| Robert Redford | ... | Joseph Turner / The Condor | |
| Faye Dunaway | ... | Kathy Hale | |
| Cliff Robertson | ... | J. Higgins | |
| Max von Sydow | ... | G. Joubert (as Max Von Sydow) | |
| John Houseman | ... | Mr. Wabash | |
| Addison Powell | ... | Leonard Atwood | |
| Walter McGinn | ... | Sam Barber | |
| Tina Chen | ... | Janice Chon | |
| Michael Kane | ... | S.W. Wicks | |
| Don McHenry | ... | Dr. Ferdinand Lappe | |
| Michael B. Miller | ... | Fowler (as Michael Miller) | |
| Jess Osuna | ... | The Major | |
| Dino Narizzano | ... | Harold | |
| Helen Stenborg | ... | Mrs. Edwina Russell (as Helen Stenbure) | |
| Patrick Gorman | ... | Martin | |
| Hansford Rowe | ... | Jennings (also as Hansford Rolle) (as Hansford H. Rowe Jr.) | |
| Carlin Glynn | ... | Mae Barber (as Carlin Gylnn) | |
| Hank Garrett | ... | Mailman | |
| Arthur French | ... | Messenger | |
| Jay Devlin | ... | Tall Thin Man | |
| Frank Savino | ... | Jimmy | |
| Robert Phalen | ... | Newberry | |
| John Randolph Jones | ... | Beefy Man | |
| Garrison Phillips | ... | Hutton | |
| Lee Steele | ... | Heidegger | |
| Ed Crowley | ... | Ordinance Man | |
| John Connell | ... | TV Reporter | |
| Norman Bush | ... | Alice Lieutenant | |
| James Keane | ... | Store Clerk | |
| Ed Setrakian | ... | Customer | |
| Myron Natwick | ... | Civilian | |
| Michael Prince | ... | Civilian | |
| Carol Gustafson | ... | Landlady | |
| Sal Schillizzi | ... | Locksmith | |
| Harmon William | ... | CIA Agent | |
| David Bowman | ... | Telephone Worker | |
| Eileen Gordon | ... | CIA Receptionist | |
| Robert Dahdah | ... | Santa Claus | |
| Steve Bonino | ... | Kid | |
| Jennifer Rose | ... | Kid | |
| David Allen | ... | Kid | |
| Glenn Ferguson | ... | Kid | |
| Paul Dwyer | ... | Kid | |
| Marian Swan | ... | Nurse | |
| Dorothi Fox | ... | Nurse | |
| Ernest Harden Jr. | ... | Teenager | |
| rest of cast listed alphabetically: | |||
| Beverly Goodman | ... | Girl (uncredited) | |
| Russell Johnson | ... | Intelligence Officer at Briefing (uncredited) | |
| Bruce Moreno | ... | Computer Operator (uncredited) | |
| Lauren Simon | ... | Neighbor in Elevator (uncredited) | |
Directed by | |||
| Sydney Pollack | |||
Writing credits | ||
| James Grady | (novel "Six Days of the Condor") | |
| Lorenzo Semple Jr. | (screenplay) and | |
| David Rayfiel | (screenplay) | |
Produced by | |||
| Stanley Schneider | .... | producer | |
| Dino De Laurentiis | .... | executive producer (uncredited) | |
Original Music by | |||
| Dave Grusin | |||
Cinematography by | |||
| Owen Roizman | |||
Film Editing by | |||
| Don Guidice | |||
Casting by | |||
| Shirley Rich | |||
Production Design by | |||
| Stephen B. Grimes | (as Stephen Grimes) | ||
Art Direction by | |||
| Gene Rudolf | |||
Set Decoration by | |||
| George DeTitta Sr. | (as George DeTitta) | ||
Costume Design by | |||
| Joseph G. Aulisi | (as Joseph C. Aulisi) | ||
Makeup Department | |||
| Susan Germaine | .... | hairdresser: Ms. Dunaway | |
| Lee Harman | .... | makeup artist: Ms. Dunaway (as Lee Harmon) | |
| Gary Liddiard | .... | makeup artist | |
| Bob O'Bradovich | .... | makeup artist | |
Production Management | |||
| Paul Ganapoler | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Michael Haley | .... | second assistant director (as Mike Haley) | |
| Kim Kurumada | .... | second assistant director | |
| Peter R. Scoppa | .... | first assistant director (as Pete Scoppa) | |
| Ralph S. Singleton | .... | second assistant director (as Ralph Singleton) | |
Art Department | |||
| Alan Levine | .... | property master (as Allan Levine) | |
| Bruno Robotti | .... | master scenic | |
Sound Department | |||
| Dennis Maitland | .... | production sound | |
| Arthur Piantadosi | .... | sound re-recordist | |
| Josef von Stroheim | .... | sound editor (as Josef E. Von Stroheim) | |
Special Effects by | |||
| Augie Lohman | .... | special effects | |
Stunts | |||
| Dean Smith | .... | stunt double (uncredited) | |
Camera and Electrical Department | |||
| Enrique Bravo | .... | camera operator | |
| Dusty Wallace | .... | gaffer | |
| Robert Ward | .... | key grip | |
| Holly Bower | .... | special photographer (uncredited) | |
