Like the original noir of the 1940s, the later '70s neo-noir, (if it’s fair to call it that, admittedly the definition is being stretched pretty thin), is a direct reflection of its times: Vietnam, Watergate, institutional paranoia. (The original noir often reflected the crumbling American dream). Chinatown, The Long Goodbye, The Friends of Eddie Coyle, Prime Cut, and Taxi Driver might represent one end of the '70s noir spectrum while institutional paranoia can be found more handily in All The President's Men, The Conversation, Three Days of the Condor, The Parallax View, and even Jaws. Arthur Penn’s Night Moves falls somewhere in the middle. Gene Hackman takes on a Sam Spade/Mike Hammer role, a cynical tough guy who thinks he knows all the answers, but his latest case makes him realize the world is a lot more unpleasant than even he thought. And like one of the seminal '40s noir flicks, The Big Sleep, here all the pieces don’t always add up. But what is especially fun when the film is over is the discovery that what often felt like overwritten '70s mumbo-jumbo dialogue proves to have its purpose as all the pieces fall into place in the grand puzzle.
Harry Moseby (Hackman, in his mustache and hairpiece years), an ex-football player and now down-on-his-luck Los Angeles private detective, is hired by a rich retired actress, Arlene Iverson (Janet Ward, excellent in just a couple scenes) to find and bring back her sixteen-year-old daughter, a baby-voiced nympho, Delly (played by the very young Melanie Griffith back when her voice matched her face). Like in the best of noir, the missing person is only a small part of a bigger picture. Following the swath of young men Delly has left in her path (including James Woods, still looking like a juvenile, but as intense as ever), fairly quickly Harry finds the teen in hiding in Florida, with one of her mother’s exes ('60s & '70s TV staple John Crawford) and his girlfriend (Jennifer Warren). Meanwhile, he has to deal with his own crumbling marriage; his wife ('70s B-actress Susan Clark, sporting a David Bowie haircut) wants him to be more ambitious, but he lives by his own code and has to be true to himself. Like Nicholson in Chinatown, Hackman’s pursuit takes him way out of his comfort zone, as he is exposed to a new world that includes movie stuntmen, statutory rape, dolphin breeding and finally the smuggling of ancient Yucatan artifacts which all stem from the ugly underbelly of the institution known as Hollywood (with creepy Florida also playing a role).Continue Reading