Any film with Nazi dentists, diamonds, dodgy business dealings and secret government agencies is bound to have been made in the seventies. Standing shoulder to shoulder with films like The Parallax view and The Conversation, Marathon Man is symptomatic of the decade’s paranoid genre.
Once you immerse yourself in the hilariously seventies plot line, Marathon Man is a brilliant romp. It’s gloriously hectic and the crescendo climax that it arrives at delivers a great bite. What’s more, the acting talent is phenomenal. It’s the stuff dreams are made of. The established, traditional style of Laurence Olivier and the modern, method style of Dustin Hoffman combine powerfully. Indeed, it’s because of these two actors differences that they work so well together. Olivier’s Szell is theatrical, confident and proud, whereas Hoffman’s Thomas Levy is skittery, energetic and nervous.