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What if someone offered you the chance to begin again, with a new life that was organized to be exactly what you wanted it to be? That*s what the organization offers some wealthy people. They find a life that is what their clients would have wanted, artist, writer, politician, kill the person who is to be replaced and surgically alter their clients to take their places. We follow a new client from first contact, through his staged death, to surgery, recovery and replacement. Of course that*s when things become complicated.





What*s most unsettling about the entire experience in this film is how it*s treated like an ordinary consumer product. In deep hypnosis, a man reveals his desire to become a painter. So he is set up as an established painter, who has already given shows, sold paintings, and established himself. If a new life can become the ultimate pre-packaged consumer product, then why not pre-package creativity to go with it? The man becomes as unsettled as we are, and launches himself on an odyssey to discover where his two lives went wrong, but his steps are shadowed by other “re-borns.”

The man is played first by John Randolph and then, once he enters his new life, by Rock Hudson. The two men look somewhat alike, and adopt the same mannerisms for the film (Randolph learned to do everything left-handed, like Hudson).

In both phases, he is a quiet man who keeps his own counsel and his own thoughts. He is seemingly freer in his new life, but finds himself always apologizing for his outbursts of joy, and always being told “this isn*t like you.” In a revealing scene, in which Hudson visits Randolph*s aging wife, she implies that she had an inkling of his dissatisfaction all along, as if his withdrawn silence were a protest against the American dream he won, only to find it an empty victory.





Frankenheimer directs Seconds as the nightmare that it is, with many of the same wonky camera angles he used in The Manchurian Candidate. He is completely comfortable in the long shot and the close-up, as well as in long, unbroken takes, and several fantastically-edited, angst-ridden sequences. A veteran of television*s early days, Frankenheimer surrounds Hudson and Randolph with reliable character actors from the 1950s and 1960s, who are able to sketch their roles with quick professionalism. Among them is Murray Hamilton, one of cinema*s great cuckolds (he was Mr. Robinson in The Graduate) and the embodiment of inept local government (he was the mayor from Jaws).

Seconds also features some great technical credits, with rich black-and-white cinematography and deep-focus from James Wong Howe. His hand-held work on many sequences, including two parties, combines that great, unkempt feel of the *60s and *70s with the more self-conscious, meticulous camera movements of cinematic voyeurs like Hitchcock. There*s also an eerie score from Jerry Goldsmith, and the sound, well, there*s one brief, hardly noticeable sound effect of a drill near the end that*s just perfect.





El otro Sr. Hamilton. Un hombre de negocios con una vida rutinaria recibe la llamada de un amigo supuestamente fallecido. Al poco tiempo, recibe una oferta singular: una empresa le ofrece �renacer�, proporcion�ndole la vida que siempre hab�a deseado.

John Frankenhemimer ya hab�a mostrado la aberraci�n que deriva de una mala aplicaci�n del conocimiento cient�fico en �El Mensajero del Miedo� (The Manchurian Candidate, 1962). Con �El Otro Se�or Hamilton�, basada en el libro de David Ely, el director nos sumerje de nuevo en su visi�n pesimista del progreso y en el de una sociedad abocada a la p�rdida de referencias. Es un film arriesgado, con di�logos fr�os y personajes que parecen inacabados. Pero por otro lado son los mismos elementos los que le dan consistencia a la pel�cula, porque el pesimismo que Frankenheimer nos quiere transmitir sobre nuestro futuro es as�: fr�o e incompleto.
La pel�cula est� protagonizada por un excelente Rock Hudson, alejado ya de los papeles de gal�n y supermacho, interpretando a un hombre cincuent�n que se ve transtornado por un s�bito cambio de vida. Lo acompa�an una desconocida Salome Jens y un contrastado John Randolph.

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