Seconds (1966)

The final film of John Frankenheimer's so-called Paranoia Trilogy (comprised also of The Manchurian Candidate and Seven Days in May) is essentially a feature-length Twilight Zone episode. Despite its weak second act, Seconds stands as a prime example of 1960s paranoia film, and offers a chilling and disturbing commentary on human nature.

Arthur Hamilton (John Randolph) is a burnt-out old man who feels as if he has come to the end of a mundane, useless life, and now decides to start fresh with the help of a secret company. He is surgically given a new body, as well as a new identity, occupation, and place of residence -- now as Tony Wilson (played by Rock Hudson).

After Arthur's transformation into Tony, the movie takes a sharp left turn to show us Tony's ridiculously wealthy lifestyle, climaxing in a wine-making orgy that almost seems out of place. Frankenheimer admitted that the middle of the movie was its weak link, and the awkward dialogue and lack of forward motion cripple the film during this sequence. But before too long, it's back on paranoid track. All of the elements of the film fall into place with one of the most chilling and ironic third acts of any movie. Frankenheimer's television-based directorial style offers endless static shots, contrasted to frantic documentary-like camera work, all in stark black and white, with a subtle, creepy score by Jerry Goldsmith.

While flawed, Seconds represents innovative, minimalist 60s filmmaking at its best. Also of note is Frankenheimer's use of the camera mounted onto an actor's body, a technique later used by Darren Aronofsky in Pi and Requiem for a Dream. Though this is an unknown film, it is certainly a disturbing and rewarding watch.