" The Parallax View is in a sense a meta-conspiracy film: a film not only about conspiracies but about the impotence of attempts to uncover them; or, much worse than that, about the way in which particular kinds of investigation feed the very conspiracies they intend to uncover. It is not only that the Warren Beatty character is framed/killed for the crime he is investigating, neatly eliminating him and undermining his investigations with one pull of a corporate assassins trigger; it’s that, as Jameson noted in his commentary on the film in The Geopolitical Aesthetic , his very tenacity, quasi-sociopathic individualism, make him eminently frameable.
The terrifying climactic moment of The Parallax View – when the silhouette of Beatty’s anonymous assassin appears against migraine-white space – for me now rhymes with the open door at the end of a very different film, Peter Weir’s The Truman Show . But where the door in the horizon opening onto black space at the end of Weir
“The West won the world not by the superiority of its ideas or values or religion (to which few members of other civilizations were converted) but rather by its superiority in applying organized violence. Westerners often forget this fact; non-Westerners never do.” —Samuel P. Huntington, The Clash of Civilisation and the Remaking of the World Order, 1996, p. 51