Criterion continues to earn its reputation as the gold standard among DVD distributors with its new release of a special edition of the 1965 classic
The Spy Who Came in From the Cold. The acclaimed film was based on John Le Carre's first novel, which he wrote under a pseudonym because of sensitivities relating to his work for British Intelligence. Le Carre was "outed", however, and the revelation turned out to be a blessing, catapulting him to the top ranks of thriller writers. The film had a tortured history, as outlined in the special edition DVD. Director Martin Ritt had initially considered Burt Lancaster to star, with the story rewritten to make him a disgruntled member of Canadian Intelligence. Fortunately that plan fell through, as the British background to the story is essential to its effectiveness. Ultimately, Richard Burton was cast - though it necessitated that most of the film be shot in Ireland in order to accomodate the limited number of days Burton could work in England without incurring severe tax penalties. Burton resented Ritt from the start, perhaps because the director held firm in his insistence that Burton play down his tendency to be overly theatrical. The two men rarely spoke except on the set, and at one point Le Carre was brought to the set to act as a referee between them. At one crucial point, Burton walked off the set and had to be coaxed out of his dressing room. As sometimes happens during such adversarial situations, a classic film emerged and Burton received an Oscar-nominated performance.Â
The film is a complex but mesmerizing Cold War thriller with Burton cast as Alec Leamas, a depressed and disgruntled field agent who has become sickened by his chosen profession. Numb to any human feeling, he leads a solitary existence while barely tolerating his superior officer (Cyril Cusack, playing the role with such dispassion it makes for a chilling impression). Leamas' cynicism is thought to be advantageous to MI6, as it might convince the Soviets that he is ready to defect. An elaborate scheme is concocted in which Leamas is allowed to be recruited by the enemy - with the ultimate objective of being brought to East Berlin where he will give disinformation designed to ruin their top spy master (Peter Van Eyck). Along the way, Leamas reluctantly recruits a British left-wing activist (Claire Bloom) as part of the scheme, feigning a romantic interest in her. The plot eventually features more twists and turns than a roller coaster and one must pay close attention or become hopelessly confused. However, the film is a mesmerizing experience - especially the sequences set behind the Iron Curtain in which Leamas finds himself giving testimony at a kangaroo trial orchestrated by his target's main rival in the KGB (a superb Oskar Werner). The finale is as surprising as it is unconventional and has a shattering emotional impact.
The film excels on all levels, from Oswald Morris' outstanding black-and-white cinematography that makes London appear as drab and uninviting as East Berlin; Anthony Harvey's editing, the screenplay by Paul Dehn and Guy Trosper;Â the supporting performances including Bloom, Sam Wanamaker, Rupert Davies, Bernard Lee ("M" from the 007 films) and Michael Hordern (particularly good as an aging homosexual agent who suffers humiliation at the hands of his superior), and Sol Kaplan's sobering score.
The film was released in 1965 when the cinemas were awash with James Bond films and the endless waves of 007 "wanna-be" movies. Spy stood out from the rest of the pack due to its daring unglamorous look at the world of real life espionage - a point made by Leamas when he states that agents are generally life's losers who have failed to fit in with any normal aspect of society. The script did cause some controversy because it depicts the methods used by both the East and West indistinguishable in their brutality. Although the movie received outstanding reviews, it was only a modest box-office success, though its reputation has increased over the decades.
Criterion's 2-DVD special edition features a terrific transfer as well as some impressive extras. Cinematographer Oswald Morris (who sounds a bit like Alfred Hitchcock) gives fascinating insights into key sequences; there is a new interview with Le Carre in which he speaks candidly about the tensions on the film as well as aspects of it that have always displeased him; a somewhat dry but nevertheless informative BBC documentary from the year 2000 in which Le Carre is interviewed at his country estate and reflects back on his entire career; a 1985 audio interview of Martin Ritt by film historian Patrick Milligan; original set design drawings and the theatrical trailer. There is also a rare 1967 British TV show in which Richard Burton is interviewed by Kenneth Tynan. It's a fascinating time capsule, with both men smoking like chimneys as the dour Burton discusses the hits and misses of his career. In a moment of great candor, he says that his main motivation is to simply get the best tables at restaurants and the other benefits that accompany being a celebrity.It was this emphasis on the shallow rewards of stardom that would ultimately largely derail Burton's career.The set also features an illustrated booklet with extensive liner notes by film critic Michael Sragow.
Bring this Spy in from the cold and make it an essential part of your video library. - Lee Pfeiffer
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