Rating: 
Summary: An All But Extinct Bird.
Review: In his 1979 novel "Shibumi" (part political thriller, part cynical attack on Western civilization and part satire of the thriller genre), written at the end of that genre's possibly greatest decade, Trevanian explains the six parts of the Japanese board game symbolizing the concept of effortless perfection and inspiring that novel's title: Fuseki (the opening stage or strategic premise), Sabaki (an effort to quickly, efficiently terminate a problematic situation), Seki (a neutral standoff where neither side gains an advantage), Uttegae (a potentially sacrificial strategic maneuver), Shicho (a running offensive) and Tsuru no Sugomori (literally, "the confinement of the cranes to their nest:" the elegant capture of the opponent's stones). Like other books published then and influenced by the shocking Watergate revelations, "Shibumi" asks what happens if government is hijacked by a secret association not bound by anything but its own interests and hunger for power. One of the most important novels on whose legacy Trevanian builds in his book is James Grady's "Six Days of the Condor," adapted for the screen by director Sydney Pollack in this hugely successful fourth (of seven) collaboration(s) with Robert Redford; costarring Faye Dunaway, Max von Sydow and Cliff Robertson. But while Grady's novel centered around the Vietnam trauma, the movie's screenplay, besides shortening the critical time frame from six days to three, changes the focus to the era's obsession with oil; thus effortlessly proving one of the story's key points: Assuming a group of insiders truly managed to commandeer key governmental structures, the respective substantive context would be of little import, because *any* such action would constitute a terminal violation of public trust, and the consequences for any individual caught in the resulting web of intrigue and deceit would be equally disastrous. "Three Days of the Condor" begins with the assassination of virtually the entire staff of a New York CIA office of "reader researchers," agents responsible for the detection of possible clues to actual or potential Agency operations in literature. The massacre's sole survivor is Joe Turner, codenamed "Condor" (Redford), who literally happened to be out to lunch when the assassins hit. After his discovery of the bloodbath, his superiors promise to bring him "home," using his inside friend Sam as a confidence-builder. But at the assigned meeting Sam is shot, too, and Turner himself only escapes by the skin of his teeth - again. Realizing that his own organization is somehow involved in the hit and that he is no longer safe in his own apartment, Turner hides in the home of photographer Kathy Hale (Dunaway), whom he takes hostage, but who is a loner like him and eventually develops a fondness for him, agreeing to help him trying to discover the truth behind the terrifying labyrinth of lies and double standards in which he suddenly finds himself. While "Condor"'s tale does have a clear premise (the interests of those responsible for the massacre) and both the mass-assassination and the following events are merely moves in the lethal game into which Turner is thrown against his will (and where his greatest advantage is his unpredictability), against the overbearing opponent he faces, he alone has little chances of emerging victoriously; of, in the terminology of Shibumi, "confining the cranes to their nest:" All he can hope for is a long-lasting state of Seki; a standoff and perhaps temporary ceasefire (a conclusion later also reached in John Grisham's bestselling "The Firm"). The inference, of course, is that it takes more than a single individual's discovery of a government-undermining conspiracy to take down the conspirators - and as in Watergate, the press is seen as a crucial vehicle for reaching a mass audience and taking the events out of the perpetrators' control. Due to the universality of its theme, the importance of "Condor" far exceeds the story's 1970s context. Indeed, it is as relevant now as it was then; and so is the Pulitzer-Prize-winning Woodward-Bernstein account on Watergate and its corresponding movie ("All the President's Men;" also starring Redford, alongside Dustin Hoffman and Jason Robards). But this is also a magnificently filmed movie, sharply edited and using New York City's wintry urban landscape for full dramatic effect. Robert Redford gives a career-defining, tightly controlled performance as cornered bookworm-turned-spy Joe Turner, matched in every respect by Max von Sydow's hired assassin Joubert, who has no cause of his own, finds his occupation "quite restful," never concerns himself with his missions' "why" but only the "when," "where" and "how much," and paints delicate little figurines in his hours of relaxation. Faye Dunaway's Kathy is not merely another victim of Stockholm syndrome (a hostage's identification with their captors' motives); she truly comes to understand Turner because of their likeness: Her photos are expressions of her loneliness as much as Joe's solitary stance against an entire governmental organization; beautiful but sad November pictures of empty streets, fields and park benches, shot in black and white and an intricate, subtle metaphor even during their love scene. Cliff Robertson's CIA man Higgins finally is the perfect foil for both Turner and Joubert; not as far along in his career as he should be but, although sympathetic to Turner's plight, fully buying into the legitimacy of the Agency's "games" and ready to do whatever it takes to keep an embarrassment from becoming conspicuous. Turner's and Higgins's last meeting is poignantly set against a Salvation Army choir's performance of "God Rest Ye Merry Gentlemen" and its chorus "Oh tidings of comfort and joy;" ending in a still shot of Turner's face starkly reminiscent of Kathy's photos. Yet, "Condor's" story is open-ended: What would he do, were he still around today? "What is it with you people - do you think not getting caught in a lie is the same thing as telling the truth?" Joe Turner, "Three Days of the Condor." "All ... organizations in this book lack any basis in reality - although some of them do not realize that." Trevanian, "Shibumi."
Rating: 
Summary: Nicely done.
Review: Exciting and mostly plausible from start to finish, this is a fine film. Of course it doesn't hurt that all the players are first rate. After watching comic book movies with the likes of Tom Cruise and Keanu its fascinating to watch great actors, their facial expressions, their nuances. The only flaw, I thought, was the naiive ending. But still, thoroughly entertaining.
