Three Days of the Condor (1975)

Réalisateur:

Sydney Pollack

Scénaristes:

James Grady (novel)
Lorenzo Semple Jr. (screenplay) ...
(suite)

Date de sortie:

14 novembre 1975 (Finland)

Genre:

Drame | Romance | Thriller

Accroche:

His CIA code name is Condor. In the next seventy-two hours almost everyone he trusts will try to kill him.

Intrigue:

A bookish CIA researcher finds all his co-workers dead, and must outwit those responsible until he figures out who he can really trust.

Plot Keywords:

CIA | Book | Kill | Key | Bird In Title

Récompenses:

Nominated for Oscar. Another 5 wins & 3 nominations

Avis des utilisateurs:

Pollack Does Hitchcock

Ensemble

Robert Redford	...	Joseph Turner / The Condor
Faye Dunaway	...	Kathy Hale
Cliff Robertson	...	J. Higgins
Max von Sydow	...	G. Joubert (as Max Von Sydow)
John Houseman	...	Mr. Wabash
Addison Powell	...	Leonard Atwood
Walter McGinn	...	Sam Barber
Tina Chen	...	Janice Chon
Michael Kane	...	S.W. Wicks
Don McHenry	...	Dr. Ferdinand Lappe
Michael B. Miller	...	Fowler (as Michael Miller)
Jess Osuna	...	The Major
Dino Narizzano	...	Harold
Helen Stenborg	...	Mrs. Edwina Russell (as Helen Stenbure)
Patrick Gorman	...	Martin
Hansford Rowe	...	Jennings (also as Hansford Rolle) (as Hansford H. Rowe Jr.)
Carlin Glynn	...	Mae Barber (as Carlin Gylnn)
Hank Garrett	...	Mailman
Arthur French	...	Messenger
Jay Devlin	...	Tall Thin Man
Frank Savino	...	Jimmy
Robert Phalen	...	Newberry
John Randolph Jones	...	Beefy Man
Garrison Phillips	...	Hutton
Lee Steele	...	Heidegger
Ed Crowley	...	Ordinance Man
John Connell	...	TV Reporter
Norman Bush	...	Alice Lieutenant
James Keane	...	Store Clerk
Ed Setrakian	...	Customer
Myron Natwick	...	Civilian
Michael Prince	...	Civilian
Carol Gustafson	...	Landlady
Sal Schillizzi	...	Locksmith
Harmon William	...	CIA Agent
David Bowman	...	Telephone Worker
Eileen Gordon	...	CIA Receptionist
Robert Dahdah	...	Santa Claus
Steve Bonino	...	Kid
Jennifer Rose	...	Kid
David Allen	...	Kid
Glenn Ferguson	...	Kid
Paul Dwyer	...	Kid
Marian Swan	...	Nurse
Dorothi Fox	...	Nurse
Ernest Harden Jr.	...	Teenager
reste de la distribution par ordre alphabétique:
Beverly Goodman	...	Girl (uncredited)
Russell Johnson	...	Intelligence Officer at Briefing (uncredited)
Bruce Moreno	...	Computer Operator (uncredited)
Lauren Simon	...	Neighbor in Elevator (uncredited)

Réalisé par
Sydney Pollack

Scénaristes
James Grady		(novel "Six Days of the Condor")
Lorenzo Semple Jr.		(screenplay) and
David Rayfiel		(screenplay)

Produit par
Stanley Schneider	....	producer
Dino De Laurentiis	....	executive producer (uncredited)

Musique originale
Dave Grusin

Image
Owen Roizman

Montage
Don Guidice

Distribution des rôles
Shirley Rich

Création des décors
Stephen B. Grimes		(as Stephen Grimes)

Direction artistique
Gene Rudolf

Décorateur de plateau
George DeTitta Sr.		(as George DeTitta)

Création des costumes
Joseph G. Aulisi		(as Joseph C. Aulisi)

