Three Days Of The Condor full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Joe Turner (Robert Redford) is a bookish CIA analyst, code named "Condor". He works at the American Literary Historical Society in New York City, which is actually a clandestine CIA office. The seven staff members read books, newspapers, and magazines from around the world, looking for hidden meanings and other useful information. Turner files a report to CIA headquarters on a thriller novel with some strange plot elements, noting the unusual assortment of languages it has been translated into.

On the day Turner is expecting a response to his report, he steps out to pick up staff lunches at a nearby deli. Meanwhile, armed men enter the office and murder the other six staffers. Turner returns to find his coworkers dead and, frightened, he grabs a gun and exits the building. He contacts the CIA's New York headquarters in the World Trade Center from a phone booth and is given instructions to meet his Head of Department (Wicks), who will bring him to safety. The rendezvous, however, is a trap. Wicks shoots an accompanying CIA staffer and attempts to kill Turner, who wounds Wicks before escaping.

Turner encounters a woman, Kathy Hale (Faye Dunaway), and forces her to take him to her apartment. He holds Hale hostage while he attempts to figure out what is happening. Hale slowly comes to trust Turner, and they become lovers. However, Joubert (Max von Sydow), a foreigner who led the massacre of Turner's co-workers, discovers Turner's hiding place. A hitman (Hank Garrett), disguised as a mailman, arrives at Hales apartment, but Turner kills him.

Concluding that no one within "the Company" can be trusted, Turner plays a cat-and-mouse game with Higgins (Cliff Robertson), deputy director of the CIA's New York division. With Hale's help, Turner abducts Higgins, who identifies Joubert as a freelance assassin who has undertaken assignments for the CIA. Back at his office, Higgins discovers that the "mailman" who attacked Turner worked with Joubert on a previous operation. Their CIA case officer was Wicks.

Meanwhile, Turner discovers Joubert's location by utilizing his US Army Signals Corps training to trace a call from his hotel room. Turner also learns the name and address of Leonard Atwood (Addison Powell), CIA Deputy Director of Operations for the Middle East. Turner confronts Atwood in Atwood's Washington area mansion, interrogates him at gunpoint, and learns that the report he had filed provided links to a rogue operation to seize Middle Eastern oil fields. Fearful of its disclosure, Atwood privately ordered Turner's section be eliminated.

As Atwood confirms this, Joubert enters and unexpectedly shoots the CIA deputy director. Atwood's superiors have hired Joubert to stage the suicide of someone who was about to become an embarrassment, overriding Atwood's original contract for Joubert to kill Turner. Joubert suggests that the resourceful Turner leave the country and even become an assassin himself. Turner rejects the suggestion but heeds Joubert's warning that the CIA will try to eliminate him as another embarrassment, possibly entrapping him through a trusted acquaintance.

Back in New York, Turner has a rendezvous with Higgins near Times Square. Higgins describes the oilfield plan as a contingency "game" that was planned within the CIA without approval from above. He defends the project, suggesting that when oil shortages cause a major economic crisis, Americans will demand that their comfortable lives be restored by any means necessary. Turner points to The New York Times building and says he has "told them a story". Higgins is dismayed but questions whether Turner's whistleblowing will be published. "They'll print it", Turner defiantly replies. However, as "Condor" turns away, Higgins calls out that he is about to become a very lonely man.

Filming locations

Three Days of the Condor was filmed in various locations in New York City (including the World Trade Center, 55 East 77th Street, The Ansonia, and Central Park), New Jersey, and Washington D.C. (including the National Mall).

Box office

The film earned $8,925,000 in theatrical showings in North America.

Critical response

Rotten Tomatoes, a review aggregator, reports that 86% of 43 surveyed critics gave the film a positive review, and the average rating was 7.1/10; the site's consensus is: "This post-Watergate thriller captures the paranoid tenor of the times, thanks to Sydney Pollack's taut direction and excellent performances from Robert Redford and Faye Dunaway."

When first released, the film was reviewed positively by critic Vincent Canby, who wrote that the film "is no match for stories in your local newspaper", but it benefits from good acting and directing. Variety called it a B movie that was given a big budget despite its lack of substance. Roger Ebert wrote, "Three Days of the Condor is a well-made thriller, tense and involving, and the scary thing, in these months after Watergate, is that it's all too believable."

French philosopher Jean Baudrillard makes mention of the film as an example of a new genre of "retro cinema" in his essay on history in the now influential book, Simulacra and Simulation (1981):

In the 'real' as in cinema, there was history but there isn't any anymore. Today, the history that is 'given back' to us (precisely because it was taken from us) has no more of a relation to a 'historical real' than neofiguration in painting does to the classical figuration of the real...All, but not only, those historical films whose very perfection is disquieting: Chinatown, Three Days of the Condor, Barry Lyndon, 1900, All the President's Men, etc. One has the impression of it being a question of perfect remakes, of extraordinary montages that emerge more from a combinatory culture (or McLuhanesque mosaic), of large photo-, kino-, historicosynthesis machines, etc., rather than one of veritable films."

Some critics also described the film as a piece of political propaganda, as it was released soon after the "Family Jewels" scandal came to light in December 1974 which exposed a variety of CIA misconduct. However, in an interview with Jump Cut, Pollack explained that the film was written solely to be a spy thriller and that production on the film was nearly over by the time the Family Jewels revelations were made, so even if they had wanted to take advantage of them, it was far too late in the filmmaking process to do so. He said that despite both Pollack and Redford being well-known political liberals, they were only interested in making the film because an espionage thriller was a genre neither of them had previously explored.

I didn't want this picture to be judged; it’s a movie. I intended it always as a movie. I never had any pretensions about the picture and it’s making me very angry that I'm getting pretensions stuck on me like tails on a donkey. If I wanted to be pretentious, I'd take the CIA seal and advertise this movie and really take advantage of the headlines. Central Intelligence Agency, United States of America, Robert Redford, Faye Dunaway. And don't think it wasn't suggested—obviously, that’s what advertising people do. We really put our foot down—Redford and I—to absolutely stop that.

Wins

• Cartagena Film Festival: Golden India Catalina, Best Actor, Max von Sydow; 1976.
• David di Donatello Awards: Special David, Sydney Pollack, for the direction; 1976.
• Edgar Allan Poe Awards: Edgar; Best Motion Picture, Lorenzo Semple Jr. David Rayfiel; 1976.
• Kansas City Film Critics Circle Awards: KCFCC Award; Best Supporting Actor, Max von Sydow; 1976.
• Motion Picture Sound Editors: Golden Reel Award; Best Sound Editing - Sound Effects; 1976.

Nominations

• Academy Awards: Oscar; Film Editing, Fredric Steinkamp and Don Guidice; 1976.
• Cartagena Film Festival: Golden India Catalina; Best Film, Sydney Pollack; 1976.
• Golden Globe Awards: Golden Globe; Best Motion Picture Actress - Drama, Faye Dunaway; 1976.
• Grammy Awards: Grammy; Best Album of Original Score Written for a Motion Picture or Television Special, Dave Grusin; 1977.
• AFI's 100 Years...100 Thrills; 2001

In 1997, The Association of Danish Film Directors, on behalf of Pollack, sued Danmarks Radio, claiming that their broadcasting the film in a panned and scanned version violated his copyright. The case was unsuccessful, as the rights were not owned by Pollack personally in the first place. The case is believed to have been the first legal challenge to the practice of panning and scanning for broadcast on the grounds that it compromises the artistic integrity of an original film.

All music by Dave Grusin, except where noted.