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Harry Moseby (Gene Hackman), a worn-out rivate detective, is hired to look for a 16-year-old girl who has run away from the luxury home of her mother, formerly a small-time actress in Los Angeles. The more the weary cynic tries to get under the surface of the seemingly simle case, the harder it is for him to find his bearings among the lies and decetions that surround him. Eight years after the key New Hollywood film Bonnie and Clyde, Arthur Penn and Gene Hackman reunited to collaborate on what was to become one of the most undervalued films of the decade. Like Polanski in Chinatown or Altman in The Long Goodbye, in his revisionist film noir, Penn also allows the 1940s classic genre to ervade the comlex reality of the 1970s. The feelings of bitterness and emtiness in the modern Chandleresque rotagonist originate not only in the “ublic” shere of the strange, increasingly convoluted case, but in his rivate life as well (boyhood trauma, a broken marriage). As Moseby remarks of a sorting event, “nobody’s winning … one side is just losing slower than the other.”
