The Manchurian Candidate (1962)

Calificación de los usuarios:

8.3/10   

Director:

John Frankenheimer

Escritores:

Richard Condon (novel)
George Axelrod (screenplay)

Fecha de Lanzamiento:

24 octubre 1962 (USA)

Género:

Drama | Misterio | Suspenso

Frase comercial:

When you've seen it all, you'll swear there's never been anything like it!

Plot:

A former Korean War POW is brainwashed by Communists into becoming a political assassin. But another former prisoner may know how to save him.

Plot Keywords:

Army | Korean War | Nightmare | Korea | Medal Of Honor

Premios:

Nominated for 2 Oscars. Another 6 wins & 4 nominations

Comentarios de los usuarios:

A political and social thriller/drama ahead of its time.

US TV Schedule:

Mon. July 6

8:00 AM

TCM

Reparto

Frank Sinatra	...	Maj. Bennett Marco
Laurence Harvey	...	Raymond Shaw
Janet Leigh	...	Eugenie Rose Chaney
Angela Lansbury	...	Mrs. Iselin
Henry Silva	...	Chunjin
James Gregory	...	Sen. John Yerkes Iselin
Leslie Parrish	...	Jocelyn Jordan
John McGiver	...	Sen. Thomas Jordan
Khigh Dhiegh	...	Dr. Yen Lo
James Edwards	...	Cpl. Allen Melvin
Douglas Henderson	...	Col. Milt
Albert Paulsen	...	Zilkov
Barry Kelley	...	Secretary of Defense
Lloyd Corrigan	...	Holborn Gaines
Madame Spivy	...	Female Berezovo

También conocida como:

El embajador del miedo (Argentina) (Mexico) (TV title) [es]
El mensajero del miedo (Spain) [es]

Duración:

126 min

País:

USA

Idioma:

Inglés

Color:

Negro y Blanco

Relación de Aspecto:

1.85 : 1

Sonido:

Mono (Westrex Recording System) | Dolby SR | Dolby Digital

Clasificación:

Finland:(Banned) (1964) (cut) | Finland:(Banned) (1964) (uncut) | Finland:K-16 (1989) (uncut) | UK:A (1962) (cut) | West Germany:16 (f) | South Korea:15 | Australia:M | Norway:15 (re-rating) | Norway:16 (original rating) | Sweden:15 | UK:15 | USA:Approved (original rating) | USA:PG-13

Locaciones de Filmación:

67 Riverside Drive, Manhattan, New York City, New York, USA

Compañía:

M.C. Productions

Trivialidades:

Frank Sinatra broke one of his fingers when he hit the table, which was real and not a break-away prop, in the fight sequence with Henry Silva. Due to ongoing filming commitments, he could not rest or bandage his hand properly, causing the injury to heal incorrectly. It caused him chronic discomfort for the rest of his life.

Errores:

Continuidad: When Marco and Rosie are talking on the train, the camera occasionally switches to close ups and we only see one head. Both are lit so a strong shadow in on one side of the head and a weaker one is on the other. In Marco's case the strong shadow is on the left as we look; which means Rosie's strong shadow should be on the right as we look, for she stands opposite Marco. However, the shadows are the same for both people, as if they stood on the same spot in relation to the lights' positions.

Citas:

Raymond Shaw: It's a terrible thing to hate your mother. But I didn't always hate her. When I was a child, I only kind of disliked her.

Conexiones de Película:

Referenced in Kill Bill: Vol. 1 (2003)

Banda de Sonido:

The Star-Spangled Banner

A political and social thriller/drama ahead of its time.

John Frankenheimer's surrealistic direction and George Axelrod's adaptation of the 1959 book by the same name offer Laurence Harvey a career defining role.

Set in 1950's, A Korean War veteran Raymond Shaw(Harvey) returns home to a medal of honor for rescuing his POW platoon from behind Chinese lines and back to safety. One of the returning soldiers, (played effectively by Frank Sinatra) however, has recurring dreams of his platoon being brainwashed and Shaw committing acts of murder.

He eventually convinces army brass that Shaw is still a puppet of his Communist-Marxist operators.

Angela Lansbury, (although barely a few years older than Harvey was at the time) plays his mother in a tour de force role. She absolutely captivates and steals every scene she is in, playing a very complex role that needs to convince the viewer of many things without much dialogue.

There's a rich cast of characters, including Janet Leigh, Henry Silva, James Edwards, and a painfully accurate James Gregory. Each character weaves through the methodical subplots and tapestry of Frankenheimer's masterful "Hitchcockian" pace.

I won't give away the plot, but dear readers, allow me to sat that this one is really worth watching--until the nail-biting and chilling conclusion.

There are many undertones in this film -- political, sexual, class and power, and social. You will want to view this film several times to approach it from different perspectives.