What does it say about me, the state of moviemaking, or both, that the most exciting film I have seen in a very long time is almost 50 years old?
A blog I enjoy reading very much is Domani Dave. He communicates ideas with wit and haiku-like brevity that I might spend 10 paragraphs trying to explore before admitting defeat and giving up completely. In a recent post he recommended the 1966 John Frankenheimer film, Seconds. His description included; “This hardcore Faustian tale has been described as ‘sci-fi meets horror meets film noir’, and has the bleakest final five minutes of any in Hollywood history.”
How could I resist that?
A visually stunning black & white film, cinematographer James Wong Howe received an Academy Award nomination for Seconds. It contains images one associates more with European ‘art’ films than with a major American studio release. Most of the film appears to have been shot with a hand-held camera. Stark, extreme close-ups, visual distortions, and reflected images give the film a look that is at once journalistic and otherworldly. Those familiar with Frankenheimer’s earlier, and more famous film, The Manchurian Candidate will see clear visual references.
The score of the film is similarly remarkable. Long passages have no underlying music leading to startlingly dramatic injections of sound.
In his book 1001 Movies You Must See Before You Die, Steven Jay Schneider writes;
“Thomas Wolfe once said “You can’t go home again,” and anyone familiar with John Frankenheimer’s Faustian vision of alienation in suburban America would understand this only too well.”
There is an interesting element to the film’s back story. Frankenheimer needed a large number of character actors. He cast actors who had been blacklisted in the previous decade; most notably Will Geer, Jeff Corey, and John Randolph in featured roles.
But the story here is… the story. Arthur Hamilton, a Harvard educated banker leads an empty life commuting from his office in Manhattan to the Scarsdale home he shares with a wife with whom he has a polite but celibate marriage.
Arthur is contacted by an old friend from college, one Arthur thought long dead, who leads him to meet representatives of “The Company”; a business that, for a hefty fee, arranges for it’s clients to appear to be dead while providing plastic surgery and complete new identities. It is life with a restart button; a second chance.
Feeling he has nothing to lose, Arthur leaves his old life behind and starts a new life as Tony Wilson, an moderately successful artist leading a single, Bohemian life in Malibu.
Tony struggles to adapt to his new identity and a new life which, while different in every conceivable way, is as empty as his former existence. In one of the most revealing, and visually beautiful, scenes in the film, Tony, pretending to be a friend of Arthur’s, goes back to his former home and meets the wife he left behind as a widow. What he finds is a home with virtually no evidence that he’d ever been there. His widow tells Tony that she hadn’t felt connected to Arthur. He was detached. He’d spent his life pursuing the things he’d been taught to want but, in his eyes, she could see the “protest again what he’d surrendered his life to”. “He’d been dead a long, long time before they found him in that hotel room.”
Tony goes back to The Company asking for another surgery, another new life, in the hopes he might be successful in finding a life that will mean something to him. The resolution he finds there is not what he’s hoping for.
In his essay in the book Cult Movies 3, Henry Blinder explains why the film was so dramatically unsuccessful while, at the same time, so well respected. Paraphrasing, the film was booed at its opening at the Cannes Film Festival but well received by critics and film students. The opinion that mattered most, however, was the box office and there Seconds was a disaster. Part psychological thriller, part horror film, and part science fiction, the film was difficult to categorize and, therefore, hard to make appealing to the fans of any particular genre. The only ‘star’ in the film is Rock Hudson and, as Frankenheimer was quoted as saying; “Those people that go to see Rock Hudson movies didn’t want to his this one.”
Mr Blinder sums up the he thinks is the challenge in marketing the film;
“Seconds is quite possibly the most depressing film ever made – it is a film of unrelieved despair”.
The film’s screenwriter, Lewis John Carlino, seems to agree. He has been quoted as saying it is ; “almost too painful to watch“. He’s right.
What I think makes the film so bleak is the realization that the emptiness of life springs from choosing to live it without ones own dreams. Arthur’s existence is empty because his life neither gives him what he wants nor presents any way to move toward something he wants. By every external measure Tony’s life is completely different from Arthur’s; yet with the same result. Both lives could be ideal if they were the dream of the person who lived them. That is not the case here.
In commenting on this film’s cult status, Frankenheimer said; “It’s the only film I know that has gone from failure to classic – without ever being a success“. The film is dark, it could be depressing and it is certainly “almost too painful to watch”.
It is absolutely riveting.
I’ve never heard of this film.
life CAN be empty and meaningless. it’s up to each of us to find joy and purpose and fun in living every day. doesn’t hurt to have friends and a special lover either!
True dat!
Wow. Not only have I never seen this film, I don’t remember ever hearing of it. Will definitely have to see if I can find it.
I recommend it highly for anyone who occasionally likes something dark and existential.
It seems this film reflects life for many, maybe a metaphor for modern consumer driven life.
Indeed! The pursuit of things rather than essence. In that sense, perhaps oddly, it reminds me of another movie I like; Fight Club. Though in that case the metaphor is violence rather than separation.
Saw this many years ago and still remember it. Always thought Hudson was a competent actor, but he completely blew me away with his performance. Oddly enough, as I read your post, Salome Jens, in the supporting cast, came to mind. She was fresh from her Broadway run in Miller’s “After The Fall.” It looks like a film career was not in the cards. Too bad, as she was a great actress.
I would love to see this again. Can you tell me where you found it?
Thanks for reading & commenting.
I liked Ms. Jens in this movie very much. She looked familiar but I would not have been able to put a name to the face before reading the credits.
I borrowed it from the public library. I checked Netflix first. It is not available to stream though it might be available on DVD.
This week I watched the newly released video edition that I mentioned. ‘Extras’ on DVD/Blu-rays are frequently just padding, but not so here. Frankenheimer restored nude footage in the Bacchanal sequence for the 2002 DVD, which would not have passed muster in 1966. He also wanted to reinstate a scene where ‘Tony Wilson’ visits his daughter and her husband and their child, but the footage could not be located. There is a still from this scene included in these extras, and lo and behold, the husband was played by Leonard Nimoy! Otherwise, the casting of Will Geer and Jeff Corey and their performances leave me speechless.
Latter day analysts of ‘Seconds’ would of course explored the subtext of Rock Hudson’s closet homosexuality, but I don’t think the filmmakers had that convoluted a motivation in casting Hudson. I’ve been wrong before; once or twice;-)
Thanks again for the recommendation.
I saw the 2002 DVD and was surprised by the nudity in the bacchanal in a 1966 film. You comment clarifies that.
I saw homosexual subtext early in the film but had not considered it in relation to casting Hudson. The reminiscent tone in Charlie’s phone call, the description of the photo, the engraving; and the scene’s juxtaposition between 2 scenes so clearly showing the lack of intimacy with his wife. I lost the thread of it before we ever meet Rock, however, so I just thought it was another allusion to a possible ‘road not taken’…. Either that or it wasn’t there at all and I just look for homo subtext everywhere because….. you know…
Excellent movie …… I can’t remember the last time I have been to see a new release, much rather watch TCM and now a new channel called “movies”
Thanks for reading & commenting.
I still like the experience of seeing a movie in a theater with other people, though the ubiquitousness of the smart-phone tests that.
I’ve seen movies in the theater in recent months that I’ve liked…. just not nearly as much as I liked this one.
This one is definitely on my “to watch” list now! Thanks!
Peace ❤
Jay
I thought it was brilliant too.
Thanks for watching it with me