勒维(达斯汀·霍夫曼 Dustin Hoffman 饰)在不久之前刚刚失去了父亲,这让他和哥哥多克(罗伊·施奈德 Roy Scheider 饰)之间的感情变得更加紧密。某日,勒维邂逅了名为艾尔莎(玛尔特·克勒尔 Marthe Keller 饰)的美丽女孩,瞬间坠入情网的勒维随即向艾尔莎展开了热烈的攻势,很快,两人便走到了一起。
勒维邀请多克和艾尔莎一起共进午餐,敏锐的多克发现了艾尔莎隐藏的秘密,没过多久,多克便被害身亡。让勒维感到震惊的是,多克竟然是效力于政府秘密组织的特工,而他的死亦并非意外,而是成为了政治斗争的牺牲品。在警官杰尼(威廉·德瓦内 William Devane 饰)的帮助下,勒维开始调查事件的真相,却发现自己早就已经身处于阴谋的中心。
I was impressed by these recurring themes. I really like the background music of the whole film, and it is just hit the point. Brotherhood of man impressed me, this plot also bedding the plots after tis.This film is an attractive film, and it keeps several secrets till the very end. It leaves a huge space for people to think.
Inhabiting John Schlesinger’s cynical, violent, Jew’s revenge tale MARATHON MAN, borne out of on William Goldman’s eponymous novel, various characters are driven solely by their cupidity (no patriotic motive or political agenda is involved) to enforce double-crossing, honey trap, home invasion, interrogation, assassination and bomb explosion to the extreme. Only our protagonist, the Columbia University post-graduate student Thomas “Babe” Levy (Hoffman, significantly undergoes a physical transformation and is pungently expressive when things spiral out of his ways of comprehension) is innocently embroiled in a sinister diamond acquisition scheme, because of his own brother Henry “Doc” Levy (Scheider, builds up great mystique around a more intriguing character, only to be gutted halfway in a shocking kicker) turns out to be a secret government agent, and one of the couriers of the diamonds’ transactions, plus both have a millstone around their necks due to the death of their father, an intellectual persecuted in the McCarthy era for Communist affiliation, one tries to right the wrong and the other chooses to sweep it under the carpet.
It all starts with a highly improbable car accident, inflamed by ant-Nazi furor and causing a casualty of two, one of them is the brother of the most-wanted Nazi left alive, Dr. Christian Szell (Olivier), aka, “the White Angel of Auschwitz”, who is therefore, forced out of his hiding in Paraguay, and precipitates his advent in New York to reclaim the diamonds left by his dead brother in a bank’s vault.
In another tautly executed paralleled subplot, Doc survives within a whisker of meeting his own maker from several assassination attempts on his secret mission in Paris, after dispatching a killer he knows, he suspects someone is dispatching all the couriers, and expresses his concern to his superior Peter Janeway (Devane), then shortly after he reunites with Babe, and incidentally discloses the disguised identity of the latter’s continental girlfriend Elsa (Keller, emulating a more relaxed Faye Dunaway impression in an underdeveloped and sidelined role but nevertheless, leaves some impact for her sorry ambivalence), his rendezvous with Szell ends up with him being mortally wounded (there is something under-explained in terms of causality here), and he exhales the last gasp in the arms of Babe, ergo, Babe is plunged into a consecutive horror of abduction, grilling, torture and chase, exacted by Peter, Szell and his underlings, just because they think he knows something about the diamond, here comes Szell’s relentless catchphrase “Is it safe?”.
Eventually, owing to his preparation for the upcoming marathon (yes, he is an avid runner), Babe literally runs out of harm’s way, only to be led up to another set-up rounded off with a David-versus-Goliath victory, the maxim is that even a pacifist can shoot straighter than hapless pro killers when a film is in its homestretch, so that Babe can square up the whole shebang with Szell in the Central Park, where a gun always comes handier than a hidden blade, and a diamond-swallowing act gives a bald Olivier something more to chew than his chillingly diabolical embodiment of pure evil, an Oscar nomination is a sweet payoff.
