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TORRENT DETAILS
Mirage (1965)
TORRENT SUMMARY
Mirage
Status:
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Theatrical Release: 1965-09-23 DVD Release: 2008-11-04 Torrent Release: 18-02-2013 by user
Swarm:
0 Seeds & 0 Peers
Movie Genre:
Mystery, Thriller
Runtime:
108 min.
Parental Rating:
Approved
Awards:
1 nomination
Vote:
No votes yet.
DESCRIPTION
Walking down twenty-seven flights of stairs after the power goes out in the New York City office building he is in, David Stillwell emerges outside on the ground level to find that a man he didn't know either jumped or was pushed out a window to his death. That man was Charles Calvin, the head of Unidyne, a humanitarian organization that works toward world peace. David notices other unusual goings-on. What he considers his normal routine that others he knows should recognize, don't. People that he doesn't know seem to know him, such as the beautiful young woman with who he walked down the stairs but who ran off when they got to the bottom. And things that he thought he saw or thought he knew end up not being the case, such as the multiple sub-basement levels he thought were in that office building which don't seem to exist in the clear light of day. When he finally thinks about it, he believes he has some form of amnesia. As an example, he knows that he works as a cost accountant, but he has no idea what a cost accountant is or does. He soon learns that some people are following him and are after something that he has, he not knowing what it is, and that they will shoot to kill if they don't get it. Conversely, the young woman, who he learns is named Shela and was once a love of his, is trying to convince him to cooperate with the people after him if only to save his life. Every direction David turns for official assistance, he comes up not trusting anyone, with the exception of a novice private detective he hires named Ted Caselle. Shela and the people after David all refer to "the major" as the person at the top who wants what David has. David may have to look deep into his troubled psyche to come out of his amnesia to learn who the major is, what he wants, whether David is willing to give it up if he indeed does have it, and that the death of Charles Calvin had some part to play. But David may be dead before he can even make an informed decision to cooperate or not.
Sinopsis by IMDBMirage (1965)
IMDB link: http://www.imdb.com/title/tt0059448/
.: Info :.
Regia / Director: Edward Dmytryk
Sceneggiatore / written by: Peter Stone (screenplay), Howard Fast (novel)
Titolo originale / Original Title: Mirage
Also Known as: Espejismo (Argentina / Spain)
Anno / Year: 1965
Durata / Runtime: 108'
Genere / Genre: Mystery, Thriller
Color|b/w: b/w
Cast:
Gregory Peck ... David
Diane Baker ... Shela
Walter Matthau ... Ted Caselle
Kevin McCarthy ... Josephson
Jack Weston ... Lester
Leif Erickson ... Major Crawford
Languages: english, español (castellano)
Subtitles: english, español, français, italiano
.: Screenshots :.
.: Plot & Review :.
While Edward Dmytryk’s name is not well-known now, he was in his day a celebrity director. He was perhaps the single most prominent member of the “Hollywood Ten,” a group of writers and directors who refused to answer questions in front of the House Committee on Un-American Activities (HUAC) about alleged involvement with the Communist Party. (It should be noted that Dmytryk did eventually testify, admit to brief membership in the party, and name members of many liberal-leaning groups.) After his run-in with HUAC, his return to filmmaking, which was done largely from England, saw him consistently confronting what had happened to him, and often doing so in very dark, depressing ways that fit in well with the general worldview of the then-popular film-noir genre. Mirage came a bit later and really is, while still dark and heavily influenced by his personal experiences, a different type of film: instead of a film-noir, Mirage is a truly Hitchcockian twisting thriller about the decline of, for lack of a better word, humanity in a profit-based, technologically advanced world.
The idea that “humanity” is gone because of technology and/or greed has existed for as long as humans have existed, and frankly it’s nothing more than golden age thinking. However, Mirage still makes its point about the dangers of a lack of humanity remarkably well. The basic plot advances the point, as do numerous remarks by characters claiming such things as that an elevator without an operator is a sign that “people are on their way out” and that a business owner sees people as nothing more than vehicles for bringing him commerce, not even giving them the recognition that a person gives to ants. It’s an excellent example of the kind of focus that many films lack.
To make his point, Dmytryk and his screenwriter employ an unusual narrative built around a protagonist who has a series of odd interpersonal exchanges, culminating with a man holding him at gunpoint in his apartment and questioning him about the whereabouts of something unnamed. After these exchanges, he begins to question his own sanity, then comes to a realization that he has actually lost his memory, though he somehow did not notice it. He knows he’s caught up in some sort of intrigue, but doesn’t know why or who the people around him are. There are numerous further realizations along the way, leading up to a thrilling finale with surprises throughout.
