Seconds (1966) is John Frankenheimer's criminally overlooked monolith of paranoia, part science fiction, part body horror, part noir thriller cum black comedy, a film found at the intersection of the post-McCarthy mindset, European art cinema, the suburban identity nightmares of The Twilight Zone and the mid-life crises of masculinity aroused by 1960s counterculture. Arguably the bleakest mainstream Hollywood film ever made, it was famously booed at its Cannes unveiling and was a box office failure upon release. And while the film’s critical reception has gradually turned to acknowledge its significance in the scheme of American cinema, throughout the wider science fiction film community, it remains surprisingly under appreciated.
This Constellation sets out to shed light on the film’s many attributes, from its stylistic significance to its political commentary, countering the critical dismissal of a film suffering from ‘personality disorder’ to suggest that, instead, Seconds turned its inner identity crisis from a vice into a virtue. In the spirit of the finest science fiction, Seconds is both emblematic of the time in which it was made and perpetually relevant to new audiences as a portent of things to come – or, for that matter, a startling reveal of the hidden here and now.
'Jez Conolly and Emma Westwood have crafted an incisive and riveting study of this long-underrated mainstream oddity... You’ll come away from this compact but thorough love-letter to a once unloved piece with the urge to revisit Seconds immediately.'
Steven West, Cinemacabre
'[The book] is a joyously discursive journey into the making of Seconds, its influences and where it sits in the culture... [Conolly and Westwood's] analysis of the making of the film can only be described as loving and highly nuanced...Seconds is a rich, rewarding study, and another excellent monograph published by Auteur'
Andrew Nette, Pulp Curry
'This is one of the best books on a single film that I’ve read in a long time. For one thing, it is endless allusive and referential, shows wide learning and media understanding, constantly surprises, and makes fascinating connections.'
Douglas Holm, KBOO