All the pieces are in the opening position; no moves have yet been made. That is what real-life detectives (and physicians, scientists and journalists) try to do all the time. All the loose ends are tied up, as in proper detective fiction they generally are. He gets the case from his friend Nick, who tells Harry the case needs an old-fashioned detective, not Nick’s computerised agency. Out comes the spiral notebook. The chess metaphor operates at an even deeper level, which is perhaps why Penn gives it to us in those four separate contexts. “Very early on,” Penn said, “I felt that the film needed abrupt, disjointed, almost convulsive editing, something that might suggest a nervous tic…. Just click the "Edit page" button at the bottom of the page or learn more in the Synopsis submission guide. When Harry lets himself into Marty’s place after his return from Florida, the first interior shot shows the two overlapping Fresnel lenses. It is Harry who disrupts the order of the smuggling operation, at first by chance, then by choice. He’ll have none of it: he prefers the role of a 1930s or 1940s gumshoe when modern detectives have moved on to electronic data processing. Josh and Dena, two young environmental activists, are planning a large scale act to force the world to think about what they're doing to the environment. But just as many of the film’s moves take place in the bright light of day: both of Harry’s visits to Quentin’s shop are in daylight, as are his three visits to Arlene’s house, most of his conversation with Joey on location in New Mexico, most of his first trip to Florida, his meeting with Joey at the screening room to look at the crash footage, and the fateful end sequence in the Gulf of Mexico. As they near the place Tom hid the sculpture Harry pushes Paula for an explanation. ", except it is us who are meant to fill in the blanks ourselves. I don't quite know what to make of this ending. They talk, she offers him sex; he declines. I know that [at least one other redditor, /u/BobbyGabagool also wondered about this in a post in /r/movies. Paula tells Harry that they’ve all been running an operation smuggling valuable Mayan antiquities from the Yucatan. Then, fast forward to the end, he looks up and sees two people in the mirror's reflection, one texting and the other talking on the phone. He sets out to retrieve a smuggled antiquity, which results in the object being shattered, someone he’d thought a friend drowned in a wrecked airplane that slides off an underwater shelf into oblivion, and a woman with whom he’d made love killed when her skull is crushed by a seaplane pontoon. The film’s central character, Harry Moseby (Gene Hackman) is a private detective, a man whose job is to gather for other people apparently unrelated facts and make sense of them, but Harry is also a man who misses or misreads the facts that are all around him and therefore understands nothing of importance until it is too late for that understanding to be of any use to anyone; he understands neither the case that falls in on him nor his own life. If Harry hadn’t spooked Joey, Joey wouldn’t have gone to Florida to kill Tom, Paula and Harry. At that point, he is incapable of doing anything about anything: the knowledge leads to nothing. “Black had a mate,” he tells her. However, unforeseen consequences bring a whole host of guilt, paranoia and other problems, and their ultimate act will change themselves more than the world around them. “What interested me about Harry,” said Penn—who finds detectives in general “despicable people” (8)— “was being able to show a man who, without being a true outsider, is nevertheless alienated from the society in which he lives. The exception is a slight advantage to white, which gets to make the first move, which means that black’s moves are at least initially responsive. I just sat there for a while and watched, then went away.”. He crosses the country to catch the man he thinks is her killer only to find the man murdered, floating face down in a dolphin pen. It's been a little while since I saw this one, so correct me if I'm wrong - but isn't the final shot of the film overhead, angling down on Josh? Delly, who has a disconcerting way of taking off her clothes, is perhaps interested in Harry -- but in seducing him, or just rattling his walnuts? We learn who has been doing these things at the exact same moment Harry Moseby learns it: by looking through the glass–bottomed boat.” (5). Solving the case is like winning or losing a chess game or making a great catch in a losing football game: in and of itself without meaning, valuable only insofar as it relates to something else. Why do anime “spell everything out” for the audience? Luce tells the story of an adopted child from war-ripped Eritrea, who is now an all-star accomplished multi-hyphenate high school student. All say, “Eric Rohmer. In that window is a large round Fresnel lens, so he sees her car doubled, with one car small and distorted, the other large and natural. The first time is on the passenger seat of his car in Malibu while he waits for his wife’s lover to get home. One is grounded in failure of imagination or strategy: a player’s pieces are in a position that might result in a win but the player doesn’t see it, doesn’t think far enough ahead, as in the game that Harry regretfully plays over and over. CIFF 2020: Black Perspectives Program Highlights Diverse Voices, CIFF 2020: The Roger Ebert Award Returns to Champion New Voices, Immerse Yourself in Martin Scorsese’s World Cinema Project #3. The call from Nick in the opening scene giving Harry Arlene’s case, for example, is barely audible under the music. Many things in the film that seem to be connections are just coincidence, with no causal relationship at all. It also helps if you know that My Night at Maud’s is a film about a man who has an opportunity to fuck a beautiful intelligent woman but chooses not to; that Harry’s wife was seeing the film with a man she has been secretly fucking for an unknown time; and that later, when Harry has an opportunity to fuck an attractive woman who is involved with another man and does, he isn’t so much making a choice as being distracted. Did he actually see something in that mirror (did he maybe even imagine Dena)? It was kinda like watching paint dry." In that case, it’s just the movie Harry’s wife was at the night he learns she’s been having an affair. Was it Uday or Latif who took the pill overdose? The one thing hidden in chess is motive: what is the other guy really up to? Harry Caul has his workplace invaded by a competitor, he's fooled by a hidden microphone in a ball-point pen, he gets calls on his unlisted number, his landlord walks right past the security system in his apartment, and although he has a tape recording of a crucial conversation, he has no idea what it means. Movies & TV Stack Exchange is a question and answer site for movie and TV enthusiasts. [SPOILERS] Maybe I missed something, but the ending didn't make much sense to me. Josh, Dena, and Harmon are trying to make a difference. He’s a man out of place and out of time. Reichardt and her writing partner, Jon Raymond, connect to some degree with the trio’s desperation, just as they connected with the plight of a stranded young woman in Wendy And Lucy, or those perilously lost on the Oregon Trail in Meek’s Cutoff. When Ellen returns to the house with the news of Delly’s death the morning after their lovemaking, Harry again looks down at her doubled car through his third floor window with its Fresnel lens. Paula surfaces a few seconds later. It was influential enough that Chanturgue, a wine from the Auvergne region mentioned in the film, went from being virtually unknown in the USA in 1969 to one of the highest-selling imported white wines in 1971. The detective’s job, as I noted earlier, is to separate information from noise. Although, I do think the director intended to leave us in the dark so that we can speculate....and it worked! the aging Lancelot with his. Sometimes they even sit atop the real. Perhaps the best description of what is going on at the end of Night Moves isn’t in film or fiction, but rather the second half of Robert Creeley’s poem “Bresson’s Movies,” which is also about a knight in distress: Bruce Jackson is a photographer, filmmaker and writer. The next morning he encounters Françoise (Marie-Christine Barrault), a young woman he has previously seen in church. He then looks up at the convex security mirror to see a woman thumbing through her cellphone while holding a cup of coffee, presumably from a Starbucks like chain. It is to get Harry out of there when Marv comes in with the latest shipment. I can't remember) the point is that the viewer is left saying "well... what happened?! It was a crazy period, and I thought we should tell this detective story in a way that could only be understood by what we see, not by what we are told. It isn’t until the end of the last scene that Harry learns who his nemesis had been and is, presumably, able to work back from that and figure out the plot he had stumbled into.

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