In my opinion, John Frankenheimer’s The Manchurian Candidate exemplifies the “eyes theory” by John Boorstin. It is one that puts you through all three movies: the voyeuristic, vicarious, and visceral. The 1962 film, The Manchurian Candidate, was an excellent example of fine editing. Good editing is something that is very hard to define. In order to judge a movie based solely on editing you must imagine what was cut from the original sequence. However, it is almost impossible from a logical point of view to really solve this puzzle, but what you can do is break down editing into two parts. That is, the micro level and the macro level of editing. Even after its release date fifty-three years ago this film is still not dated. The Manchurian Candidate…show more content… At the start the film during the “dream sequence” I got a feel for the movie I was about to watch. This attention grabber caught me off guard right away and was unlike any film that I’ve seen from this period in film history. I think the pace of the film was magnificent, Major Ben Marco and his fellow soldiers were all experiencing the same nightmare and I think the film editor spaced this out and brought it all back together superbly. I liked how the editor was able to slow down or speed up this pace of film and give a shot a certain feel in order to allow the multiple different genres within The Manchurian Candidate. From one scene to the next the production team was able to give different tones to the film, one sequence could give you that edge of your seat thriller feeling while just a few moments later it could be a political satire. I just got this feeling from The Manchurian Candidate that I have not from any other films from its time. It is hard to describe, but it was solely based on the successful editing and mash up of micro and macro level techniques. Each scene flowed with the next not allowing for awkward mishaps all while creating excellent plot development and character