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Welcome to "Cinema Herald". My aim is to bring movie reviews to a somewhat different level. I don't know about you guys but I'm sick and tired of Critics who dissect a movie to bits. Who cares about all that deep stuff, sometimes you just want to know if you'll be entertained or not. Is it worth me spending $10? Now don't get me wrong, sometimes when we watch a movie, it does require us to put on our thinking caps and I'll do that from time to time depending on the film I review but for the most part, I just want to know if I'm going to have a laugh or a cry or even crap my pants - in other words, will it take my mind off the fact that I'm broke and my rent is due for a few hours? Movies are a public service...they are to help us escape for a few hours and forget that we're overworked and under paid.

Classic Corner: Seconds (1966) with Rock Hudson

July 21st 2010 16:44
Seconds, is a very riveting dark thriller by legendary director John Frankenheimer (The Manchurian Candidate, The Birdman Of Alcatraz, Seven Days In May). When it was released it had a poor opening at the box office - most likely because audiences weren't yet ready to see Rock Hudson in such a grim role. In the 60's his career was flying high with successful romantic comedies as Send Me No Flowers, Lover Come Back, and Pillow Talk.

Still, Seconds eventually went on to develop a huge cult following and also "became one of the Frankenheimers most respected films". In addition to being a thriller it combines elements of "expressionism, horror, neo-noir, science fiction, and psychedelia" all of which gives it a twilight-zone edge. It's extremely atmospheric and there is an almost unnerving quiet-before-the storm feel, where the hairs on the back of your neck stand on end throughout the entire film, just waiting for something.

Frankenheimer prepares his audience for a nightmare right
John Randolph as Arthur Hamilton
from the start with innovative camera shots and angles way ahead of his time. The film is in black/white and it opens with shots of random facial features, stretched and twisted by optical effects, the haunting pipe-organ grinds out screeching notes and then there is an opening shot of Grand Central Station in NYC. Arthur Hamilton (John Randolph), a middle aged man is being followed. His pursuer keeps a close eye on him, gliding through the crowd, literally. Here Frankenheimer uses a double-dolly, a technique later employed by Spike Lee, in which the camera and actor are placed on a dolly, which gives the impression that the actor is floating through a scene. Before Arthur's train departs the station, the man calls to him and gives him a piece of paper with an address written on it and disappears.

Arthur Hamilton's life has lost purpose and meaning. He's detached from his job as a banker, the love between him and
Rock Hudson and Salome Jens as Tony Wilson and Nora Marcus
his wife has long since dried up. He walks through his days as if he's a zombie, closed off from the world and his surroundings, lost in a never ending abyss of despair, simply going through the motions of living. One night he receives a phone call from an old friend whom he thought dead, who introduces Arthur to a organization called The Company.

The Company is steeped in secrecy, no one knows its whereabouts or who runs it and people are introduced by referral only. The Company offers wealthy people a second chance at life. The client's death is faked with a corpse that resembles him and he's given a new identity along with a new look through extensive plastic surgery, followed by a period of psychoanalysis. Arthur Hamilton is magically transformed into Tony Wilson (Rock Hudson) and provided with a new home, a manservant, and new friends.

Tony meets and falls in love with a woman named Nora Marcus (Salome Jens) and for a time they both seem happy together, however soon after he becomes emotionally unstable, troubled by his new identity. At a party he hosts for his neighbors, an intoxicated Tony lets slip a few facts about his past life. His neighbors, concerned by his drunken revelations immediately detain him and Tony learns the shocking truth - that his neighbors are also "reborns" like him, sent to look after him and keep an eye on his adjustment.

Tony escapes the watchful eyes of his neighbors and returns home to visit his wife under the guise of an old friend of Arthur Hamilton. He learns from his wife that the reason their marriage failed was because Arthur was caught up in the pursuit of material possessions and a career that he was told would make him happy rather than the things he was most passionate about - and the pattern has repeated itself in the new life he was given by The Company. With this new-found realization he approaches The Company for another chance to be reborn, vowing that this time he will live a life that has more meaning. But visiting his ex-wife is in violation of The Company policy and Tony must pay a hefty price.

Seconds makes a grand statements against the
pursuit of eternal youth; the misconception that happiness can be achieved by materialistic pursuits ; and surrendering moral integrity for personal gain. The film does a terrific job setting up the Faustian theme but doesn't necessarily deliver on the punch-line. Tony Wilson's seduction into a world of hedonism and wealth are not fully explored and his ties into his past seem arbitrary. Still, despite these flaws it makes for an entertaining ride and Frankenheimer doesn't fail at using expressionist techniques and other visual motifs, like distorted scenes, strong shadows, odd sets, extreme close-ups and other tricks to convey the audience that all is now what it seems.

Rock Hudson does an amazing job acting against type. Gone is the charismatic ladies' man overflowing with charm, replaced with a man haunted by his past and confused by his future, trying to keep it together and John Randolf gives a performance that's both sympathetic and yet pitiful. He's a man plagued with regret and yet he doesn't want to admit this aloud, and actress Frances Reid is heartbreaking as his long-suffering wife.

While this movie doesn't live up to the brilliance of The Manchurian Candidate, it does accomplish what it sets out to do and it's definitely worth a few hours. Seconds is magnificent work of cinematic art.




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4 Comments. [ Add A Comment ]

Comment by Matt Shea

July 22nd 2010 01:50


20/20 Filmsight
Ahhh Deni - my favourite Frankenheimer film. I tend to think this has aged much better than The Manchurian Candidate, even though that's still a great piece of work. Just that scene where he goes back to visit his wife - awesome stuff, and so much more to enjoy as well.

Comment by Deni

July 22nd 2010 01:54


Abstract Magick
Cinema Herald
I agree Matt .

This film was really good. I just had a few problems with the plot but it still didn't diminish my overall enjoyment of it.

Rock Hudson was fantastic.

Comment by ShaunK

July 22nd 2010 06:28


Screen Adventure
Deni! Awesome Awesome Awesome! I absolutely love this film and 'John Doe' loves it even more - he'll wet his pants when he sees a review of this. Havn't seen this in a while so dont remember alot from it, all I know is that it's a buried treasure of cinema and I think it's awesome that you've done a review on it!

Comment by JohnDoe

July 22nd 2010 18:04


Film & TV on DVD
Nice review of a film very close to my heart Deni!

Seconds is one of those films that always comes up when I'm quizzed about my "favorite of all time".

It had a profound effect on me the first time i saw it and as I've gotten older it just gets better and increases in resonance.

That opening camera work is astonishing for its ahead of its time feel and composition. Always reminds me of David Lynch's Eraserhead.

Rock is nothing short of a revelation here, such a loss he didn't get more roles that demanded him to look within and express his tortured demons.

Ever since I first started JDM I have been meaning to review it, but always been put off by not doing the film justice. Your post has now put it back near the top of my "to do" pile.



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