Release Date: October 6th, 1976 (New York City premiere)
Directed by: John Schlesinger
Written by: William Goldman
Based on: Marathon Man by William Goldman
Music by: Michael Small
Cast: Dustin Hoffman, Laurence Olivier, Roy Scheider, William Devane, Marthe Keller, Richard Bright
Robert Evans Company, Beckerman Productions, Paramount Pictures, 125 Minutes
“The gun had blanks, the knife, a retractable blade. Hardly original, but effective enough. I think you’ll agree. I’m told you are a graduate student. Brilliant, yes? You are an historian, and I am part of history. I should have thought you would have found me interesting. Frankly, I am disappointed in your silence.” – Christian Szell
The thought of seeing Dustin Hoffman act opposite of Laurence Olivier is an intriguing one and well, it was really cool seeing them both in this, as it felt like a symbolic passing of the torch from one generation of great actors to the next.
Add in Roy Scheider, one of my all-time favorite manly men actors, and this thing has a pretty f’n solid trio of premier acting talent!
This was also directed by John Schlesinger, who already pulled a legendary performance out of Hoffman in Midnight Cowboy.
Overall, this was a really good motion picture, even though I had a few issues with it. None of them really break the movie for me, though.
The acting in this was incredible but that should probably go without saying but I was pretty impressed by the lesser known talents, as well.
This was also a really good looking picture that did a superb job of capturing an authentic feeling 1970s New York City onscreen. I especially loved the street scene with the Nazi trying to evade the people who recognize him, as well as the long sequence that saw Dustin Hoffman run through the streets at night, trying to evade capture.
My one big issue with the film comes down to the pacing. It felt a bit disjointed and off in some parts. There’d be stretches of the film that seemed to move along at a good speed and then there’d be these pockets where things seemed to slow to a crawl.
I also felt like there were a lot of things in this movie that just felt like plot convenience. For instance, the Nazi asshole being recognized by nearly every Jew he came across in New York City seemed a bit farfetched. And none of that really went anywhere, other than having the Nazi kill an old guy in the middle of the day while running from an old lady shouting from across the street. He gets away, unscathed in a taxicab.
But, as I said, the flaws weren’t so bad that they wrecked the film. However, they did get in the way of making this a great one.
Pairs well with: other ’70s crime thrillers.