Paper Man

Paper Man is a suspenseful American thriller from 1971 following the path of deception, intrigue, and crime. The film starring Dean Stockwell, Stefanie Powers, and James Stacy, under the deft guidance of Walter Grauman’s directorship, is a representation of a thought-provoking fusion of crime and technology in an era that was just starting to witness the dawn of digitalization.

The film masterfully explores the dangers inherent in the increasing reliance on technology in the early 70s. Dean Stockwell steps into the shoes of a computer programmer named Professor Emmett, who installs an intelligent computer system at a California university. He revels in the newfound power and potential of this technology, oblivious to the danger it could portend.

Stephanie Powers plays Karen, a research assistant who is assigned to help Professor Emmett. She is bright, full of life and bears a nuanced understanding of the emerging digital scene. The evergreen and rugged James Stacy plays Paul, a former athlete, and Karen's boyfriend, adding another dimensional layer to the plot.

The story catapulted when a credit card mishap leads to an innocent man's murder. As the potential harm of the supercomputer begins to dawn on Emmett, he must navigate a web of intrigue, suspense, and looming danger. The film showcases how an error in the computer's super sophisticated programming can lead to real-world consequences, resulting in a tumultuous ripple effect.

The plot encompasses elements of paranoia, murder, and suspense as this group of academicians unexpectedly find themselves trying to solve a homicide case. The unpredictability of the advanced technology and the apparent perfection of the system only amplify the thrill.

Dean Stockwell’s performance as the computer genius embodies the unchecked ambition and character flaws we often associate with highly intelligent individuals. His interaction with the technology he himself has created provides a window into the complex relationship between humans and their creations. Stephanie Powers brings a needed balance to the madness with her more grounded approach to technology, while James Stacy brings urgency and brute force, taking on a more physical role in unraveling the mystery.

The film approaches the theme of artificial intelligence with the curiosity and fear typical of its time. The seemingly omnipotent computer system, with its ability to predict and manipulate, is carefully set up as a quiet but menacing antagonist. The complexity of the situation is stirred as each character's luck becomes intertwined with the whims and failures of the impressive but flawed programming.

The cinematography of Paper Man enhances the suspense and tension of the narrative. Dramatic close-ups, split-screen techniques and advanced-for-its-time special effects serve to amplify the inherent dramatic tension of the story. The camera deftly captures the chaotic momentum, often hinting at the inescapable trap the protagonists continuously find themselves in.

The screenplay by Richard De Roy and David Michael Korn is riveting and adeptly paced, allowing for the tension to escalate naturally rather than relying on cheap tricks of the genre. Walter Grauman's direction keeps the story engaging, constantly keeping the viewer on the edge of their seat.

The music score by Morton Stevens further accentuates the tension and contributes to the eerie atmosphere of the threat posed by the supercomputer. His composition swings between brooding, suspenseful rhythms and softer tones that complement the on-screen visuals and performances.

Paper Man is an essential watch for any movie lover searching for a classic suspense thriller with a mixture of technological intrigue. The performances of Dean Stockwell, Stefanie Powers and James Stacy navigate through a labyrinthine plot, never allowing the tension to deflate. Despite a rather dated view of technology, the story remains gripping and the moral dilemmas it poses still ring true. It’s a classic gem from the early 70s suspense genre which doesn’t shy away from experimenting with the notion of technology as a silent predator.