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The new Atlantic has a sharp essay by senior editor Ross Douthat about the return of the 70s "paranoid style" in movies made since the Iraq war began. Not only does it connect espionage thrillers like Syriana (pictured), The Good Shepherd, and The Bourne Ultimatum to their Watergate-era counterparts The Conversation (1974), The Parallax View (1974), and  Three Days of the Condor (1975), but it astutely notes the new boom in slasher and vigilante movies, both staples of the 70s crisis of confidence. Douthat closes with the debatable but still interesting argument that the new movies are more of a retro party than a profound expression of the national psyche. A great read—check it out.

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Kifah Foutah
March 14th - 12:26 a.m.
Good suggestion! this is an idea that many I know have suggested or gathered, but that few have written about in depth so far. I'll definitely check it out.
BJW
March 17th - 12:38 a.m.
I'd say Michael Clayton harkens back to those movies as well, which I guess puts Clooney on the front lines of this little revival.
JD
March 19th - 11:07 a.m.
Good call on Michael Clayton. Clooney and Soderbergh have stated numerous times in interviews their admiration of '70s cinema.

And let's not forget the whole boom of horror films harkening back to their '70s counterparts. Forgettable remakes of Texas Chainsaw Massacre, The Omen, The Wicker Man, Dawn of the Dead, etc. Also, Rob Zombie - who is a huge fan of this decade of cinema - with an unabashed love letter to '70s cinema with The Devil's Rejects. And, of course, his remake of another '70s horror classic, Halloween
DigitalTramp
March 20th - 10:12 p.m.
What was it, innocence?

Those 70’s era films, especially the horror, work better than their millennial copycats, which come across as calculated and formulaically lifeless. These recent political thrillers fare (and may be) better. It reminds me of the stripped down rock ‘n’ roll renaissance that has occurred since the 90’s – their 60’s and 70’s inspirations also seemed to benefit dramatically from an innocence, breaking new ground with a raw manifest destiny.

Not that there isn’t the occasional, glorious exception.
Robert
March 30th - 3:02 p.m.
There's an interview with Sydney Pollack, the director of "Three Days of the Condor," in a new book called "... What I Really Want to Do Is Produce: Top Producers Talk Movies and Money" by Helen de Winter. At one point he's asked "Would 'Three Days of the Condor' be green-lit today?" Pollack answers, "I don't know. The climate has changed. At the time that film was critical of the CIA in a certain way, because that was the political climate of the US in the 1970s. Back then, we were outraged as we were learning stuff that we had done. But that's not the feeling today."

That interview was conducted in June of 2003, however, three months into the Iraq war. It wasn't until 2004 that it was confirmed there were never any WMDs stockpiled in Iraq, right? And now that we're five years into this war, not to mention the war in Afghanistan ...



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