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Seconds Reviews
...viewing Seconds is like watching a story about 1960s America set in a haunted mansion that can only be viewed through the distortions of a funhouse mirror.
Frankenheimer fashioned a trippy motion picture that was ahead of its time, even if just by a few years (the 1970s would be crammed with post-Watergate paranoia pictures).
John Frankenheimer’s “Seconds” will linger a lot longer than the title suggests in the mind of anyone who chooses to watch it. In fact, it might be one of the most haunting American films to come out of the 1960s, or any decade for that matter.
[Rock] Hudson, an icon of good, clean romantic fun and stolid heroism, becomes the American hero unable to fathom this would-be paradise with shadowy edges and an unstable foundation.
Perhaps the director's most personal film, Seconds holds a deeply human message and marvelous cautionary tale, ever hopeful to viewers who heed its warning.
It is a brilliant, fascinating, weird and horrifying piece of work which probably will emerge as one of the best films of the year.
It's a little difficult to figure Rock Hudson in a chiller but he shows an unexpected professional acting quality in Seconds.
I think Mr. Frankenheimer was the one with bad dream. While the picture is superbly directed and has reasonably mature dialogue, he has failed to make the idea engrossing or convincing.
It suffers from more than a few faults, but anyone who appreciates film entertainment made by a master craftsman will enjoy this harrowing exercise in mounting suspense.
Seconds is an exceptionally original shocker, nicely balanced between plausibility and cruel fantasy.
It makes a dramatic actor out of the till now fashionably predictable farceur Rock Hudson. He's not great, but he puts together a pretty good fac-simile of a man suffering the tortures of the damned.
The half-world of twilight horror and stark realism that director John Frankenheimer probed so chillingly in The Manchurian Candidate has come under the Frankenheimer scalpel again in a remarkable motion picture called Seconds.
On the surface, this chilling film is a most stylish piece of horror. Its underlying and saddening truth makes it into a moral nightmare.
[Frankenheimer] succeeds in making the tale a weirdly absorbing thriller, full of twists and fascinating surprises, and that cinematographer James Wong Howe complements the eerie spell with his inventive black-and-white photography.
Perhaps the real trouble is that a brilliantly conceived idea is never really worked out beyond its first stage. Whatever might have been made of the idea after the personality-change, Frankenheimer's development of it falls decidedly flat.
Too utterly fantastic to be credible.
It's a harrowing little story, well adapted by John Lewis Carlino from David Ely's novel, and director John Frankenheimer, with the assistance of James Wong Howe's fluid black-and-white photography, has done it up in a stark and uncompromising style.
It isn't often that someone finds something new to say with the Faust legend, but John Frankenheimer has managed to come up with something that, while not completely satisfying is still engrossing.
Hudson, however, can't be blamed for the story going to pot. It never does regain the hypnotic appeal of the initial sequences. Yet Hudson actually turns in the most forcefully convincing performance of his career.
Unfortunately, any interest it might have is rapidly smothered by the deadly heaviness of the treatment, as the director fights desperately to lift himself by his own bootstraps into "significance."