Two British agents are murdered by a mysterious Neonazi organization in West Berlin. The British Secret Service sends agent Quiller to investigate. Soon Quiller is confronted with Neonazi ...
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Following the suicide of an elderly Jewish man, a journalist in possession of the man's diary investigates the alleged sighting of a former SS captain, who allegedly commanded a concentration camp during WWII.
Called out of retirement to settle the affairs of a friend, Smiley finds his old organization, the Circus, so overwhelmed by political considerations that it doesn't want to know what ... See full summary »
This is the story of Magnus Pym, from his childhood to the end of his career in middle age. As a young man, there is little doubt that his father Rick was the most influential character in ... See full summary »
Taken from the book by John le Carre, George Smiley rallies to the aid of his former intelligence colleague, Ailsa Brimley, to investigate a mysterious letter from a junior master's wife at... See full summary »
John Preston is a British Agent with the task of preventing the Russians detonating a nuclear explosion next to an American base in the UK. The Russians are hoping this will shatter the "special relationship" between the two countries.
Two British agents are murdered by a mysterious Neonazi organization in West Berlin. The British Secret Service sends agent Quiller to investigate. Soon Quiller is confronted with Neonazi chief "Oktober" and involved in a dangerous game where each side tries to find out the enemy's headquarters at any price... Written by
Dirk Bauer <firstname.lastname@example.org>
This espionage film's score was composed by John Barry who became notable for the early James Bond spy film soundtracks. Barry composed the score for this film between the Bond movies Thunderball (1965) and You Only Live Twice (1967). See more »
When Quiller is waiting for the bomb to blow up, in the long shots he is still completely on the side of the garage, but in the medium shots his head is clearly extending around the corner to see the front of the garage. See more »
Let me put it this way. There are two opposing armies drawn up on the field but there's a heavy fog- they can't see each other. Oh, they want to, of course, very much. You are in the gap between them. You can just see us, you can just see them. Your mission is to get near enough to see them, to signal their position to us so giving us the advantage. But if, in signaling their position to us, you inadvertently signal our position to them it is they who will gain a very considerable advantage. ...
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This isn't your standard spy film with lots of gunplay, outrageous villains, and explosions. It's a more realistic or credible portrayal of how a single character copes with trying to get information in a dangerous environment. The characters and dialog are well-written and most roles are nicely acted. I found it an interesting and pleasant change of pace from the usual spy film, sort of in the realm of The Spy Who Came in From the Cold (but not quite as good).
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