Night Moves (1975)

Slow Boat to China

I had noticed "Night Moves" inclusion in the "New York Times Best 1000 Movies". I like a good detective movie and I was looking forward to seeing it which I did last night. I was disappointed in the movie. In all fairness, my disappointment was borne in high expectations. However, I found the plot unnecessarily complicated (many will probably like this aspect). The characters were too much. Our hero, for example, is a former All-Pro football player. Except for some access issues that could have easily been re-scripted to create the same scenarios, there was no need to create such an esoteric facet. We are treated to analysis of the private detective's incomplete relationship with his father which also took us aimlessly down a dead end. I could go on and on but the ending really caught me off guard. It wasn't until today I realized how impressive the conclusion was. The closing scene is of a small boat at sea. A person struggles to get the engine started. With great difficulty, this person is finally able to get the motor up to speed but was unable to steer the boat or see in what direction it was headed. I understood that the director was confessing his inadequacies. For such a marvelously symbolic statement, I gratefully offer him my absolution. September 19, 2008

An Underdog of the 1970s PI Films

I'm a big fan of private eye movies and television series. I'm glad THE ROCKFORD FILES has finally come out on DVD, but I'm still waiting for MARLOWE, starring James Garner and Bruce Lee.

However, I don't have an excuse for not having already seen Night Moves. It's been out for over thirty years, and I bought the DVD a year ago. I did finally get around to watching it, though, and it was as good as I'd hoped it would be.

The story is pure 1970s, as evidenced by the cars, clothing, and some of the language. But it also tells a timeless story of confusion and betrayal, and the layers of secrets that add to those.

Gene Hackman stars as Harry Moseby, an ex-football player rather than an ex-cop. Moseby has been broken down by family problems and the loss of his career, and seems to be barely hanging onto life by a thread. Only the occasional missing persons case appears to keep him financially afloat and emotionally anchored.

Hackman has always been a personal favorite of mine. He can pull off any kind of role and look good doing it, even if the film is total cheese. He's just a guy I look at and immediately respect. His everyman stance and his charm just oozes from every pore. As Moseby, he was a well-known football hero, and a lot of his friends still see him as a standup guy, but he doesn't let anyone in too close.

Unfortunately, that same inability for closeness is what ultimately undermines his relationship with his wife, Ellen (Susan Clark). When he first gets handed the case of the little runaway rich girl, Moseby isn't too interested. Then he catches his wife cheating on him and tries to lose himself in the investigation.

I liked the way the movie dovetailed back into the movie industry the way some of the old 1940s movies did. Some of the best cinematic detectives have their roots in the twisted and sordid tales that came out of Hollywood. This one has stuntmen and used up actors to season the tale, and it adds more credibility to it.

The Florida footage on the case was extremely well done as well. Director Arthur Penn (LITTLE BIG MAN, BONNIE AND CLYDE) manages the Hollywood and LA scenes well, then zips the viewer down for a peak at what was then Travis McGee's tramping grounds as John D. MacDonald wrote his adventures. I liked the rough and tumble atmosphere of the land, the characters, and the twists and turns the plot took while down there. Jennifer Warren plays femme fatale Paula in a haunting and sexy scene.

Some of the most fun was watching a very young James Woods and Melanie Griffith taking their places on the stage. Woods hasn't changed much, but his presence on the screen is intense these days. He's another one of my favorites. Melanie Griffith, young and hot and nude in several scenes, just burns up the celluloid.

I really enjoyed Hackman's work in this movie. As I said, I own it and intend to watch it again. I'd really advise picking up TWILIGHT, with Paul Newman, Susan Sarandon, James Garner, and Hackman to really round out a double feature private eye/noir night. Hollywood seldom makes films like these any more and it's a shame. March 24, 2008

y-a-w-n

I watched this because I'm a Gene Hackman fan. Despite his (youthful) skill at developing a believable shamus, I couldn't get into the three intermixed, sluggish, low-action plots - Hackman's disinigrating marriage, the persuit of the missing girl, or the smuggling. If you've seen Gene in the French Connection, the Firm, or the Unforgiven, don't expect the same from this early work. December 2, 2007

An OK movie

I had never heard of this movie until I ran across it on Amazon.com. I made the purchase because I like Gene Hackman in just about everything he does.
This is a reasonably entertaining movie, but not great. Some of the more interesting things about it are seeing a young James Woods and seeing near nude shots of a young Melanie Griffith.
I don't believe that I can honestly recommend that anyone purchase this movie because it is not one that would be watched many times. In fact, I believe I will donate this one to our local library. That way, this movie will be watched by folks that would not ordinarily purchase a copy. October 21, 2007

No one gets it

I just read all the 26 reviews so far to see if anyone really understood what happened. Where is Iverson at the end? He seems to be the only character who isn't dead. They say THE BIG SLEEP is confusing -- that's nothing compared to this. When Edward Binns shows up in the plane at the end, my head is spinning. But the movie is fun to watch, and Gene Hackman is wonderful. I don't agree about the transfer, though. The center of the screen is washed out by distortion in the darker scenes. I had to put my Black Enhancement on High to get it to look decent. Like the old print of BULLITT. On the whole, I have to admire something that can hold your interest while remaining totally incomprehensible. Don't forget, Arthur Penn made MICKEY ONE with Warren Beatty. May 23, 2007

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