Night moves 1975 x videos movie#
Night moves 1975 x videos professional#

Before returning to Los Angeles, Harry is surprised to see Quentin working on Marv’s stunt plane. He travels to the film location and talks to Marv and stunt coordinator Joey Ziegler. Harry realizes that the injuries to Quentin’s face are from fighting the stuntman and sympathizes with his bitterness towards Delly. Quentin tells Harry that he last saw Delly at a New Mexico film location, where she started flirting with one of Arlene’s old flames, stuntman Marv Ellman. Long divorced from Delly’s father, a rich film producer, Arlene’s only income comes from her daughter’s trust fund, but it requires Delly to be living with her.Īrlene gives Harry the name of the guy Delly has been dating, a mechanic called Quentin. He accidentally discovers that his wife Ellen is having an affair with Marty Heller.Īging former actress Arlene Iverson hires Harry to find her teenage daughter, Delly Grastner.

Night moves 1975 x videos professional#

Harry Moseby is a retired professional football player now working as a private investigator in Los Angeles. It is now considered a seminal modern noir work, reflective if the post-Vietnam era. Night Moves’s original title, Dark Tower, had to be changed so as to not confuse it with the 1974 blockbuster The Towering Inferno.Īlthough Night Moves was not successful at the time of its release, it has attracted viewers and significant critical attention following its DVD releases. The film is based on original screenplay by the Scottish writer Alan Sharp.

Night moves 1975 x videos movie#

Excellent.A neo-classic private eye, the tale centers on a Los Angeles private investigator who uncovers a series of sinister events while searching for the missing teenage daughter of a former movie actress. It surprised me the way 'Point Blank' from this era did. The three or four secondary characters are all of them thin, or contrived to be types, and so it falters. Hackman is the one great actor here, however, and if there's a key problem with 'Night Moves,' it's that he almost but not quite supports the film alone. And so in a way more watchable today a second or third time. (Beatty is always given too much credit for that film's audacity because he starred and funded it, but the film was Penn's at heart.) This might be called the last of Penn's great cycle from the period, and if not the equal to his 1967 breakthrough, it is in many ways more delicately felt and mature. The director is Arthur Penn, who's great 'Bonnie and Clyde' kicked off the shift into New Hollywood sensibility. And that's the lasting reputation of the film, that it pulls off this kind of modernized noir world with originality. These are nitpicks, for sure, because the larger feeling takes over and is commanding.

It's not a perfectly nuanced drama in this way. We are led along at times, and frankly told things that might have been better revealed through the plot. Not all of the plot is supported very well. But clarity has a cost, and the movie will take several surprising turns. So eventually the movie is less about who killed who for this or that reason, and more about this man and his quest for clarity. And we see a kind of generosity that is based on this selfish need to do something right, and all its conflicting meanings. And we even feel him starting to get a grounding for his drifting self amidst these miscellaneous people. There are mysterious motives everywhere, and it's only Moseby we trust. The trail for this daughter takes us to the Florida Keys and out into the ocean. It also feels dated, too, making you wonder if it was really so sexually liberated back then. This was for the sake of an audience still astonished that the movies could do such things (they couldn't before 1967) and it's still kind of raw and edgy in a lasting way. The artifacts of New Hollywood liberation are plain to see: nudity (female only) and a kind of sexed up background even when the plot is going somewhere else. He ends up mixed up in a Dashiell Hammett kind of plot, for sure, looking for the daughter of a rich woman and then getting way over his head. Gene Hackman is terrific, and he plays Harry Moseby, a down and out ex-football player with a drained candor that makes him pathetic as much as likable. The hero is a kind of watered down Bogart-not as romanticized, and with less exaggerated one-liners (which film noir lovers will miss but which those who like realism will appreciate). Night Moves (1975) An odd convolution of 1940s film noir and 1970s New Hollywood.