It’s structured much like the paranoid thrillers that would become so popular in the ‘70s, many of which were set in a world of spies and international intrigue, perhaps best exemplified by Three Days of the Condor (Sydney Pollack, USA 1975). The protagonist, David Stillwell–played by Gregory Peck, searches for information about who he is and why someone seems to be going to great lengths to make him appear insane, but everyone he finds seems to be a part of this grand conspiracy. Stillwell is a bit too quick to decide that he knows some parts of what’s going on, but he’s not always right, which makes his quickness not just reasonable but probably an accurate depiction of what a person would feel. He lashes out against the few people who try to help him in a paranoid fog that must have felt familiar to Dmytryk after the HUAC incident.
None of the actors really has the opportunity to show much, which is probably a good thing considering the limitations that star Gregory Peck has shown in other roles. As a result, no one is particularly good; however, no one is particularly bad either. It’s a plot-based film with only one really fleshed-out character and he’s simply never in the position to show much emotion. Walter Matthau is the one sort of standout, playing a private detective trying to help out Gregory Peck. What’s really interesting is that Matthau, someone who always excelled at playing slick slimeball characters (hence his Oscar for The Fortune Cookie [Billy Wilder, USA 1966]), imbues the character with an endearing pathos that is eminently watchable and enjoyable. It’s interesting that, as a big star playing a relatively small role, Matthau really plays against type instead of doing what could have come to him easily.
Dmytryk and cinematographer Joseph MacDonald set a few scenes in total darkness with extreme light contrasts the like of which was not common even in film-noir of the time. Some of these scenes, like one of the earliest scenes in the complete darkness of a stairwell only lit by a small flashlight that’s often off frame, are intense for the feeling of the unknown that they bring out, heightening the suspense throughout the film. The rest of the time, we get a world of multiple shadows. Nearly every scene is lit so that each character is casting shadows in multiple directions, emphasizing the confusion of the plot and especially of the characters’ identities. It’s a beautiful method of adding to the film’s intrigue.
Quincy Jones’s score deserves a note, but not in a good way. While a fair amount of the film does not have score, which is an excellent choice that highlights how alone Stillwell is and the emptiness of his life without memory, the few romantic and emotional scenes are bogged down by an over-the-top, overly conventional score and the action sequences are similarly saddled with conventionality, albeit a conventionality that is not nakedly, gag-inducingly sentimental.
Overall, this was an excellent film. It may have been making a rather silly point, but it does it so phenomenally well that it’s easily forgivable. Perhaps the highest compliment that can be paid to this film is that it’s a film Hitchcock could be jealous of. There aren’t many films that are clearly in his wheelhouse, made by someone else, and yet good enough for him to be jealous. Les Diaboliques (Henri-Georges Cluzot, France 1955) is famously one, as Hitchcock attempted to purchase the rights to the novel before Cluzot and the authors, Pierre Boileau and Thomas Narcejac, subsequently wrote a new novel for Hitchcock that became Vertigo (Alfred Hitchcock, USA 1958). This film undoubtedly could be another.
(from http://crowdoffullpockets.wordpress.com )
.: Critica e Sinossi :.
Durante un blackout in un palazzo, avvengono due episodi distinti ma legati tra loro: il noto filantropo e ricercatore Charles Calvin muore dopo essere precipitato dalla finestra del suo ufficio e il chimico nonché suo migliore amico David Stillwell perde la memoria, senza riuscire a ricordarsi degli avvenimenti degli ultimi tempi. Avvalendosi dell'aiuto dell'investigatore Caselle, Stillwell cerca di risalire al momento in cui è sorta la sua amnesia, ma un misterioso figuro, chiamato il Maggiore, gli ha messo dietro alcuni suoi uomini che cominciano ad eliminare alcuni suoi conoscenti. Con il lento ma progressivo recupero della memoria, Stillwell riesce un po' per volta a ricostruire i fatti degli ultimi due anni, sino a riuscire a capire il motivo dell'amnesia e l'elemento che lo collega al Maggiore ed alla morte di Calvin.Imperniato sul tema d'amnesia, è un thriller nei paraggi di Hitchcock. Lo svolgimento è un po' verboso, ma ad alta tensione. Nella parte di un investigatore privato, emerge Matthau.
(da it.wikipedia.org e mymovies.it )
.: Mediainfo report:.
General
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