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The new wave[edit]The New Wave of modern detective films may well begin with Jean-Luc Godard's offbeat Alphaville (1965) with its traditional, raincoat-and-fedora private eye placed in a futuristic, science fiction-based story. The film is part homage and part parody of the detective genre. Godard followed this with Made in U.S.A. (1966), a murder mystery greatly inspired by the Howard Hawks classic The Big Sleep. Here, Anna Karina plays a female version of Humphrey Bogart's hard boiled private detective character.Frank Sinatra is a cynical, Bogart-like gumshoe in Tony Rome (1967) and its sequel Lady in Cement (1968) — and a tough police investigator in The Detective (1968). John D. MacDonald wrote 21 Travis McGee novels, but only one, Darker than Amber (1970) was filmed. George Peppard is a traditional private detective in P.J. (1968). Robert Culp and Bill Cosby are hard-luck private eyes in the downbeat and violent Hickey & Boggs (1972). Burt Reynolds plays a tongue-in-cheek Shamus (1973), and Burt Lancaster is a retired cop turned sleuth in The Midnight Man (1974). Two of the finest examples star Gene Hackman in The Conversation (1974) and Night Moves (1975).The blaxploitation B-movie industry adopted the standard private detective format for several action-mysteries such as Trouble Man (1972), Black Eye (1974), Sheba, Baby (1975) starring Pam Grier, and Velvet Smooth (1976).Noteworthy police detective dramas of the period include The French film The Sleeping Car Murders (1965), In the Heat of the Night (winner of five Academy Awards, including Best Picture in 1967), Bullitt, Madigan (both 1968), Klute (1971), Electra Glide in Blue (1973), and two non-mysteries: Dirty Harry, and The French Connection (both 1971). The Parallax View (1974) is the first murder mystery structured around political assassinations and high-level conspiracies in America.
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