Frantic
February 25th 2009 01:43
Roman Polanski’s thriller Frantic (1988) has one of Harrison Ford’s least forced performances. Made as Ford was about to become the overpaid, overrated, heroic leading man of Hollywood, but when Ford was still capable of portraying the ordinary man caught in extraordinary circumstances. Apart from the effortless and extremely entertaining nonchalance of his first two outings as Han Solo, Frantic and Witness are his two best roles.
Polanski needed a hit movie. His previous effort is arguably his worst, or at least his most ill-concieved; the flamboyant, bloated mess Pirates (although curiously the Pirates of the Caribbean series seems to have been influenced by Polanski’s comic swashbuckler, even if Jerry Bruckheimer doesn’t admit it). With his ever-faithful writing colleague Gerard Brach they co-wrote (with uncredited script-doctoring from Robert Towne) a story about a wealthy and respected doctor in Paris for a medical conference whose wife mysteriously vanishes from their hotel room whilst he’s showering.
Richard Walker (Harrison Ford) is at wit’s end as he tries to fathom the reasoning behind what is soon revealed as abduction. The Parisian hotel and police authorities provide him with as much bureaucracy and laissez-faire as he can handle, so he assertively takes matters into his own hands. If they’ve taken his wife, then he’s gonna take serious action.
By mistake Walker’s wife Sondra (Betty Buckley) picked up the wrong suitcase at the airport. After Walker searches the luggage he finds a lead: a matchbook and accompanying keyring to the Blue Parrot bar. It after a false “white lady” lead at the venue, that Walker eventually meets Michelle (Emmanuelle Seigner), a striking young woman with a penchant for mischief. She has clues, and together they find themselves becoming further embroiled in a desperate search for his wife’s kidnappers.
Polanski is a consummate director, and Frantic displays his terrific talents from start to finish. It might not be the most thrilling of thrillers, in fact the movie meanders along and provides relatively few scenes of dramatic or action intensity, but there are still some great set-pieces, most notably Walker’s dangerous scramble across the rooftops as he tries to access Michelle’s apartment as she’s being interrogated by dodgy detectives, and later, their recovery of the precious Statuette of Liberty.
What was perhaps over-looked at the movie’s time of release, but which has aged well, is the movie’s sustained perspective from Walker. He’s no hero; he’s a man completely out of his depth in a labyrinthine city with a foreign tongue, and whose locals are renowned for being unhelpful to foreigners at the best of times. Walker struggles, and Frantic superbly captures his increasing anxiety and frustration. Ford sweats and stumbles convincingly.
Emmanuelle Seigner is perfectly cast as the nervous, slightly untrustworthy, charismatic white rabbit whom Walker is compelled to pursue in order to find his missing wife (she would subsequently marry Polanski and bear him two children). Polanski films Paris as a strangely ordinary, almost impenetrable city, both in contrast and in tandem to the inexplicable overwhelming events surrounding Walker and Michelle.
Unfortunately the Region 4 DVD edition I own is a dreadful transfer with terrible artifacts and poor picture quality. There doesn’t seem to be any kind of deluxe version of the movie yet available on DVD which is a crime, only bare-bones from all region releases. Also, the opening credit sequence is far from enticing, that I must mention. It looks more like the end of some odious Euro B-movie.
Frantic might be nearly as intriguing or resonant as The Tenant (1976), Polanski’s early features, or some of his later work, such as The Ninth Gate (1999) and The Pianist (2002), but it ranks as a very excellent way to spend a rainy afternoon with a croque-madame in front of you and a bottle of Pinot Noir at your side.
Here's the trailer:
And here's one of the two nervewracking rooftop scenes, which Polanski had an amazing set painstakingly built for so that Ford and Seigner could do their own stuntwork:
Polanski needed a hit movie. His previous effort is arguably his worst, or at least his most ill-concieved; the flamboyant, bloated mess Pirates (although curiously the Pirates of the Caribbean series seems to have been influenced by Polanski’s comic swashbuckler, even if Jerry Bruckheimer doesn’t admit it). With his ever-faithful writing colleague Gerard Brach they co-wrote (with uncredited script-doctoring from Robert Towne) a story about a wealthy and respected doctor in Paris for a medical conference whose wife mysteriously vanishes from their hotel room whilst he’s showering.
Richard Walker (Harrison Ford) is at wit’s end as he tries to fathom the reasoning behind what is soon revealed as abduction. The Parisian hotel and police authorities provide him with as much bureaucracy and laissez-faire as he can handle, so he assertively takes matters into his own hands. If they’ve taken his wife, then he’s gonna take serious action.
By mistake Walker’s wife Sondra (Betty Buckley) picked up the wrong suitcase at the airport. After Walker searches the luggage he finds a lead: a matchbook and accompanying keyring to the Blue Parrot bar. It after a false “white lady” lead at the venue, that Walker eventually meets Michelle (Emmanuelle Seigner), a striking young woman with a penchant for mischief. She has clues, and together they find themselves becoming further embroiled in a desperate search for his wife’s kidnappers.
Polanski is a consummate director, and Frantic displays his terrific talents from start to finish. It might not be the most thrilling of thrillers, in fact the movie meanders along and provides relatively few scenes of dramatic or action intensity, but there are still some great set-pieces, most notably Walker’s dangerous scramble across the rooftops as he tries to access Michelle’s apartment as she’s being interrogated by dodgy detectives, and later, their recovery of the precious Statuette of Liberty.
What was perhaps over-looked at the movie’s time of release, but which has aged well, is the movie’s sustained perspective from Walker. He’s no hero; he’s a man completely out of his depth in a labyrinthine city with a foreign tongue, and whose locals are renowned for being unhelpful to foreigners at the best of times. Walker struggles, and Frantic superbly captures his increasing anxiety and frustration. Ford sweats and stumbles convincingly.
Emmanuelle Seigner is perfectly cast as the nervous, slightly untrustworthy, charismatic white rabbit whom Walker is compelled to pursue in order to find his missing wife (she would subsequently marry Polanski and bear him two children). Polanski films Paris as a strangely ordinary, almost impenetrable city, both in contrast and in tandem to the inexplicable overwhelming events surrounding Walker and Michelle.
Unfortunately the Region 4 DVD edition I own is a dreadful transfer with terrible artifacts and poor picture quality. There doesn’t seem to be any kind of deluxe version of the movie yet available on DVD which is a crime, only bare-bones from all region releases. Also, the opening credit sequence is far from enticing, that I must mention. It looks more like the end of some odious Euro B-movie.
Frantic might be nearly as intriguing or resonant as The Tenant (1976), Polanski’s early features, or some of his later work, such as The Ninth Gate (1999) and The Pianist (2002), but it ranks as a very excellent way to spend a rainy afternoon with a croque-madame in front of you and a bottle of Pinot Noir at your side.
Here's the trailer:
And here's one of the two nervewracking rooftop scenes, which Polanski had an amazing set painstakingly built for so that Ford and Seigner could do their own stuntwork:
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Comment by Damo
I do enjoy suspense and this did it well.
It starts slowly and builds.
For most of the film there was this feeling that it could happen anyone. I guess that was the secret of making people identify with the main character.
Not enough film makers left that have the skills to make a good suspense film.
Comment by Bryn
Horrorphile
Comment by NoaIzumi
Fine Politics
Anime Bottle
That Asian poster is priceless! So, is Harrison Ford playing Bing Crosby, or Bob Hope?
Comment by JohnDoe
Film & TV on DVD
This one is a cracker.
I have always cited this as Ford's most genuine character..he is happy to display vulnerability and make mistakes.
The cinematography was quite startling for its time with obtuse Hitchcockian angles working in unison with the North by NorthWest style script.
Comment by Bryn
Horrorphile
Comment by TrailerMusic
Comment by Bryn
Horrorphile