| Brian Hamill | .... | still photographer: special assignment (uncredited) | |
| Gary Muller | .... | second assistant camera (uncredited) | |
| Tom Priestley Jr. | .... | assistant camera (uncredited) | |
Costume and Wardrobe Department | |||
| Joseph W. Dehn | .... | wardrobe | |
| Bernie Pollack | .... | wardrobe | |
| Bernie Pollack | .... | costume supervisor (uncredited) | |
Editorial Department | |||
| Fredric Steinkamp | .... | supervising editor | |
Music Department | |||
| Ted Whitfield | .... | music editor | |
Other crew | |||
| Theoni V. Aldredge | .... | clothes: Ms. Dunaway | |
| Michael Britton | .... | location coordinator | |
| Dino De Laurentiis | .... | presenter | |
| Federico De Laurentiis | .... | assistant to producer | |
| Sam Goldrich | .... | production accountant | |
| Maggie James | .... | script supervisor | |
| Adeline Leonard Seakwood | .... | office coordinator (as Adeline Leonard) | |
| Phill Norman | .... | title designer | |
| Frans J. Afman | .... | financial services (uncredited) | |
| Stephen A. Glanzrock | .... | production assistant (uncredited) | |
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| Strangers on a Train | No Way Out | Marie Galante | The Pelican Brief | Enemy of the State |
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Sidney Pollack is a great admirer of Alfred Hitchcock, which he also proved with "The Interpreter". Apparently he loves suspenseful thrillers and I sure hope for him that his movies will age as well as those that Hitchcock made. And I guess they do. Even though it was made thirty years ago, "Three Days of the Condor" still hasn't lost any of its power. Sure, you could call it a typical product of the seventies, but even today this movie feels up-to-date and believable.
Turner works for the American Literary Historical Society, or at least so it seems. In reality he is a CIA researcher, with the code name Condor, who gets paid to read books, in which he has to find possible scenarios that could be used in intelligence work. When he returns to his office after he went out to get lunch, he finds all his colleagues dead and he doesn't know who shot them. He immediately calls a superior who sends his section chief to get him out of there. But when the man arrives, he immediately opens fire on Turner. In an act of pure desperation - he no longer knows who he can trust - Turner kidnaps a woman he has never seen before and forces her to hide him. He will stay in her house until he can find out what exactly is going on. But even there he isn't save. He is discovered and attacked in the woman's house, but is able to kill the man. Now he knows one thing for sure: the man too had a connection to the CIA, which means that someone in the CIA must be behind all this...
I guess the best thing about this movie is the fact that it doesn't give away all its information at once. At first Turner appears to be an ordinary guy who arrives late for work. Nothing special there. But because he gradually builds up tension by slightly releasing more information, the writer knows how to keep you focused and interested. I guess the best way to describe this movie is calling it a classic spy thriller without James Bond-like locations or bad guys and and no super hero who can beat all the bad guys with a blink of an eye. No, this is a normal man who was at the wrong place at the wrong time and who now has to face an unusual and life threatening situation. I guess that's where this movie gets its strength: you can easily identify with him, even though he is a spy.
And yes, the whole concept of the movie is very seventies: the paranoia towards the government, the insecurity of not knowing who your enemies or your friends are... all give it that typical feeling. but even today this movie hasn't lost any of its power or relevance. All in all this is a very good and stylish thriller that offers plenty of tension and some very nice acting. Especially Robert Redford and Faye Dunaway were very nice to watch, but the other actors did a fine job too. Thanks to the combination of the acting, a good story and some nice camera-work, Pollack has created a movie Hitchcock might have been proud of if he had done it. That's why I give this movie a 7.5/10.