Frantic
Take a look back at Harrison Ford's movie career in photos.,Harrison Ford thought that "Frantic" was a misleading title for the film as the script didn't have a frantic pace. He suggested that "Moderately Disturbed" would be a more appropriate title. Roman Polanski wasn't amused.,Sondra's date of birth on the form at the US Embassy (14 April 1942) does not match what is shown on the closeup of her passport (3 July 47). The passport is Betty Buckley's actual birthday.,Michelle: What kind of music do you like?
Richard Walker: What? Oldies, I like oldies.
Michelle: Oldies? Yeah, me too. You like this?
["I've Seen This Face Before" by Grace Jones is playing on the radio]
Richard Walker: This? This is not old.
Michelle: Well, three, four years.,Opening credits roll up.,The film was cut by 5 minutes by the Film Censors of Singapore to remove drugs, a few shots of sex and intimacy, and some violence for a 'PG' certificate for cinema. The film had no VHS release, but had a DVD release. It was later re-rated with a 'NC-16' (16+) certificate in its uncut version for consumer advice: Drug References.,Featured in Siskel & Ebert: Frantic/Hairspray/Cop/Au Revoir Les Enfants/The Manchurian Candidate (1988),I've Seen That Face Before (Libertango)
Performed by Grace Jones
Composed by Astor Piazzolla
Written by Barry Reynolds, Dennis Wilkey, Nathalie Delon
(from the album "Island Life")
Courtesy of Island Records,What was truly amazing about Frantic was Polanski's ability to turn ordinary situations (finding and opening a briefcase, climbing on the stairs, grabbing the timing device, even driving from the airport) into extended and memorable scenes where the level of dramatic tension was extended to the point beyond slight interest.

Take the scene in the bedroom when Harrison Ford is originally searching for the briefcase and trying to open it up. Polanski does not end with the briefcase here. Later scenes involving it evoke a remembrance of the detail that went into crafting the first scene. Ford's trip onto the rooftop is treated the same way. The scene does not end with him neatly hiding on the roof. It is wracked with complications. The four sitting at the table about to grab the stolen timing device. Even the dance scene, surrounded with potential spies and unknowns, fills itself with Ford's eroticism and paranoia equally well.

The movie is filled with other examples like these, which make it a slow and delayed series of expectant occurences. The movie flows well from a sequence of dramatic sources of tension. I cannot believe that I had seen it earlier. It is truly a shame that Polanski is effectively banished from this country.,