Review: Mirage

Gregory Peck plays David Stillwell, who we first meet during a blackout and running into a woman (Diane Baker) who is very upset that David doesn’t recognise her. In fact, David has very much trouble remembering anything that has happened in the last two years, though he does seem to recall that he is a cost accountant and his place of business. Meanwhile, someone has fallen to their death in the same building David had been in during the blackout. However, when David goes back to the building to visit his office, he finds it’s no longer where it’s supposed to be, and the doorman no longer recognises him. It does soon appear, however, that someone is after David, and his life is in danger. He tries to investigate the possible cause of his two-year amnesia and current state of confusion, but is met with anger by medical professionals (particularly Robert H. Harris) who think he’s trying to get off on a trumped-up technicality for a court case. Desperate, he seeks the assistance of an inexperienced gumshoe (Walter Matthau) who doesn’t really believe his story, but is certainly intrigued. George Kennedy plays a thug, Jack Weston a sleazy would-be assassin, Kevin J. McCarthy a work colleague of David’s, and Leif Erickson turns up at the end as ‘The Major’.

 

Even today, filmmakers are occasionally trying to replicate what The Master achieved by making Hitchcockian thrillers of their own. Very few, if many have managed to pull it off, but in 1965 director Edward Dmytryk (“The Caine Mutiny”, “Broken Lance”, “Warlock”) and screenwriter Peter Stone (“Skin Game”, “Charade”, “The Taking of Pelham 1, 2, 3”) came out with one of the better ones, with this highly intriguing and enjoyable adaptation of a Howard Fast novel. It’s a really good yarn, with the instantly and effortlessly empathetic Gregory Peck a fine choice in the lead, backed up by an excellent cast of character actors.

 

Of all the movies that have been made about a character who is just as in the dark about his circumstance as the audience, this may be the best. Beginning the film with a death, a blackout, and a main character in a confused state, has the audience immediately on edge. You’re fascinated to see where it’s all headed. Although he’s very confused and increasingly cranky about his current circumstance, Peck has an innate likeability and integrity that has you warming to him in quick fashion.

 

The B&W cinematography by Joseph P. MacDonald (“The Young Lions”, “Warlock”, “The Carpetbaggers”) is expert. Just look at Kevin J. McCarthy’s first scene where MacDonald lights him in what can only be described as Satanic fashion, leading you to suspect his motives immediately or at least keep your guard up. Meanwhile, Quincy Jones (“In the Heat of the Night”, “The Slender Thread”) is far from my favourite film composer, but this is easily his best work, it’s a bit Bernard Herrmann-esque at times. The supporting cast is excellent, with sleazy Jack Weston, the stunningly beautiful Diane Baker, and a scene-stealing Walter Matthau (as a cluey, but not very experienced gumshoe) especially standing out. Meanwhile, George Kennedy doesn’t get a lot of screen time, but his hulking frame gets the job done well-enough.

 

“Charade” meets “North By Northwest” in this intriguing thriller that The Master would probably have appreciated. The cast is excellent, as are the cinematography and music score. The plot fascinating. This one’s an underrated, unheralded gem of its type and well worth seeking out.

 

Rating: B+