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Chicago psychiatrist Judd Stevens is suspected of murdering one of his patients when the man turns up stabbed to death in the middle of the city. After repeated attempts to convince two cops of his innocence, Dr. Stevens is forced to go after the real villains himself, and he finds himself up against one of the city's most notorious Mafia kingpins.Written by
Jonathon Dabell <J.D.@pixie.ntu.ac.uk>
Moore knew he was living on borrowed time so far as Bond was concerned. Way too old, too slow moving and paunchy to be carrying a Walther PPK for much longer. His Bond contract allowed him to make two other films during this period - post OCTOPUSSY and pre A VIEW TO A KILL (that was to be his last JB outing)
Wisely perhaps, he chose this role as mild-mannered but wholly professional Chicago psychiatrist Dr Judd Stevens, whose life hits a major rut after one of his patients is stabbed to death - wearing HIS coat. Having no idea what is going on for pretty much the entire movie Moore conveys Judd's plight rather well I thought. As unlike anything Moore has ever done, he must deal with finding himself simply in the wrong place for seemingly no reason.
Several things to like about this flick - IF you care to look. Art Carney's turn as burnt-out but still cluey PI Morgens is a real gem of a performance. When Moore admits he doesn't believe in guns, Carney counters, "Yeah, well I don't believe in Santa Claus, but each Christmas he still comes round." The brief scenes in his ramshackle office are really worth looking at closely.
Cop Steiger is a tad over the top as is his wont - give him any opportunity to rave - he's in actor's heaven. Ron Paradi as mob boss Cortini puts across one of the nastiest and inherently evil men you would ever wish to not meet and Anne Archer is well....Anne Archer.
Totally unexpected last 20 seconds really lifts the film I thought.
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