The Passenger 1975
Directed by
Michelangelo Antonioni
Made by
Metro-Goldwyn-Mayer
The Passenger Plot Summary
Read the complete plot summary and ending explained for The Passenger (1975). From turning points to emotional moments, uncover what really happened and why it matters.
David Locke is a disaffected television journalist in northern Chad, hoping to interview rebels involved in a civil war. When interviewees prove scarce and his Land Rover is abandoned in a sand dune, he trudges back to his hotel. Exhausted, he discovers that a fellow guest, Robertson—an Englishman with whom he had formed a casual friendship—died in his room that same night. Seizing the opportunity, Locke switches identities with Robertson, whom he greatly resembles, and reports his own death at the front desk. He then collects Robertson’s belongings, including a pistol, an appointment book, and a passport, and alters the passport to bear his own photograph.
In London, Rachel Locke—Locke’s unfaithful wife—becomes guilt-ridden when she learns of his death. She enlists Martin Knight, a BBC producer and friend of her husband, to locate Robertson and piece together Locke’s final days. Locke, meanwhile, has flown to Munich, where an airport locker reveals a folder with a price-list and copied pages illustrating armaments. Acting on a whim, he follows a white horse and carriage to a wedding in a baroque chapel. At the end of the ceremony, two men who observed him at the airport confront him and demand the papers. After Locke hands over the papers from the locker, they give him an envelope of money and tell him that the second half is to be paid in Barcelona. It becomes clear that Robertson was an arms dealer for the rebels Locke had been trying to contact in Chad.
In Barcelona, Locke spots Knight again, who is pursuing Robertson. Locke encounters an architecture student, Girl, while hiding in Gaudí’s Palau Güell. Later, at La Pedrera, Locke asks the girl to fetch his belongings from the hotel so he won’t be seen by Knight, who is watching the lobby. Knight overhears them and speaks to her outside. She offers to take him to meet Robertson, but manages to lose him. She and Locke become lovers as they leave Barcelona, flush with cash from the down payment on undelivered arms. Locke remains drawn to the meeting promised in Robertson’s diary, but the contact does not show up; the men arranging the arms deal are abducted, interrogated, and beaten by hitmen working for the Chadian government.
Back in London, Rachel receives Locke’s belongings, and learns of his failed pursuit in Barcelona. She heads to Spain to find Locke, as the hitmen trail her, thinking she is after Robertson. Rachel receives help from Spanish police, but Locke and the girl stay one step ahead. With their getaway car damaged, Locke sends the girl away, instructing her to meet him three days later in Tangier. Virtually trapped, Locke checks into a hotel in Osuna, where the girl has rejoined and booked a double room posing as Mrs. Robertson. He tries to persuade her to leave, but she lingers around the dusty square outside. The hitmen arrive at the hotel and depart just before the police arrive with Rachel. The girl joins the pursuing group, and they find Locke dead in his room. When asked if they recognize him, Rachel says she never knew him, but the girl says, Yes.
The Passenger Timeline
Follow the complete movie timeline of The Passenger (1975) with every major event in chronological order. Great for understanding complex plots and story progression.
Chad assignment and desert setback
Locke, a disaffected television journalist, travels to northern Chad to interview rebel fighters. His Land Rover becomes stuck in a sand dune after being abandoned by guides, forcing him to hike back to his hotel through the Sahara. Exhausted, he discovers that a fellow guest, Robertson, has died in his room that same night.
Identity swap and fake death
Facing the evidence, Locke decides to assume Robertson's identity and reports his own death at the front desk to cover his tracks. He then seizes Robertson's belongings—the pistol, the appointment book, and the passport—and alters the passport photo to carry his own image.
London's aftermath and Knight's pursuit begins
In London, Locke's unfaithful wife Rachel is wracked with guilt when she learns of his purported death. She enlists Knight, a BBC producer, to track down Robertson and uncover what happened in Locke's last days.
Munich armaments stash and wedding
Locke flies to Munich and discovers an airport locker containing a folder with price-lists and photocopied pages about armaments. Acting on a whim, he follows a white horse and carriage to a wedding in a baroque chapel, where he waits at the back as the ceremony ends. Afterward, two men who saw him demand the papers; they give him money and tell him the second half is in Barcelona, revealing that Robertson was an arms dealer for the rebels.
Barcelona: Knight and the Girl
In Barcelona, Locke spots Knight, who is trying to find Robertson. He hides in a Gaudí building and encounters an architecture student known only as 'Girl.' Later at La Pedrera, Locke asks the girl to fetch his belongings from a hotel so Knight won't see him, but Knight overhears her retrieval outside.
Night pursuit: Knight's pursuit and the girl loses him
Knight overhears the girl collecting Locke's baggage and confronts her, leading to a tense exchange outside the building. The girl offers to take Locke to meet Robertson, but somehow Locke loses his pursuer.
Barcelona: lovers on the run and cash from arms deal
Locke and the girl become lovers as they flee Barcelona, flush with cash from the down payment on undelivered arms. The money fuels their escape, and Locke remains fixated on the scheduled meeting described in Robertson's diary.
The failed arms deal and hitmen
The planned contact in Robertson's diary does not show up; the men arranging the arms deal are abducted, interrogated, and beaten by hitmen working for the Chadian government. This sequence reveals the dangerous level of involvement and the stakes of Locke's impersonation.
Rachel pursues Locke to Spain
Back in London, Rachel receives Locke's belongings and opens the passport to find Robertson's photo pasted inside. Realizing the truth, she travels to Spain to find him, while the hitmen shadow her, believing she pursues Robertson.
Tangier plan and continued pursuit
As the pursuit intensifies, Locke sends the girl away with instructions to meet him three days later in Tangiers; he remains largely trapped and continues moving through Spain.
