Review of Night Moves (1975) by Caleb M — 09 Nov 2010

This film takes some raves for its study of Hackman's flawed character and for its clever confronting of viewers with their own bumbling as sleuthers.

It does do both well. But history will probably best remember it for the gratuitous one-second topless shot of then 18-year-old Melanie Griffith, a run-away Lolita whom an untalented PI (Hackman) is hired to find. (Other brief full frontal shots appear to be uncredited body-double work.).

Griffith here earns tenth billing and her first credited role. Neither she, nor out-of-the-gate James Woods as young punk, exhibit their future promise. However newbie Warren, as Hackman's enigmatic romp-on-the-side, delivers well.

Hackman spends Act 1 eventually "finding" Griffith via three inquiries, subtly revealing he's not exactly the stuff of stellar sleuthing. Plus Hackman's marriage is going over the edge - and he's fumbling the ball.

In Act 2, Hackman marks time with Griffith and her new pals. The viewer knows something odd's a-brewing, but what? Hackman's clueless. On point, Hackman's seen studying a chess game where Black overlooks a clever knights-based corner mate. Hackman knows only too well the lifetime of misery missing such "knight moves" can cause.

Act 3 suddenly morphs to murder and moves fast tying all together - faster than Hackman (or most viewers) can devine. Hackman doesn't quit smart at 'case closed,' and so ends up running in circles, cursing his out-of-wedlock heritage, his failure at husbandry and his mediocrity as detective.

The script's pale imitation of noir and the derivative 1960s/1970s 'detective-loner' genre - McQ, Bullitt, Harper, Rockford Files, Mannix et. al. Dialogue's often weak; all but Hackman are handicapped by it.

And the film's well dated by artifact: mutton chops, cut-to-the-navel and gauzy see-through blouses, and a 12-pack-sized telephone answering machine.

RECOMMENDATION: Only for enjoyers of character studies or the genre.