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3 Days of the Condor [Blu-ray] (Bilingual)


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3 Days of the Condor [Blu-ray] (Bilingual) + Marathon Man [Blu-ray]
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Product Details

  • Actors: Robert Redford, Faye Dunaway, Cliff Robertson, Max von Sydow, John Houseman
  • Directors: Sydney Pollack
  • Writers: David Rayfiel, James Grady, Lorenzo Semple Jr.
  • Producers: Sydney Pollack, Dino De Laurentiis, Stanley Schneider
  • Format: AC-3, Color, Dolby, Dubbed, Subtitled, Widescreen, NTSC
  • Language: English
  • Subtitles: English, French, Spanish
  • Dubbed: French, Spanish
  • Region: Region A/1
  • Aspect Ratio: 2.35:1
  • Number of discs: 1
  • MPAA Rating: R
  • Studio: Paramount
  • Release Date: May 19 2009
  • Run Time: 117 minutes
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (55 customer reviews)
  • ASIN: B001U0HAYS

Product Description

Product Description

In Sydney Pollack's critically acclaimed suspense-thriller, 3 Days of Condor, Robert Redford (Spy Games) stars as CIA Agent Joe Turner. Code name: Condor. When his entire office is massacred, Turner goes on the run from his enemies...and his so-called allies. After reporting the murders to his superiors, the organization wants to bring Condor in - but somebody is trying to take him out. In his frantic hunt for answers, and in a desperate run for his life, Turner abducts photographer Kathy Hale (Faye Dunaway, The Thomas Crown Affair), eventually seducing her into helping him.

Amazon.ca

Robert Redford and Sydney Pollack continued their longtime collaboration (the actor and director have worked together on Jeremiah Johnson, The Way We Were, The Electric Horseman, and Out of Africa, among other films) with this taut spy drama. Redford plays a reader for U.S. intelligence who becomes a hunted man after he is not among the victims of a mass murder of his colleagues. Faye Dunaway does solid work as the frightened and mystified woman whom he forces to conceal him, and Max von Sydow is appropriately cool as a professional assassin. That same, sustained tone of danger and expectation that made Pollack's The Firm so much fun can be found in this 1975 thriller, albeit with an appropriate dose of post-Watergate paranoia. --Tom Keogh --This text refers to an out of print or unavailable edition of this title.

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Customer Reviews

4.6 out of 5 stars
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Most helpful customer reviews

1 of 1 people found the following review helpful By Larry Scantlebury on July 4 2004
Format: DVD
Whenever I see this movie I always hear Roger Daltry's voice singing, 'can you see the real me?' Which is what a less loquacious Robert Redford tries to do after what may be one of the top ten movie opening scenes of all time, 70's, 80's, 90's or beyond.
Earlier reviews have fairly well constructed and described the plot but what's interesting is the unbelievability of it. Sydney Pollack keeps the heat on and the emotional cul de sacs plentiful as Redford tries to whittle down not so much the who killed all his coworkers but the why.
I believe alongside "Bullit," "French Connection," "Body Heat" and a few others, this is an essential movie both for it's time and our time. In light of Vietnam and Watergate, we just didn't blindly trust Uncle Sam anymore and were frequently reminded of the protest idiom, 'love your country; fear your government.' And for a captivating two hours, Redford is 'everyperson' ever profiled, searched, audited, traffic stopped, drafted and perhaps far worse. We didn't have to read George Orwell to know big brother was and is watching.
Cliff Robertson, a gifted actor denied his peak years because of pseudo-administration influence (do you remember 'Flowers for Algernon/Charley?), ironically plays the government role, as you would expect, brilliantly, and Max Von Sydow, is as always, superlative. I agree with some of the criticism of Faye Dunaway. She did better in other roles than she did here. It could have been Meryl Streep or Glenn Close as well, possibly better.
Essential movie if you want to know what you're talking about. Larry Scantlebury. 5 Stars.
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1 of 1 people found the following review helpful By Themis-Athena on May 19 2004
Format: DVD
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.
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By Joker-scar TOP 1000 REVIEWER on July 20 2014
Format: Blu-ray Verified Purchase
This has all the elements of all the great films from the late 60's & early 70's including, most importantly, an unresolved ending ...which works. Something that only the boldest filmmaker/producer and studio would even dare think about let alone actually do in this day and age.
The pace is great...until we get to the obligatory love scene. I get the whole ...we have to include a love scene for all the female members of the audience...thing ....but the film grids to an embarrassing halt when this scene rears its ugly head. Pun intended. Yes I even get if you were a female and a handsome guy like Redford kidnaps you at gun point with some crazy conspiracy theory ( especially when conspiracy theories were NOT in vogue and those who were, were either wacko's left over from the McCarthy era or anti-establishment/hippy types)... the first thing you want to do is after the guy enters your life in a violent fashion you then allow him to enter your body. The politics of making money won over back then (as now) but now we have to live with this scene forever stuck in the middle of this really nice spy thriller. What are you gonna do...? If it serves the story, great, but if it serves ONLY the box office.... ARRRGGGGGGG!
Some nice acting turns by Dunaway and Robertson. Great photography and locations.
Nice clean transfer. Pretty lame "Love scene" basic menu artwork.
Absolutely NO extras other than the trailer.
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Format: DVD
Released the year after Watergate, this was among the first of the "paranoid thriller" films involving conspiracies, rogue CIA agents, and whatnot. While it probably seemed groundbreaking and fresh in 1975, three decades of similarly plotted movies have dulled Condor's edge.
Robert Redford plays an agent, code name "Condor," who works in a scholarly-appearing CIA front organization in New York that analyzes world literature for significant patterns (whose significance to the spook agency isn't spelled out very convincingly). While he goes to the deli to pick up lunch for his crew, a team of assassins gains entry to the office and wipes out all of his colleagues there, as well as another who is at home. Redford, realizing he was supposed to be among the victims, goes on the run and plays cat-and-mouse with various CIA officers, any of whom could be behind the killings.
He chooses at random a woman photographer (Faye Dunaway) as his unwilling accomplice while hiding and trying to penetrate the evil cabal within the "Company." In one of the screen's unlikeliest romances, Dunaway finds her fear and distrust of Redford's character yielding to belief in his story and then a dangerous liaison with him.
The director, Sydney Pollack, has often blended the elements of commercial cinema with intelligence and taste (e.g., Out of Africa). This is another such attempt, but not one of his better efforts. The genre has worn thin, as noted earlier, and the script staggers from cliche to cliche. I won't be giving away anything important if I tell you that the denouement is, yes, "It's all about ... oil!"
I am usually unable to warm to Redford, and this was no exception. There is no "there" there, as Gertrude Stein said about Oakland.
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