5.8/10
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4 user 1 critic

Only the Cool (1970)

La peau de torpedo (original title)
GP | | Crime | 1972 (USA)
A network of spies affects the lives of people in and out of the organization in this routine espionage drama.

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Writers:

(adaptation), (adaptation) | 2 more credits »
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Cast

Cast overview, first billed only:
...
...
...
...
Coster
Angelo Infanti ...
Jean / Gianni
Jean Claudio ...
Fédor 'La Filature'
Frédéric de Pasquale ...
Nicolas Baslier Krestowitz
...
Laurence l'amie de Dominique
Philippe March ...
Le vendeur effeminé (as Aimé de March)
Christine Fabréga ...
Sylvianne Collet
Jacques Harden ...
L'inspecteur de Police de Paris
...
L'employée des postes
Georges Lycan ...
Torpédo II
Philippine Pascal ...
Femme policier
Bernard Musson ...
L'inspecteur de Police de Fécamp
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Storyline

A network of spies affects the lives of people in and out of the organization in this routine espionage drama.

Plot Summary | Add Synopsis

Plot Keywords:

eurospy | spy | based on novel | See All (3) »

Taglines:

If you stay cool sometimes you can stay alive. Sometimes there's no way out. See more »

Genres:

Crime

Certificate:

GP | See all certifications »
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Details

Country:

| |

Language:

Release Date:

1972 (USA)  »

Also Known As:

Only the Cool  »

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Color:

(Eastmancolor)

Aspect Ratio:

1.66 : 1
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User Reviews

A premier ambience film
21 April 2003 | by See all my reviews

This, one of the premier ambience films of the genre, appears at the end of the sixties cycle of spy films. It is a serious, even dour film that focuses equally on both sides of the espionage fence with sympathies for neither. Here, spying is a business but it is not without its emotions, albeit suppressed and discarded as required, and death is almost always a matter of honor. When death is unexpected it is also unfair, a matter of happenstance that triggers far reaching consequences.

The plot consists of good guys and bad guys trying to out maneuver each other while both are after Stephane Audran. The complexities of the film extend beyond plotting. The `good' guys in the film are hardly more than cyphers; they play the espionage odds, sometimes winning, sometimes losing, without developing traits one would associate with human character. The `bad' guys on the other hand, are well rounded people that suffer and consider but do their jobs anyway.

Suicide, the controlled death, plays a large part in the film. It is a means of conquering enemies, expressing love, admitting defeat. It's those that live on in their confusion and misery that we must pity. This fine mood piece is complimented by a melancholy score by Francois de Roubaix which captures the ennui without bringing too much attention to itself.


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