BY LEE PFEIFFER
Some of the best private eye thrillers tend to be complex and sometimes incomprehensible affairs. Howard Hawks' "The Big Sleep", for example, had a plot that could not be comprehended even by the people who made the film, but it ranks as one of the great movies in the crime genre. Similarly, director Arthur Penn's 1975 mystery "Night Moves" (the title is- appropriately enough- a metaphor) sat on a shelf for over a year before it went into general release, only to be greeted by an apathetic public. There were some prescient critics like Roger Ebert who foresaw the film's enduring qualities but, for the most part, "Night Moves" didn't get much attention in a year in which the likes of great films like "Jaws", "One Flew Over the Cuckoo's Nest', "Dog Day Afternoon" and "Barry Lyndon" were in release. The movie began to gain steam over the decades with the critical establishment and is now considered to be a classic by many, thus its arrival on Blu-ray from the Warner Archive is much appreciated by retro movie lovers.
The film reunited Gene Hackman with Arthur Penn after their triumphant work on "Bonnie and Clyde" (1967). Hackman was a supporting character in that film but received an Oscar nomination. In "Night Moves" he is the front-and-center star, in almost every scene and he dominates the movie with a superb, laid-back performance that is so natural that it reminds us of how Hackman's genius was to make you think you are watching a real-life person. He plays Harry Moseby, an L.A. private eye who isn't down-and-out like most of his cinematic counterparts, but is not setting the world on fire, either. He's a complex man haunted by bad childhood memories and he's got some contemporary problems, as well. His wife Ellen (Susan Clark) is bored and frustrated that Harry is too remote and spends far too much of his time on low-paying cases. He catches her having an affair but it's clear her lover (Harris Yulin) is more of a distraction than a passion. While Harry is trying to reconcile with Ellen, he's hired by Arlene Iverson (Janet Ward), a one-time minor starlet with a knack for marrying rich men. She wants Harry to find her wayward, runaway 16 year-old daughter Delly (Melanie Griffith), with whom she has a terrible relationship. Seems Arlene is dependent upon the funds from a trust that her late husband set up for Delly. As long as Arlene lives with the girl, she can continue residing in a mansion and enjoy a lavish lifestyle. However, once Delly turns 25, the spigot is turned off and Delly gets control of her fortune. The case leads Harry to the Florida Keys where Delly's stepfather, Tom Iverson (John Crawford) (divorced from Arlene) runs a charting plane service. He's surrounded by plenty of unsavory types, some of whom are employed as stuntmen in the movie business. At least two of them- Marv Ellman (Anthony Costello) and Quentin (James Woods)- have had sexual flings with the free-spirited Delly. Harry discovers Delly living openly with Tom Iverson and she resents having to be brought back to L.A. by Harry. She tells him her mother only views her as a source of income. While at Tom's place, Harry also becomes involved with another female with a troubled past, Paula (Jennifer Warren), who had once been both a stripper and a hooker before latching onto Tom and helping him with the plane charter business.She speaks in riddles and her dialogue with Harry is marvelously coy. (When she asks him where he was when Kennedy was assassinated, he replies "Which Kennedy"?).
Alan Sharp's terrific screenplay is witty and complex and chances are that when some of the mysteries are resolved, you'll end up scratching your head wondering what it all meant. "Night Moves" is a film that requires a few viewings before it all makes sense but that's part of the delight in seeing it for the first time. The dialogue crackles with bon mots and there are numerous intriguing sub-plots that sometimes overshadow Harry's primary mission, which, it turns out is explained in part by a MacGuffin. Hackman is superb, as is Arthur Penn's direction. The film has a moody, menacing atmosphere throughout, aided considerably by Bruce Surtees' typically dark cinematography. The supporting cast is letter-perfect with Jennifer Warren outstanding in an early screen role (she should have become a much bigger star, though she has found success as a director.) Also seen in an early role, James Woods impresses substantially in his limited screen time. Susan Clark (long underrated as an actress) is very good indeed, as is veteran character actor Edward Binns and Janet Ward. Young Melanie Griffith also impresses, though, ironically she played essentially the same role in another gumshoe flick that same year, "The Drowning Pool". I also admired the jazzy score by Michael Small. The finale of the film is most memorable. It's not only suspenseful and exciting but also intriguingly ambiguous with Harry on a boat literally spinning in circles, as the viewer may well be in terms of comprehending what has just occurred.
Because the original film elements of "Night Moves" were in decline, the Warner Archive spent a good time of time and money to restore the movie to its initial grandeur. The results paid off with an excellent transfer that does justice to Penn's artistic vision. Kudos to all involved. There are also some bonus extras: an original trailer and a vintage featurette, "The Day of the Director" that provides some very good behind-the-scenes footage of the movie in production. However, the Blu-ray cries out for an audio commentary to allow analysis of the film's many complex aspects. Perhaps a future release will include one. For now, this is a "must-have" for your video library.
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