What starts intriguing and keeps on the right path seems to go off into a direction that doesn't quite take the audience with them. It's a well meaning return to the world of film noir that paints a fine picture of the dark world of McCarthyism and the still dangerous remaining members of the Nazi party in post war New York City. Kelly McGillis is a Life magazine photography editor fired after refusing to give names in the red scare. She is identified as a member of a subversive group out to improve society, obviously no real threat, but enough to make the government paranoid. A chance encounter with a young German immigrant brings her into real danger as the threats of a Nazi re-growth are revealed to her.
For about the first 45 minutes, the film seems to be going down all the right paths, but all of a sudden, it starts to become a bit convoluted and unbelievable. The film does remain suspenseful and features a fun late 40's/early 50's look at New York City. Subway stations haven't changed, neither has Strand bookstore or off Broadway theaters. McGillis has a fine leading man with American agent Jeff Daniels, boyishly sheepish but handsome, and theater legends Mandy Patinkin and Jessica Tandy in major supporting roles. Peter Yates directs this modern film noir thriller with passion, but something is clearly missing. I can say that I enjoyed this more the second time as opposed to back in 1988 when this hit the theaters. My rating hadn't changed, but my observations about smaller details were greatly different.
For about the first 45 minutes, the film seems to be going down all the right paths, but all of a sudden, it starts to become a bit convoluted and unbelievable. The film does remain suspenseful and features a fun late 40's/early 50's look at New York City. Subway stations haven't changed, neither has Strand bookstore or off Broadway theaters. McGillis has a fine leading man with American agent Jeff Daniels, boyishly sheepish but handsome, and theater legends Mandy Patinkin and Jessica Tandy in major supporting roles. Peter Yates directs this modern film noir thriller with passion, but something is clearly missing. I can say that I enjoyed this more the second time as opposed to back in 1988 when this hit the theaters. My rating hadn't changed, but my observations about smaller details were greatly different.