Osuna hotel arrival and cover story
Locke checks into a hotel in Osuna, where the girl returns and books a double room posing as Mrs. Robertson to stay close. He tries to persuade her to leave, but she stays by his side as they ride out the danger.
Osuna: the hits and the end
Hitmen arrive but depart just before the police; Rachel arrives with the Spanish police, and the girl joins them in pursuing Locke. The police discover Locke dead in his Osuna hotel room, and the final exchange leaves Rachel claiming she never knew him while the girl says 'Yes', recognizing him.
The Passenger Characters
Explore all characters from The Passenger (1975). Get detailed profiles with their roles, arcs, and key relationships explained.
David Locke (Jack Nicholson)
A disaffected television journalist who orchestrates the swap with the dead man to escape danger. He is resourceful, morally ambiguous, and fiercely determined, using deception as a tool for survival. Across deserts and cities, he maneuvers through a web of conspiracies while chasing a precarious freedom.
Girl (Maria Schneider)
An architecture student Locke encounters in Barcelona who becomes his ally and lover. She is street-smart, curious, and capable of improvising under pressure, helping Locke navigate between allies and enemies. Her presence adds a human, emotional layer to the chase.
Stephen Knight (Steven Berkoff)
A BBC producer named Knight who is actively pursuing Robertson, representing institutional media and oversight in the pursuit of truth. He embodies the professional interests and manipulations that accompany political intrigue. His actions heighten the sense that information itself is a valued currency.
David Robertson (Charles Mulvehill)
An Englishman who appears to be Locke’s counterpart and an arms dealer for rebel groups. His death catalyzes Locke’s need to assume Robertson’s identity and complete the precarious trade. He is a key link between personal disguise and geopolitical commerce.
Rachel Locke (Jenny Runacre)
Locke’s wife, guilt-stricken by her husband’s made-up death and driven to uncover the truth. Her pursuit intersects with law enforcement and Locke’s own fugitive path, intensifying the pressure on Locke’s disguise. Her actions propel the emotional and moral stakes of the story.
Police Inspector (Ángel del Pozo)
Spanish authorities involved in tracking down Locke and the wider danger surrounding the alienated identity. Though uncredited, the inspector represents law and order encroaching on Locke’s makeshift existence. His role heightens the sense of an inescapable net closing in.
The Passenger Settings
Learn where and when The Passenger (1975) takes place. Explore the film’s settings, era, and how they shape the narrative.
Time period
1970s
The events unfold in a contemporary 1970s setting, a period marked by Cold War tensions and post-colonial upheavals. Modern travel and communication devices underscore a world of global risk and intrigue. The plot’s pace and technology reflect the era’s geopolitical climate, where information and power are closely intertwined.
Location
Northern Chad, Sahara Desert, London, Munich, Barcelona, Tangier, Osuna
The story begins in the harsh expanse of Northern Chad and the Sahara, where a desert landscape mirrors Locke’s isolation. It then shifts through major European hubs—London, Munich, Barcelona—before moving to Tangier and Osuna, highlighting a globe-spanning chase. The desert and cityscapes contrast a world of political intrigue with intimate personal crises, all set against a backdrop of arms-deal transactions and pursuit.
The Passenger Themes
Discover the main themes in The Passenger (1975). Analyze the deeper meanings, emotional layers, and social commentary behind the film.
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Identity
The protagonist adopts a forged identity after staging his own death, blurring lines between self and impersonation. Locke’s manipulation of documents, passports, and appearances challenges the notion of who he really is. The film probes how personal truth can be sacrificed for survival, and how identity can be a weapon.
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Power & War
The narrative centers on an arms deal linked to rebel activity in Chad, exposing how international players profit from conflict. The pursuit of money, papers, and control makes Locke both pawn and player in a larger geopolitical game. The story critiques the murky ethics of weapons commerce and state-backed violence.
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Love & Trust
Locke’s relationship with the mysterious Girl offers a fragile counterpoint to paranoia and betrayal. Trust is continually tested as loyalties shift across borders and between lovers. The evolving romance becomes both a refuge and a risk within a landscape of danger.
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Pursuit
A relentless chase threads through deserts and cities, driven by hitmen, police, and journalists alike. The pursuit is not only physical but also epistemic, as characters seek the truth behind Locke’s supposed death. The pursuit ultimately culminates in ambiguity and fatal consequence.
The Passenger Spoiler-Free Summary
Discover the spoiler-free summary of The Passenger (1975). Get a concise overview without any spoilers.
In the dusty heat of northern Africa, a conflict-ravaged landscape serves as both backdrop and character for a weary journalist. David Locke, a disillusioned American reporter, has been dispatched to capture the stark realities of a civil war that seems to resist the simple narratives his editors crave. The film opens with his restless quest for a story that could revive his fading reputation, painting a picture of a world where truth is as elusive as the shifting sands and where every conversation hints at deeper, unspoken currents.
A chance encounter with the corpse of a man who bears an uncanny resemblance to him forces Locke into an impossible decision. He steps into the dead stranger’s identity, only to discover that the man was entangled in a shadowy world of arms dealing—a line that blurs the boundaries between journalism and the very violence he was sent to document. This unexpected turn drags the reporter into a maze of unfamiliar loyalties, where the line between observer and participant becomes dangerously thin.
Amid the chase through foreign cities and cramped hotel rooms, a striking woman appears, offering both allure and a tenuous alliance. Together they navigate a tension‑filled atmosphere thick with uncertainty, where police scrutiny and the relentless pursuit of ruthless figures create a constant undercurrent of danger. The film’s tone balances gritty realism with a noir‑style intrigue, immersing the audience in a journey that is as much about the internal exile of a man searching for purpose as it is about the external chase through a world that refuses to stay still.
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