Rating:
Summary: A movie that stands the test of time
Review: I saw this movie when it first came out so cannot review the quality of the DVD transfer (yet). I highly recommend the film, despite its flaws (such as the one-dimensional "girl" role that Faye Dunaway's acting nonetheless managed to imbue with more than the script contained). The times have changed but the message and quality of the film are timeless, and it is well worth seeing. I do want to suggest that anyone who has not yet seen the film read the review "Why? More to the point, why me?" -- BUT ONLY AFTER SEEING THE MOVIE. It is a very intelligenct and interesting review, but it gives away a crucial plot point that will lose its impact on first-time viewers if read beforehand. (Please, reviewers--remember the guidelines say not to give away important plot points, something that too many reviews in the press and media do nowadays. Ruins a good movie for those who haven't yet seen it.)
Rating:
Summary: Why? More to the point, why me?
Review: Since September 11th two years ago, most of us are probably more willing to believe that there can be evil (albeit unseen) forces active within our society which can suddenly result in death and destruction. What sets this film apart from most others in its genre is the introduction of a guileless central character (Joe Turner played by Robert Redford) who seems to pose no threat to anyone and yet he becomes involved in a deadly situation which neither he nor we understand. Director Sydney Pollack was perhaps influenced by Alfred Hitchcock who, in so many of his own films, subjects an innocent person to undefined but nonetheless nerve-chilling terror. After obtaining take-out lunches for himself and his associates, Turner returns to their small office in Manhattan and finds all of them dead. What happened? Who did it? Why? The situation is complicated by the fact that he and they are employed by the C.I.A. There is no indication that their research has any special significance. Security precautions for their office seem perfunctory. Turner flees the scene, later meeting with his supervisor Higgins (Cliff Robertson). After someone attempts to kill Turner, he again calls Higgins who urges him to "come in." By now, Turner correctly senses that he is in great danger but from whom? Why? What to do? He also realizes that he can no longer trust anyone, including Higgins. Still in flight, he (his code name "Condor") enlists the reluctant assistance of a stranger named Kathy (Faye Dunaway) who becomes his only ally. Enough about the plot. Based on James Grady's novel Six Days of the Condor, this is one of several films from the 1970s which portray distrust of institutional authority because of various assassinations, the Viet Nam War, and Watergate. However, it is important to keep in mind that Joe Turner is not a major political or religious leader; rather, he is a relatively insignificant research analyst in a relatively insignificant C.I.A. field office. For me, the key point is that literally anyone anywhere can be selected for elimination at any time. Worse yet, we won't know who's involved, much less why. Redford delivers a solid performance as Turner, the focal point throughout the film. As for Dunaway, she does what she can with Kathy, not much of a part. Of special note is the work of Max von Sydow (as Joubert) and John Houseman (as Wabash). Theirs is a cold-blooded professionalism which views people merely as "assets" to accumulate or liquidate per orders from unidentified authorities. This is not the best of the political thrillers but it does portray some thought-provoking situations which still seem relevant 28 years later.
Rating:
Summary: JOIN THIS CONDOR ON HIS FLIGHT.
Review: "Three Days Of The Condor" teamed-up for the fourth time director Sydney Pollack with actor Robert Redford with nice results. The movie is a thriller that will entertain you from beginning to end. "Three Days Of The Condor" tells the story of Turner "Condor" (Robert Redford), a researcher for a department of the CIA in New York. One day Condor goes out for his lunch, and when he returns to the office, he finds that all his colleagues are dead. When he calls his superiors, he knows that he is hunted by someone that wants to see him dead. Now his only ally is Kathy (Faye Dunaway), a woman that he kidnaps to get a safe place to stay, and sympathizes with Condor. Condor doesn?t now if his superiors are hunting him, or someone else, so now he must do something or he will be a dead man. "Three Days Of The Condor" is a very amusing film with some plot twists that will keep the viewer interested in the story; also, the performances are good, and of course, is a movie of Sydney Pollack, that's a guarantee.
Rating: 
Summary: They don't make them like they used to
Review: This movie is 70s political paranoia at its finest. Robert Redford is a CIA paper shuffler who is forced on the run when he returns from lunch to find that all of his colleagues have been murdered. He's not a field agent and so he has no training in what to do. Nor does he know who he can trust within the CIA to help him. In the end he abducts a surprisingly demure Faye Dunaway and together they conspire to turn the tables on his pursuers. This is a good film which has aged somewhat but it still makes for exciting viewing. The photography of New York is quite stunning. It is poignant watching it now as a good part of the action takes place in and around the World Trade Towers. I really enjoy Sydney Pollack as a director - you can tell that he likes actors and that they like working for him. Redford in particular is very good in this film. The DVD comes with no extras to speak of, which is a disappointment.
Rating:
Summary: Condor
Review: This is a very enjoyable film. I think it might even be considered a classic.
Rating:
Summary: Still a great movie.
Review: Great movies never get old. This is a great movie.
Rating:
Summary: What a Thriller!
Review: This more of an opinion than a review.
I loved this film the first time I saw it on TV. The start
is so downbeat, I thought it would just fill a couple of
hours while I was babysitting. Then it took off and didn't
let up until the very end.
I was so impressed that I spent 3 years looking for the
book by James Grady ('Five Days of the Condor'?, which was
out of print at the time).
I eventually got a copy of the book and went on to get an
NTSC VHS tape (I live in PAL-land) and eventually a Region 1
DVD (I'm in R2). I don't do that for many films.
I cannot understand how this film got so little notice and
isn't regularly shown on TV; I think it's fantastic.
Rating:
Summary: The Condor Soars
Review: Forget K-19, take Three Days of The Condor home and be sure that you have everything that you need before you press play. Once the film starts you won't be able to leave it for a minute. From start to finish it is compelling. Max Von Sydow offers the very best urbane hit man ever and of course Robert Redfrod was born to be the hero. There isn't a thing that this film needs except a sequel.
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