In the event, MARATHON MAN is a cracking pulp fiction connived by signs of its times such as paranoia, cynicism and a rabid vindictiveness fueled by anti-Nazi fervor, but when the movie is in its kinetic mode, it is a top-tier thriller, relentlessly ominous and unflappably probing the profound helplessness when no one can be trusted in this wretched world.
referential entries: Schlesinger’ DARLING (1965, 7.8/10), SUNDAY BLOODY SUNDAY (1971, 7.9/10); Sydney Pollack’s THREE DAYS OF THE CONDOR (1975, 6.7/10)
象徵意義頗為濃厚……有奧茲維辛納粹的餘孽、還有紐約鑽石街處處的猶太人。再有前面開宗明義的帶入,兇殺真相的帶出,跟著有刑求、追逐、逃亡、反擊,滿滿的七八〇年代電影善惡對抗的劇情,完全可以欣賞劇中幾位老牌影星精彩的演出,不需要過度的思索,看得既緊張又不費勁。
前半部分悬念丛生太精彩了,后半部分反倒弱了点。
结局老套 但细节很好 老太太认出nazi当街呼喊无人打理 这应当也是一战相对于二战的心理余毒吧...总体有点脱线的感觉 可能导演本身也有些不在点上?
Schlesinger n’a réussi que la moitié, le suspense perd son efficacité dans la 2e partie, sans doute à cause de la surcharge du scénario.
又很久没看七八十年代这种冷硬式悬疑片了,前期各条线铺得挺好,每一条线都有诡异的不确定感,就连Dustin早上不停地奔跑都感觉随时随地会有危险,哥哥的部分更是厉害,巴黎搏斗和拼尽最后一口气来见弟弟最后一面,太令人印象深刻了。各条线汇合之后就是爵爷的舞台了,这白头牙医手段太吓人,不用见血光听牙钻的声音我都要牙疼了……一开始看英文名和译名觉得驴唇不对马嘴,看完电影才觉得也是很妙……剧情上还有些地方处理得比较粗糙,但瑕不掩瑜,很精彩的片子!
有几场戏很棒,整个故事很有悬念但并不算很有趣。展现了一个马拉松人该有的素质。。。
编剧William Goldman最早的想法是假设死亡天使Josef Mengele秘密潜入美国,又在主角身上加入了一些个人经历,比如父亲自杀、牙医造成的童年阴影。最精彩的部分,是Laurence Olivier演的纳粹军医在纽约钻石市场暴露身份,被犹太人围追。电影试映后,派拉蒙删掉了一些暴力戏,比如Roy Scheider在机场反杀两名特工,还有Dustin Hoffman被钻牙的特写,还是有点可惜。
前面那些不明就里的凶杀让人细思极恐,电影的叙事挺有意思。“白天使”居然是劳伦斯奥利弗,眼瞎没认出来。。。
开头把人物介绍铺开的时候好精彩,各路支线全都暗藏玄机,就算故事完全没开始,那种悬疑的气氛就已经被烘托起来了,厉害啊!但这样反倒显得有点虎头蛇尾了,毕竟父亲那条线,到底怎么回事... 劳伦斯奥利弗演的白头变态纳粹牙医真是太棒了,口音帝!气场能盖过达斯汀霍夫曼的人,不多啊。
典型的新好莱坞气质,有很多闲笔,路人的抓拍、霍夫曼活跃的表演,嘈杂健康的氛围,一切都像一场秋日午后的懒散鼾睡。故事借用了纳粹宝藏的都市传说,前半场布局有间谍电影的方式,后半场进入单纯的追逐戏有些单调,但也挺好看,施莱辛格的午夜牛郎拍的算他很没劲的一部,但名头最响,怪异。
复仇纳粹遗凶的题材并不新鲜,本片更存疑似逻辑硬伤:劳伦斯奥利弗的角色明知白发惹眼为何不带帽子和墨镜?男主人公热衷马拉松长跑的重要设定,好像别出心裁搞得煞有介事,等到真正派上用场之时却没带来特别的妙处?长距离奔跑要想成为使观众瞩目的焦点亮点,就像法国贩毒网2中的吉恩哈克曼或克莱默夫妇中的霍夫曼自己那样,关键要故事抓人情绪到位,而不在你是否重点铺垫高调冠名!最后连续两场暴力动作戏也都显得平淡无奇,戏剧效果颇不及前半程早早挂点的哥哥在巴黎饭店遇袭桥段的场面调度和血手勒痕!
