(Lamont Johnson, 1972)
This psychological espionage flick has a great sneering turn by George Peppard as the bad cop, persecuting amnesia victim Michael Sarrazin for a murder he can't remember committing. George's passion for surveillance results in a variety of multimedia eavesdropping scenes, adding to a generally angular, percussive production - from the crisp television-style shooting to Paul Hoffert's unpredictable score to the funky flashbacks, things keep on moving, and there's a reasonable amount of wit to the dialogue. But the big reveal at the climax is nothing memorable, and after that the movie screeches to a halt before it has really ended.
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