Marathon Man (film)

Marathon Man
Movie poster by Bill Gold
Directed by John Schlesinger
Produced by
Screenplay by William Goldman
Based on Marathon Man
by William Goldman
Starring
Music by Michael Small
Cinematography Conrad Hall
Edited by Jim Clark
Production
company
Robert Evans-Sidney Beckerman Productions
Distributed by Paramount Pictures
Release date
  • October 8, 1976 (1976-10-08)
Running time
 125 minutes
Country United States
Language English
Budget $6.5 million[1]
Box office $28.2 million[2]

Marathon Man is a 1976 American suspense-thriller film directed by John Schlesinger. It was adapted by William Goldman from his 1974 novel of the same name and stars Dustin Hoffman, Laurence Olivier, Roy Scheider, William Devane and Marthe Keller. The music score was composed by Michael Small.

The film was a critical and box office success, with Olivier earning a Academy Award nomination for Best Supporting Actor for his role as Dr. Christian Szell, the film's antagonist.

Plot

Thomas "Babe" Levy is a history Ph.D. candidate and avid runner researching the same field as his father, who committed suicide after being investigated during the Joseph McCarthy era. Babe's brother, Henry, known as "Doc", poses as an oil company executive but is actually a government agent working for a secret agency headed by Peter Janeway.

When the brother of a Nazi war criminal is killed in a traffic accident, Doc suspects that the criminal, Dr. Christian Szell, will come to New York to retrieve a valuable diamond collection. Doc comes to New York under the guise of a visit to Babe. Meanwhile, Babe and his new girlfriend, Elsa Opel, who claims to be from Switzerland, are mugged by two men dressed in suits. When Doc takes Babe and Elsa to lunch, he tricks Elsa into revealing that she has been lying to Babe about her background. Though Doc suspects she may be connected to Szell, he tells Babe that she is seeking an American husband so that she can become a U.S. citizen. After Szell arrives in America, Doc confronts him, stating he is not welcome in the country. Szell accepts the pronouncement, but then stabs Doc with a blade concealed in his sleeve. Doc makes it back to Babe's apartment and dies.

The police interrogate Babe until government agents, led by Janeway, arrive. Janeway asks Babe what Doc told him before he died, and tells Babe that his brother was a U.S. government agent. Babe insists that his brother did not tell him anything, but Janeway is convinced Doc would not have struggled all the way to Babe's apartment without giving him vital information.

Babe is later abducted from his apartment by the two men who mugged him in the park, and he is tortured by Szell. During his torture, Babe is repeatedly asked, "Is it safe?", but he continues to deny any knowledge. Babe is then rescued by Janeway, who explains that Szell is in America to sell off a large cache of diamonds which he had taken from Jews killed at Auschwitz. Janeway presses Babe about Doc's dying words, but Babe still insists he knows nothing. Frustrated, Janeway reveals himself as a double agent and returns Babe to Szell. Still unable to extract anything from Babe, Szell drills into one of his healthy teeth. Babe eventually escapes, aided by his skills as a marathon runner.

Babe phones Elsa, who agrees to meet him with a car. Arriving at a country home, Babe guesses that Elsa has set him up, forcing her to confess that the home was owned by Szell's deceased brother. Janeway and Szell's men arrive, but Babe takes Elsa hostage. Janeway kills Szell's men and offers to let Babe kill Szell in revenge for Doc's death, if Janeway can have the diamonds. Babe agrees, but as he leaves, Janeway tries to shoot Babe, but kills Elsa instead. Babe then shoots Janeway.

Attempting to determine the value of his diamonds, Szell visits an appraiser in the Diamond District in midtown Manhattan. A shop assistant who is a Holocaust survivor believes he recognizes Szell as a war criminal. After Szell hurriedly leaves the shop, an elderly Jewish woman also recognizes him. Trying to cross the street to get closer to Szell, the woman is hit by a taxi, causing a crowd to assemble to aid her. Amidst the confusion, the shop assistant appears again, directly confronting Szell, who slits the man's throat.

Szell retrieves his diamonds but, as he attempts to leave, Babe forces him at gunpoint into Central Park. Babe tells Szell he can keep as many diamonds as he can swallow. Szell initially refuses, and Babe begins throwing the diamonds into the water. Szell relents and swallows one diamond, but then refuses to cooperate further. Babe throws the rest of the diamonds down the steps towards the water; Szell dives for them, but stumbles, and falls on his own knife blade. Babe heads out into Central Park, stopping to throw his gun into the reservoir.

Cast

Production

Goldman was paid a reported $500,000 for the film rights to his novel and to do a screenplay, before the novel had been published.[3] (Another source said $450,000.[4])

"The book reads like the movie-movie of all time," said producer Robert Evans. "I regard it as a cheap investment because you don't often find books that translate into film. This is the best thing I've read since The Godfather. It could go all, all the way – if we don't foul it up in the making."[5]

Goldman estimated he did four versions of the screenplay and says Robert Towne was brought in at the end.[6]

Goldman says John Schlesinger only agreed to do the film because he had just finished The Day of the Locust and was "terrified he was dead in Hollywood."[7]

Laurence Olivier was cast early on. However he had health issues and at one stage it was uncertain whether he would be able to do the film. Richard Widmark auditioned for the part, but Olivier eventually recovered and was able to participate in filming.[7] Reportedly, Laurence Olivier and Dustin Hoffman did not get along well during filming. Olivier did not agree with Hoffman's style of Method Acting, which involved staying up days at a time in order to appear truly out of his mind and in physical pain for the film's famous torture scenes. "My dear boy," Olivier is remembered as saying, "why don't you just try acting?"[8]

Marathon Man was the second feature film production in which inventor/operator Garrett Brown used his then-new Steadicam, after Bound for Glory.[9] However, it was the first feature using the Steadicam that saw theatrical release, predating the premieres of both Bound for Glory and Rocky by two months. This new camera stabilization system was used extensively in Marathon Man's running and chase scenes on the streets of New York City.

The movie was filmed from October 1975 to February 1976.

Themes

The film explores themes of endurance and the pursuit of Nazi war criminals.[10][11][12] Some critics believed that the violence exhibited was necessary to the film and to the character of Babe. Other critics found the violence to be offensive.[13] Critic Pauline Kael considered the film a "Jewish revenge fantasy".[14] The nickname given to Laurence Olivier's character, "Der Weisse Engel" (The White Angel) was inspired by Nazi doctor Josef Mengele, known as the "Angel of Death" or also, "der weisse engel" because when he stood on the platform of arrivals to concentration camps, he looked like a "white angel" directing victims to their deaths.[15]

Babe originally has childish traits. As the film progresses, these childish traits are replaced with more adult ones. Michelle Citron of Jump Cut compared Babe to Carrie White in the 1976 film Carrie.[16]

Music

John Schlesinger asked composer Michael Small to make music that matched the theme of "pain, and the endurance of pain".[17]

The opera Herodiade by Jules Massenet is featured in the scene that takes place at the Paris Opera.

Reception and cultural impact

The film was a financial and critical success. Olivier's performance was particularly praised: he was nominated for an Oscar for Best Actor in a Supporting Role and he won a Golden Globe in the same category.

Roger Ebert gave Marathon Man 3 out of a possible 4 stars. He wrote: "If holes in plots bother you, "Marathon Man" will be maddening. But as well-crafted escapist entertainment, as a diabolical thriller, the movie works with relentless skill."[18] Rotten Tomatoes ranks the film at 81%, with 36 reviews.[19]

Dr. Szell was ranked as villain #34 on the American Film Institute's "100 Years... 100 Heroes and Villains" list. The film itself was ranked #50 on the "100 Years...100 Thrills" list. He was also ranked in Time as one of the 25 greatest movie villains. Both the novel and film contain a graphic depiction in which Szell tortures Babe by first probing a cavity in one of Babe's teeth with a curette, and later drilling into another tooth, without anesthetic, while repeatedly asking the question "Is it safe?" The quote "Is it safe?" was ranked #70 on the "100 Years...100 Movie Quotes" list. The dental torture scene was named #66 on Bravo's 100 Scariest Movie Moments. The torture scene has been described as one of the most frightening sequences in film.[12] Critics have remarked on the high level of talent and class.[20]

Director Schlesinger said that Marathon Man was successful not only because it had elements of escapism, but also because the audience easily identified with Babe Levy. Schlesinger said that he "is definitely someone that you can root for. The film is about his survival in a grim and hostile world. In our present age of anxiety we can all identify with characters who are not trying to get ahead but simply to survive."[21]

Deleted graphic scenes

Although the first preview of the movie was successful, the second one in San Francisco did not go well. The audience complained about all the violent scenes, so director John Schlesinger and editor Jim Clark chose to delete the following scenes and shots: the scene near the beginning of the film in which Doc fights with two assassins who have killed his friend; the graphic and gory close-ups of Szell disemboweling Doc with his wrist blade; and both of the torture scenes, which were heavily cut. Graphic insert shots from the torture scenes, which were filmed by Clark, were removed. Some photos, such as original lobby cards and stills, show Szell torturing Babe longer with dental instruments in the first torture scene and actual onscreen drilling of Babe's tooth in second torture scene.[22]

Differences between the novel and film

An 8½-minute sequence was shot of Doc fighting with some men who kill a spy colleague of his. William Goldman speculated that the scene was cut because of its violence and called the cut "grievous" and to the detriment of the film.[23] With the sequence missing, Doc's character seems to be less flawed than he really is.[23]

