the bar fight scene. Much of 'The Parallax View' was later used in 'Arlington Road', an unconvincing movie which was much too contrived for me to be believable. It just didn't have the subtlety that this one has, and spelled everything out, seeming assuming its audience wasn't bright enough to get it. 'The Parallax View' is still one of the most intelligent, tense and effective conspiracy thrillers ever made, and the direction by the late Alan J. Pakula is just about flawless. Highly recommended.

It has become commonplace to identify '70s Hollywood films as their own genre. I'll go one farther and identify this era as a collective, structural autuer.

If that hypothesis holds any water, this is one of its impressive works. Made shortly after Watergate, and less than a decade after the JFK assassination, this envisions conspiracies and assassinations not as a disruption of, but a cornerstone of the American establishment.

This is, in a sense, not a POLITICAL conspiracy thriller. The US government, or that of any other country, is presented as merely a dope of a greater power- that of the big corporations of whatever stripe. This is a dystopian capitalist democracy- one in which representatives are elected to "officially" be as clueless as the general populace about the real social reality around them.

Perhaps the most subversive thing about this very subversive film is that the assassinations don't seem catastrophic, or even troubling. When one takes place, the victim politician is basically a walking sound bite. His sacrifice seems only the continuation of a ritual of banal brutality.

In one scene, a film is shown that is supposed to condition the viewer to murderous obedience. It is a montage of images of Americana, including those of violence and oppression. In most '70s conspiracy thrillers, the evil that lurked beneath the surface had a predatory relation to the commonly understood reality. People were putting their trust in a machine that was not what it seemed. Here, the evil is the surface. America IS the conspiracy.

DP Gordon Willis has never impressed me more. In his work with Woody Allen and Francis Coppola his show-offy use of shadow and in-the-frame lighting sources seemed at times to distract from the tone or theme of the film, as if Willis was only interested in defining his "look" regardless of its relation to the film's content. Here, it fits the tone of the film perfectly. The final scenes, largely devoid of dialog, in a hall filled with terrifyingly "patriotic" imagery, is gorgeous. Many of the shots reminded me of de Cherico paintings.

Independent minded Senator Carroll is assassinated on top of the Space Needle. The assumed killer falls to his death and a commission declares him to be a lone gunman. Three years later, Lee Carter pleads with reporter Joe Frady (Warren Beatty) to investigate the Carroll assassination. The people around Carroll on that day are getting killed off. Frady finds something disturbing. He is attacked by Sheriff Wicker. He kills Wicker and discovers the name Parallax Corporation among the sheriff's belongings. His boss is Bill Rintels (Hume Cronyn) doesn't believe him at first. He suspects that they are recruiting psychopaths and he intends to infiltrate the organization.

The first half is really compelling. There is a good sense of paranoia. It fades a little after the plane bombing. They couldn't film the plane exploding. It's the first sign of the movie's limitations. I wish the movie could find the next gear but it's not really there. I also wasn't impressed with the long montage sequence that Frady sits through. It could be much more compelling but it feels derivative of 'A Clockwork Orange'. It's still a very good paranoid thriller.