Maquillage
Susan Germaine	....	hairdresser: Ms. Dunaway
Lee Harman	....	makeup artist: Ms. Dunaway (as Lee Harmon)
Gary Liddiard	....	makeup artist
Bob O'Bradovich	....	makeup artist

Directeur de production
Paul Ganapoler	....	production manager

Assistant réalisateur
Michael Haley	....	second assistant director (as Mike Haley)
Kim Kurumada	....	second assistant director
Peter R. Scoppa	....	first assistant director (as Pete Scoppa)
Ralph S. Singleton	....	second assistant director (as Ralph Singleton)

Département Art
Alan Levine	....	property master (as Allan Levine)
Bruno Robotti	....	master scenic

Technicien du son
Dennis Maitland	....	production sound
Arthur Piantadosi	....	sound re-recordist
Josef von Stroheim	....	sound editor (as Josef E. Von Stroheim)

Effets spéciaux
Augie Lohman	....	special effects

Cascadeur
Dean Smith	....	stunt double (uncredited)

Caméra et Département Electrique
Enrique Bravo	....	camera operator
Dusty Wallace	....	gaffer
Robert Ward	....	key grip
Holly Bower	....	special photographer (uncredited)
Brian Hamill	....	still photographer: special assignment (uncredited)
Gary Muller	....	second assistant camera (uncredited)
Tom Priestley Jr.	....	assistant camera (uncredited)

Département Costume et garde-Robe
Joseph W. Dehn	....	wardrobe
Bernie Pollack	....	wardrobe
Bernie Pollack	....	costume supervisor (uncredited)

Dpartement Editorial
Fredric Steinkamp	....	supervising editor

Département Musique
Ted Whitfield	....	music editor

Divers
Theoni V. Aldredge	....	clothes: Ms. Dunaway
Michael Britton	....	location coordinator
Dino De Laurentiis	....	presenter
Federico De Laurentiis	....	assistant to producer
Sam Goldrich	....	production accountant
Maggie James	....	script supervisor
Adeline Leonard Seakwood	....	office coordinator (as Adeline Leonard)
Phill Norman	....	title designer
Frans J. Afman	....	financial services (uncredited)
Stephen A. Glanzrock	....	production assistant (uncredited)

Companies de production

• Dino De Laurentiis Company
• Paramount Pictures
• Wildwood Enterprises (as A Wildwood Enterprises, Inc. Co-Production)

Distributeurs

• Paramount Pictures (1975) (USA) (theatrical) (as Paramount A Gulf + Western Company)
• Hafbo (1976) (Netherlands) (theatrical)
• Columbia Broadcasting System (CBS) (1977) (USA) (TV) (broadcast premiere) (pan/scan)
• Fox Films (1975) (Finland) (theatrical)
• Mainostelevisio (MTV3) (1992) (Finland) (TV) (MTV1)
• Nelonen (1997) (Finland) (TV)
• Paramount Home Video (1991) (USA) (video) (laserdisc)
• Paramount Home Video (1999) (USA) (DVD)
• Rautakirja (????) (Finland) (VHS)
• Tec Home Vídeo (Brazil) (VHS)
• Universal Pictures Benelux (2004) (Netherlands) (DVD)
• Universal Pictures Finland Oy (2005) (Finland) (DVD)
• Video Classics
• Yleisradio (YLE) (2001) (Finland) (TV) (TV2)

Autres Companies

• Creative Film Arts  optical effects

Autre(s) titre(s):

3 Days of the Condor (Australia)

Durée:

117 min

Pays:

USA

Langue:

Anglais | Français

Couleur:

Couleur (Technicolor)

Rapport de forme:

2,35 : 1

Son:

Mono

Classification:

UK:AA (1975) | Australia:M | Finland:K-16 | Norway:16 (1976) | Sweden:15 | USA:R | West Germany:16 | Netherlands:12

Lieux de tournage:

1 World Trade Center, World Trade Center, Manhattan, New York City, New York, USA

Société:

Dino De Laurentiis Company

Anecdotes:

Sydney Pollack brought a lawsuit against Danish TV after screening Three Days of the Condor (1975) in pan-and-scan in 1991. The court ruled that the pan scanning conducted by Danish television was a 'mutilation' of the film and a violation of Pollack's 'Droit Moral', his legal right as an artist to maintain his reputation by protecting the integrity of his work. Nonetheless, the court ruled in favor of the defendant on a technicality.

