THREE DAYS OF THE CONDOR

US, 1975, 118 minutes, Colour.
Robert Redford, Faye Dunaway, Cliff Robertson, Max von Sydow, John Houseman.
Directed by Sydney Pollack.

Three Days of The Condor: ten years ago, spy films were generally escapist spectacles. Five years ago, the genre soured and the sordid realism of espionage was presented. Post- Watergate films highlight the manipulation, the cover-ups, the using of individuals as pawns. This is the background to this thriller which makes it topical and exciting. Once the scene is set and the shooting starts, the film is well-paced and involving. Robert Redford is as expected, Faye Dunaway has more verve than usual, Max Von Sydow does his sinister thing. Films like this, accepted widely by audiences, will continue to give international intelligence work and the intrigues of espionage a (deservedly?) bad name.

1. The impact of this thriller? Enjoyment of espionage films?

2. Social comment on America in the 70s? The significance of the title? What thriller conventions did the film use, how well? The establishing of the hero, the massacre, the pursuit the mystery of identifications espionage and manipulation of people, the lonely girl, the solution? How modern, how old fashioned?

3. Comment on the modern look the film was given: colour, Panavision, stars, American locations. the emphasis on the C.I.A. and post-Watergate America.

4. What picture of America was given in the film? The effects of Watergate and the exposure of cover-ups? The nature and morality of espionage? The C.I.A. and intelligence? The use of information? The hiring of assassins and the manipulation of peoples' lives? To what purpose? The importance of the long opening: establishing situations and people? Atmosphere of suspense? The suddenness of the massacre? The mysteriousness of Joubert? Of Joe Turner? The preparations of the scenes of the slaughter? The execution of these scenes? The atmosphere for later assassinations? The rationale behind such assassinations? The film's judgement on this?

7. The film's establishing Joe as a person for audience interest and identification? The individual the theorist, the reader. his intelligence? His fear? His coping with mystery? His use of phoning intelligence headquarters? His survival?

8. His use of Cathy, relating to her? Their ingenuity together? The ordinary man surviving against the machine? The ultimate confrontation with Higgins? The condemnation to loneliness?

9. Turner as victim: audience sympathy for a nun who is pursued, seeking the truth, under suspicion. having to use his wits? How well was this exemplified in incidents in the film? What sense of achievement did Turner have in the end? Coping with the predicaments? The final prediction for his loneliness?

10. The portrayal of the C.I.A.; Wicks and his treachery, Atwood and his masterminding the killing? Wabash and his anonymous authority? Higgins with a more personal touch? Trusting Higgins? The values that Higgins stood for? His final condemnation of Turner?

11. The importance of Cathy? In the shop. her fear, the physical reality of her being tied up, her beliefs. her relationship her photos, the wintry tones of her outlook and loneliness? Her growing in love? Helping Turner? How convincing was this? Her meeting Higgins? The danger for her in the assassination attempts? As a support for Turner in the future?

12. The film's emphasis on the role of the individual? Espionage machines and international conspiracies? Joubert as the professional executioner? The man of menace and danger? The irony of his close presence to Turner at various times? The irony of his shooting Atwood? The film's comment on such persons?

14. The film was popular espionage entertainment. What values about modern politics did the film stand for?