那时似乎盛行这类型片 都是以对抗当年逃过审判的纳粹为题材 都是那种惊天财富或者阴谋
太失望了,也是浪费资源型,想必当年也存在透支正当年熟肉的霍夫曼这一企图。用霍夫曼只用到身体和爆发力,用奥利弗只用到表情和气质,女性角色就一个还让她没事瞎喷法语装歇斯底里,唯一是罗伊发挥够好,全片也只有哥哥这个人物相对饱满,所以能好一点也不算啥惊喜。从丧父阴影、二战走狗这些信息能窥见原作的厚重,在这个片全成蜻蜓点水。奥利弗演一个为钻石鬼迷心窍到剃头下药当街杀人的老纳粹最后掉下旋梯死在下水道里可真不值。节奏也是瞎的,人物也是断片儿式的,没成就电影没成就主题也没成就演员。图什么呢?还是读原著吧。
小时候看得惊心动魄啊。很多细节还印在脑海,杀人的钢丝,拿着牙钻问“安全吗”的老纳粹……
重看。剧本前面不知所云,但是后面高潮不断,还是很有70年代风味的。而看着各路影帝飙演技,也是很爽。不过实在算不上70年代警匪片中的翘楚,导演拍片的实力也是肉眼可见的下滑。
一开始多线推进以及疑窦丛生的氛围都营造得很棒,与纳粹有着合作关系的大哥,难以摆脱父亲自杀的弟弟,故事背后有着很强的政治因素支撑,直到大哥被害弟弟被虐之后就朝着正邪对立的俗套方向驶去,以至于前面埋下的麦卡锡主义都没派上什么用场,还好霍夫曼劳伦斯·奥利弗的演技精湛,弥补了后半程较弱的遗憾,奥利弗在街上被认出那段真是惊心动魄,以及用牙医梦魇来逼供痛感很强。
好片子,霍夫曼真是神演技,剧情稍显粗糙,摄影很复古~~派~
沒讀過小說只看電影,會覺得Marathon Man 其實跟 marathon 扯不上太大關係,沒有交待 Babe 是熱愛長跑的歷史系學生也無損劇情發展,更不見得需要用到 Dustin Hoffman 的演技。美國驚慄動作電影還是要到90年代才有出色之作。
世界史 好莱坞对香港电影的一次成功的学习和模仿,从人物关系到动作设计,透着浓浓的老港片质感。劳伦斯奥利弗对标任达华,强大的反派甚至盖过了主角的光芒,眼神里全是老谋深算,行刑逼供时的冷酷无情,想让人记不住都难。剧作从开始就保持高速运行,连眨眼的机会都不给你,相当过瘾。以钻石为麦高芬,把看似松散的线索串联起来,拼成细思极恐的现实版“楚门的世界”,在谎言中活了20多年,身边的人都各怀鬼胎,当谎言被一一戳破时,只剩下绝望和无助。
70年代最多产这种令人惊艳的影人和作品!故事和人物塑造双重精彩。霍夫曼这个角色确实是一个标准的“马拉松人”,忍辱负重但却有着顽强的生命力。奥利弗则是个被物化的纳粹党,从牙钻到袖子里的匕首,想不让人记住都难。