Goofs:

Continuité: When Turner is given the report from Langley saying they found nothing to be concerned about in the book he read and reported on. Turner folds it and puts it in his right rear pocket. When he tries to remember the section chiefs name the morning after at Kathy's apartment, the morning the mailman comes, he retrieves it out of his left rear jeans pocket.

Guillemet:

Higgins: It'd have to be somebody in the community.
Joe Turner: Community.
Higgins: Intelligence field.
Joe Turner: Community! Jesus, you guys are kind to yourselves. Community.

Connexions De Film:

Référencé sur The Interpreter (2005)

Pollack Does Hitchcock

Three Days of the Condor is a classic spy thriller with a bit of a twist, it takes place inside the U.S.A. There are no flashy locales, no super-hero types, and no ultra-menacing bad guys who spew cheesy dialogue; instead, we have a common man (Robert Redford) battling for his life in an uncommon situation. This is similar to Alfred Hitchcock's North By Northwest in its theme and intensity and Sydney Pollack pulls it off to perfection.

Robert Redford stars as Joseph Turner a "reader" for the CIA who finds himself on the run after everyone in his office is assassinated. Pollack wisely allows us to share in Turner's horror and confusion upon finding his dead co-workers. We witness his scramble for protection and his shaky call to the CIA Headquarters, as he demands to be brought in. The wheels start turning and it seems that all will be resolved, safely and quickly, but things don't go as planned. After a shoot out in an alley, Turner is seen as a possible rogue agent sending him into greater peril. Now everyone is out to get him. Only through quick, imaginative thinking and survival instincts can Turner stay ahead of those who are out to kill him.

In a moment of desperate improvisation, Turner kidnaps Faye Dunaway to elude his pursuers. This turn allows us to have someone else view Redford's character for us and provide a different intensity, a sexual intensity, to the film. Again, this is somewhat reminiscent of Cary Grant meeting Eva Marie Saint on the train in North by Northwest. But this story has more of an edge to it and Dunaway's character has greater depth and purpose than we imagine possible. She acquiesces to her captor's demands as she tries to understand him and learns quickly to appreciate him and the situation he's in.

Through Dunaway's help, Redford is allowed to meet up with the man (Cliff Robertson) who he believes is pulling the strings inside the CIA. The story turns more cerebral as we learn why Turner's office was hit and who was behind it. Furthermore, we understand how truly alone Redford's character really is. The audience is kept guessing through to the very end as to whether or not Redford's character will survive.

This is one movie that provides action and excitement coupled with a strong plot and solid characters. Max Von Sydow is excellent as a Joubert, a sophisticated, calculating, even-keeled assassin who is only doing what he is paid to do. Redford shines as a man whose entire world is thrown into violent disarray forcing him to fight for his survival. His ability to project his thoughts and concerns through his actions and facial expressions holds the audience to him.

While this movie does not have the overwhelming paranoid feel to it that a movie like The Parallax View had, it is stylish, convincing, and an intriguing movie. Sydney Pollack doesn't fill the scenes with deep shadows and hard camera angles, as some would do. Instead, most of this story takes place in broad daylight, which actually increases the tension. There's no easy place to hide, no dark doorways to duck into, no characters stepping out of the fog when we least expect it. Like Hitchcock, Pollack knows that exposing his hero to the light of day is to abandon him to his pursuers. The audience is pulled in right along with the Redford's character and we can't let go until we know we're safe.