A real thriller depicting a non-conventional 'hero' who manages to uncover a dark plot though his intelligence rather than his physique and brute strength. Redford lives up to the expectations of a hero as he manages to stay ahead of the game and situation at hand, all through his intellectual power that he accumulated through his CIA career (with respect to the film).Very well presented, and the film kept me hooked up for all the 117 minutes. An interesting plot that builds up nicely and engages the viewer to participate in uncovering the truth when all his dear colleagues have been assassinated.

THREE DAYS OF THE CONDOR is one of those classic '70s thrillers that's all about paranoia and the mistrust of government entities. It has the same low key and gritty approach as other '70s greats as MARATHON MAN and SERPICO, and yet as a film it's quite unique, depicting the events in a mature, deeply political way that ignores stock action sequences in favour of surprising character twists and the like. Robert Redford is very well cast as a somewhat ignorant CIA agent who survives the brutal opening massacre sequence (an astonishing sequence) only to go on the wrong as assassins and corrupt agents close in. I could have done without the sub-plot involving Faye Dunaway's extraneous character, but I understand the value of its presence in humanising the main characters. The rest is an solid exercise in film-making, subdued and involving, surprising and engaging. Watch out for Max Von Sydow in one of his best roles.

I don't know what it is about this film that I like so much. Is it the idea of Robert Redford as the everyman, in over his head? Is it the beautiful Faye Dunaway, who is sexy and formidable? Is it Max Von Sydow from all those Bergman films holding forth on how the world is controlled by a small group of people? Then there is the constant pursuit where wits are needed or it's the end. So a previous reviewer talked about Hitchcock. This is a fast pace Hitchcock film. Like Cary Grant and Robert Donat, Robert Redford is only able to survive the overwhelming odds by getting a confederate, a woman, to help him. Redford is continually amazed at how he has left one frying pan to leap into the fire. And in the end, we are given one of those very unsettling statements that floor us. Watch this really cool film to see where all this goes.

A timeless and nearly perfect, trenchantly suspenseful gem. Shy of a masterpiece only due to points subtracted for minor period-associated chintz, as well as a slightly ambiguous, minimally confusing story line.Although it is a certifiable CIA spy thriller, complete with uniquely choreographed and unforgettable action sequences, the film is seasoned-- thankfully with just the right amount-- of a smartly interwoven romance between Redford and Dunaway.The pair are an inexplicably perfect match not only for each other, but also for the manner in which they romantically connect, and in so doing define and tastefully season via their elegantly directed partnership.They share a rare and magical cinematic chemistry, and are able to evoke an intensely personal and poignant connection, with The City of New York as if a character in its own right, as Owen Roizman's dreamlike cinematography provides an ethereal backdrop to Sydney Pollack's well-suited, complementary directing.