Opinions | John Frankenheimer Pointed His Camera Toward the Things We Cannot Escape
It doesn’t, of course. He is still stuck and still lost and still alienated from himself. “The body is reborn,” wrote the critic David Sterritt in his 2013 essay on the film, “but the spirit stays dead.” In desperation, Hamilton/Wilson returns to the nameless — although not faceless — the company that gave him his new life and pleaded for a second secondchance. It obliges, in a way, to bring the film to its shocking, sobering conclusion. Somewhat unusual among Hollywood directors of the time, Frankenheimer was, noted Sterritt, preoccupied with the darker side of the 1960s: