I’m not sure exactly why I decided last night’s movie would be 1974’s The Parallax View, or even when I put it in my Netflix queue. Still, there it was, and since I was in a kind of “what the heck” mood, I decided to give it a go.
Coming out at a time when political corruption, conspiracy theories, and political assassinations were all at the forefront of the American psyche, The Parallax View is according to Wikipedia, the middle film in director Alan J. Pakula‘s so-called “Political Paranoia Trilogy” which also includes 1971’s Klute, which I haven’t yet seen, and 1976’s All The President’s Men, which I have. (Though it has been awhile, and I probably should revisit it sometime soon.) This is not to say that the film relies on any knowledge of, or even directly relates to either of those films, as the link between them is one of theme more than plot.
The Parallax view stars Warren Beatty as Joseph Frady, a somewhat naive reporter who finds himself drawn unwillingly into a world of political intrigue and, yes. conspiratorial assassination. The guiding force behind these assassinations turns out to be the titular Parallax Corporation which actively recruits people like Frady, people who seem to be on the edge, to become assassins.
Or do they?
The movie is very much one of its time, making use of then-popular pop-culture tropes such as personality testing and visual brain washing. There is even a scene which echoes the forced retraining scene in Stanley Kubrick’s A Clockwork Orange, with a very interesting video montage, though the scene itself is much less disturbing and intense than that of the Kubrick film.
And perhaps that’s the problem with the entire film, and why it was less well received and remains much less well remembered than Pakula’s two other films in this “trilogy”. It simply never manages to convey any real sense of intensity or immediacy. Under Pakula’s direction, scenes such as the opening fight on the top of Seattle’s Space Needle, which could have provided great tension seem much too removed and foreshortened to truly give it any sense of what is at stake, and that is something that carries through the length of the movie, making it seem rather disjointed and – while it’s not particularly hard to follow – jumpy, as Frady moves from point to point in following the conspiracy depending far too much on what seems coincidence.
Of course, it could be argued that these coincidences are not what they seem, but that is not a point that the movie really addresses, so the viewer is left at times having to play catch up just a bit too much.
As far as the acting goes, Beatty, whose talent onscreen was unfortunately for most of his career overshadowed by his offscreen reputation turns in his usual engaging performance. He is very ably backed by a supporting cast which includes Hume Cronyn, William Daniels and Paula Prentiss, all of whom are good here, but never seem as engaged as they would be in other roles.
In the end, The Parallax View is a pretty typical 70s conspiracy thriller, complete with a relatively nihilistic ending which was the going trend at the time. It is certainly worth the time if you have nothing better to do with an evening and are a fan of this kind of film, but at the same time, I can’t consider putting it in the category of a “must see”.
(The preceding review was, by the way, paid for by the Parallax Corporation, but you should not take that as any indication that it was designed to throw you off the scent of any ongoing assassination conspiracies or other ongoing schemes. Probably.)
- Parallax View by Allan Leverone (create-with-joy.com)
- New studies: ‘Conspiracy theorists’ sane; government dupes crazy, hostile (ascendingstarseed.wordpress.com)
- PARALLAX VIEW: The dire need for a sense of humour in these difficult times (dailymail.co.uk)