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We’ve all had days where we wished we could race our ourselves and our lives, to be someone else somewhere else. But even if it were possible, could we really launch over? Seconds asks and answers that demand - some might argue quite cynically - through some of the most searing and surreal images and dialogue on film, in a myth both jarring and emotionally resonant because it tells truths about humanity.
Without giving up too worthy of the position, it is difficult to command fair how profoundly disturbing and haunting this film is, even after multiple viewings. From the pipe-organ rep by Jerry Goldsmith that breathes with an eerie, heretic fervor; to the distorted faces in the titles by Saul Bass; to the pretty wide-angle black-and-white photography by James Wong Howe; to the peerless direction by John Frankenheimer; and of course, to the career-topping performance of Rock Hudson as the protagonist striking the faustian bargain to trade in his dumb, middle-age existence for a original beginning, this film is simply one of the most overlooked and underrated gems of ’60s cinema.
That it was made nearly 40 years ago is evident because of the film’s many on-location shots, but the movie transcends its era and its genre (science fiction? ) because it deals with timeless themes and a premise that in today’s world of cloning and biotechnology seems increasingly plausible (at least physically) . Seconds also remains more chilling than Frankenheimer’s more favorite masterpiece, The Manchurian Candidate, because it speaks poignantly about something we can all identify with: identity.
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The unique DVD is very powerful worth the effect of admission: the report transfer is really genuine, and the sound isn’t terrible relative to most films of its time period. The disc also contains a trailer and a commentary by Frankenheimer. While Frankenheimer’s thoughts are informative, I was disappointed that he focused mostly on technical aspects of the movie (e.g., “here’s James Wong using the wide-angle lens again . . . ) . I wish he had provided more insights about situation and thematic elements; maybe he notion these were better off left to the viewer to figure out. You likely won’t be able to rent this one at Blockbuster, because unfortunately it remains a cult classic only.
Seconds is director John Frankenheimer and lead actor Rock Hudson’s finest hour, and I can’t recommend it more highly. This is one movie that will invent you assume differently about yourself, your life, and your loved ones.
The core belief of this film has special relevance almost 40 years after its initial release, given unique developments in genetic engineering: Recycling of human beings, whole or in parts. As I again watched it, I notion about several themes which have intrigued man throughout history, such as eternal youth (e.g. the fountain of youth) and unholy pacts (e.g. in the Garden of Eden and, later, Dr. Faust) . Dissatisfied with his life, Arthur Hamilton (John Randolph) presents himself to The Company and agrees (for a ample fee) to become a different person and have a lifestyle about which he has obviously fantasized for many years. After extensive surgery, he becomes Antiochus (”Tony”) Wilson (Rock Hudson), twenty years younger, strikingly exquisite, physically fit, and living what is for many males an idealized bachelor’s life. He seems to have everything Hamilton once desired and yet….
This is among the subtlest but also one of the most grisly of films. To say more about its space would be a disservice to those who have not as yet seen it. Suffice to say that, under the shimmering direction of John Frankenheimer, the cast plays out what becomes a fear legend of almost unbearable impact. My concept is that Hudson’s performance is his strongest throughout a lengthy film career. Will Geer appears briefly but memorably, as do others in a diverse cast which includes Murray Hamilton, Jeff Corey, Richard Anderson, and Salome Jens. Also remarkable is James Wong Howe’s cinematography which nourishes, indeed intensifies the gradually-increasing sense of dismay as Wilson attempts without success to re-negotiate the terms and conditions of his surgically-enhanced life. Whenever I consume the final scene, I shudder despite the fact that I have seen this film several times and know that it is “only a movie.”
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