Reflections
on “Night Moves” (1975)
Directed
by Arthur Penn
Written
by Alan Sharp
Starring
Gene Hackman, Jennifer Warren and Melanie Griffith
“Night Moves” presents
the tale of L.A.-based Private Investigator Harry Moseby and his relatively
straightforward search for Delly, a 16-year-old runaway, missing for two weeks,
who is the daughter of a former actress. However, complications and
repercussions abound when, having found the girl and returned her to her
mother, Harry learns Delly has been killed in a freak accident on a film set
and he feels compelled to investigate the circumstances of her death,
unearthing deception, theft and murder in the process.
This film is regularly
billed as a neo-noir and in the first half it incorporates many noirish
elements, with dubious and potentially damaging parenting skills, Delly’s
precocious and promiscuous behaviour (suggesting social and psychological
issues), several predatory male characters willing to take advantage of Delly’s
lack of moral direction and self-respect, some lovely lines of dialogue suggesting
disillusion, and Harry Moseby’s vague rectitude in the midst of this moral
malaise. In the second half there are considerably more obvious noir elements
as we are introduced to deceit, theft and murder.
That said, until toward
the end of the film, it doesn’t really play like a film noir in that despite events,
circumstances and occasional lines of dialogue, the general atmosphere or mood
is not especially downbeat or pessimistic, and if Harry Moseby is the central
character in a film noir, he doesn’t seem to know it.
Most film noir detectives
display a knowing understanding of character and plot, and exercise a degree of
control through that understanding gained by hard-won and sometimes bitter experience.
Harry Moseby is buffeted on a sea of events and is pushed by the tide to make
discoveries and connections rather than uncover them by intelligence, reason or
perception. He is curiously idealistic and sensitive while virtually all those
around him are tainted by selfishness or disillusion, yet they remain relatively
positive and seem willing to adapt to their circumstances in order to make the
best of their lot, though this may lead to disharmony, conflict and perhaps
even criminality.
Harry holds on to integrity and a desire to help others by disentangling the complexity of their lives and providing some beneficial understanding, clarification and a possible way forward. This may be embodied by his devotion to chess with its reliance on planning and strategy to arrive at a satisfactory conclusion. Of course, success in chess, and by extension in life, depends on a clear overview and perception of pathways and opportunities, and the title of the film may cleverly refer to reduced vision and understanding of what is going on in life while trying to apply strategies. In short, Harry seeks order in life even though ultimately it may be random and unfathomable.
We may engage with the
characters, their relationships and themes of social morality, but the
storyline in the first half unfurls at a fairly leisurely pace and there is
little real drama or sense of urgency and peril. However, it undoubtedly also pursues
existential themes, especially in the evolution of Harry Moseby. Harry is
frequently reminded that as a Private Detective he simply follows the
instructions of his clients. He plays a part in others’ lives but largely as an
observer or an extension of his clients and as such he bears no real personal
responsibility for his actions.
Harry gathers information
and makes plans for returning Delly to her mother but even there he considers
bringing in the police, thus avoiding personal involvement, though in the end
Delly volunteers to return, much to Harry’s relief.
There is also a subplot
involving Harry’s marriage, the upshot of which appears to be that meaningful
relationships require emotional investment and are worth more than relatively frivolous
dalliances.
However, things change
dramatically after Delly’s death. Harry becomes more focused and purposeful,
perhaps because he feels he has contributed to the circumstances surrounding
her death and he bears a degree of responsibility. He will now become an active
participant and will conduct an investigation into Delly’s death.
Harry abandons his
professional neutrality to tell Delly’s mother exactly what he thinks of her
and then pursues his inquiries in the best existential tradition, discovering
he has been manipulated and deceived by just about everyone. Largely by chance
(another theme often pursued in existential films), Harry uncovers a complex web
of lies, theft, smuggling, jealousy and murder.
As most people would do when
faced with the myriad of potential motivations of the characters and the complex
links between them, he displays fundamental human limitations and fallibility as
he fails (along with the audience) to pick up on a variety of clues dropped in
the course of the film, largely because things often fall in to place only in
retrospect or when we have access to the full picture, though he remains driven
by his desire to understand and help.
The storyline and script
by Alan Sharp are often accused of a lack of clarity but I consider it a finely
crafted and deliberately nebulous piece of work that reflects the lack of order,
precision and clarity in life in general.
Harry has evolved from an
observer who tries to make sense of things for others to an active participant
willing to express himself and take action. However, in the end Harry can
exercise little or no control as he is overwhelmed by events and he passes out
while his boat circles endlessly and ineffectually around the sinking plane which
may serve as a symbol of human chicanery that Harry, and perhaps mankind in
general, is incapable of resolving despite his idealistic desire for solutions
or justice.
“Night Moves” incites
distinctly different responses from viewers but I think its real strength is in
the humanity of its characters. Noir themes are explored but the film is not
cynical, glib or stylised. It is a nicely observed study of human
imperfections, relationships, responsibility, morality and, eventually,
existential nihilism, with a commanding and engaging central performance from
Gene Hackman and purposeful direction from Arthur Penn.
My thanks for taking the
time to read this article. I hope you found it of some value.
Stuart Fernie (stuartfernie@yahoo.co.uk)