The ending was rewritten by Robert Towne because, it has been speculated, Hoffman was unhappy with it.[24] Goldman told an interviewer he thought the new, more famous ending was "shit" because it left out two important plot clarifications. The final confrontation between Babe and Szell, in particular, is changed: in the film, Babe "spares" Szell in a pump room, tries forcing him to swallow his diamonds and Szell then falls on his own retractable blade, dying. In the novel, Babe resolutely leads Szell to Central Park and shoots him multiple times, subsequently lecturing him. He then throws the diamonds away and is quietly led away by a policeman.[24]

References

  1. ↑ Marathon Man: FSM Online Linear Notes. Archived 2014-10-20 at the Wayback Machine. Film Score Monthly. Retrieved April 4, 2013
  2. ↑ "Marathon Man, Box Office Information". The Numbers. Retrieved January 23, 2012.
  3. ↑ News of the Screen: Goldman's Latest Brings $500,000 Hart Crane's Life Subject of Film Columbia to Do Hallahan Novel By A, H, WEILER. New York Times (1923–Current file) [New York, N.Y] 26 May 1974: 43.
  4. ↑ WESTWARD THEY COME, BIG BUCKS FOR BIG BOOKS Rosenfield, Paul. Los Angeles Times 18 Feb 1979: n1.
  5. ↑ Haber, J. (1974, May 07). 'Marathon man' next movie-movie? Los Angeles Times (1923–Current File) Retrieved from https://search.proquest.com/docview/157544719
  6. ↑ Goldman, W. (1983, Jun 15). Ailing Laurence Olivier proves to be a 'marathon' man. Chicago Tribune (1963–Current File) Retrieved from https://search.proquest.com/docview/175925022
  7. 1 2 William Goldman, "Widmark left indelible impressions", Variety April 4, 2008 accessed 2 February 2014
  8. ↑ Simkins, Michael (31 March 2016). "Method acting can go too far – just ask Dustin Hoffman - Michael Simkins". the Guardian. Retrieved 9 September 2018.
  9. ↑ "Steadicam 30th anniversary press release". Archived from the original on 2014-04-30.
  10. ↑ Bouzereau, Laurent. Ultraviolent Movies: from Sam Peckinpah to Quentin Tarantino. Citadel Press, September 1, 2000, 136. ISBN 0-8065-2045-0, ISBN 978-0-8065-2045-2.
  11. ↑ Erens, Patricia. The Jew in American Cinema. Indiana University Press, 1988. 348. Retrieved from Google Books on January 9, 2012. ISBN 0-253-20493-3, ISBN 978-0-253-20493-6.
  12. 1 2 Phillips, Gene D. Major Film Directors of the American and British Cinema, Volume 1999. Lehigh University Press, 1999. 236. Retrieved from Google Books on January 30, 2012. ISBN 0-934223-59-9, ISBN 978-0-934223-59-1.
  13. ↑ Bouzereau, Laurent. Ultraviolent Movies: from Sam Peckinpah to Quentin Tarantino. Citadel Press, September 1, 2000. 135. Retrieved from Google Books on January 9, 2012. ISBN 0-8065-2045-0, ISBN 978-0-8065-2045-2.
  14. ↑ Kael, Pauline (1976-10-11). "Running Into Trouble". The New Yorker. Retrieved 17 January 2017.
  15. ↑ "Josef Mengele - factfile". 9 September 2018. Retrieved 9 September 2018 – via www.telegraph.co.uk.
  16. ↑ "Carrie meets Marathon Man." Jump Cut. No. 14, 1977. P. 10-12.
  17. ↑ Bettencourt, Scott and Alexander Kaplan. "Marathon Man Archived 2014-03-04 at the Wayback Machine.." Film Score Monthly. Vol. 13, no. 5. Retrieved on March 1, 2014.
  18. ↑ Ebert, Roger (1976-10-18). "Marathon Man Movie Review & Film Summary". Retrieved 2017-01-04.
  19. ↑ "Marathon Man". rottentomatoes.com. Retrieved 9 September 2018.
  20. ↑ Brown, Dennis Shoptalk, Newmarket Press, 1992, p 70
  21. ↑ Mann, William J. Edge of Midnight: The Life of John Schlesinger. Random House Digital, Sep 1, 2006. 444. Retrieved from Google Books on January 10, 2012. ISBN 0-8230-8469-8, ISBN 978-0-8230-8469-2.
  22. ↑ Bettencourt, Scott. "Marathon Man". Film Score Monthly. Archived from the original on 20 October 2014. Retrieved 11 July 2014.
  23. 1 2 Bradey, John Joseph. The Craft of the Screenwriter: Interviews with Six Celebrated Screenwriters (New York: Simon and Schuster, 1981), p. 162.
  24. 1 2 Bradey, p. 166.

Further reading

  • Kerner, Aaron. Film and the Holocaust: New Perspectives on Dramas, Documentaries, and Experimental Films. Continuum International Publishing Group, May 5, 2011. 169–173. ISBN 1-4411-2418-7, ISBN 978-1-4411-2418-0.
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