![]() ![]() Turner-code name “Condor”-must comb through books, newspapers and magazines from all over the world to look for hidden meanings. The story centers on Joseph Turner (Robert Redford), who works in an office in New York that fronts as the “American Literary Historical Society.” The office is a cover for a department of the CIA that reads “everything,” according to supervisor Higgins (Cliff Robertson). If there’s no distinction between wrong and right, then trust can’t possibly exist. In a film concerned with trust, morality and power, Three Days of the Condor raises an important question: how does one determine who to trust in an environment that’s falsely predicated on trust? In three days of violence, corruption and disillusionment, our protagonist comes to a disheartening conclusion. ![]() The film’s protagonist, who works to protect a way of life anchored on moral principles, begins to question the ethical reliability of those in charge. ![]() Sydney Pollack’s Three Days of the Condor (1975) presents the modern world as a place where the distinction between right and wrong, specifically for those working in U.S. In a three-day-long descent into violence, corruption and disillusionment, Turner learns that if there’s no distinction between wrong and right, then trust can’t possibly exist. When he learns that CIA higher-ups are responsible, Joe must stay alive until he figures out whom he can trust. Turner’s world turns upside-down when he returns from lunch to find all of his co-workers dead. This proves to be problematic for Joseph Turner, a bookish CIA analyst who is primarily characterized by his steadfast morality and innate trust in others. Quick Answer: In Sydney Pollack’s Three Days of the Condor, the line between right and wrong is blurry, if not nonexistent. ![]()
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