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An undercover FBI agent falls in love with a recently widowed mafia wife, who is trying to restart her life following her husband's murder while being pursued by a libidinous mafia kingpin seeking to claim her for himself.
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In the distant future, a police marshal stationed at a remote mining colony on the Jupiter moon of Io uncovers a drug-smuggling conspiracy, and gets no help from the populace when he later finds himself marked for murder.
Three notebooks supposedly containing Russian military secrets are handed to a British publisher during a Russian book conference. The British secret service are naturally keen to learn if these notebooks are the genuine article. To this end, they enlist the help of the scruffy British publisher Barley Blair, who has plenty of experience with Russia and Russians. Barley, an unconventional character who doesn't respond well to authority, finds himself in a game more complex than he first thought when he digs into the origin of the notebooks. Written by
Murray Chapman <firstname.lastname@example.org>
During principal photography of this picture, the infamous symbol of the Cold War, the Berlin Wall, finally came down. John le Carré, author of this film's source novel, worked for British Intelligence's Mi5 & Mi6 during the 1950s and 1960s and worked in Berlin. Le Carré' was in Berlin when the Berlin Wall was being constructed. Le Carré drew on this real life experience when he wrote the novel of 'The Spy Who Came in from the Cold' which is set about a year after the Berlin Wall was built. See more »
During Blair's "start the avalanche" speech, Dante is seen at the end of the table. As the camera pans around the table during the speech, Dante disappears from the end of the table, and then reappears. See more »
Do you believe this nonsense?
Bartholomew "Barley" Scott Blair:
I don't know. I believe it when I say it. But you've got to be there: you're taking a leak in some filthy public urinal and the man in the next stall leans across and asks you about God or Kafka or freedom versus responsibility; so you tell him because you know, because you're from the West. And before you've finished shaking your dick you think:"What a great country!" That's why I love them... and they're very fond of me.
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Prompted to write this by seeing this again on video - the third time for me, and it's rare that I want to see anything three times. And I realized that it's fascination still holds....this is one of my top 10, definitely.
The reasons I would rate this a "9", while somebody else would give it a "5.9" are largely personal....i think it always comes down to the personal. Talk all we want, when we watch a movie - as when we eat a meal, or kiss someone - the pleasure center in the brain either lights up or doesn't. For me it's all about the love of a place...for Scott Barley Blair it's early Glastnost Russia, for me it's 90's Germany - Hamburg, Berlin...the strangeness, the trueness of people who surround you in such a place and your love for them because of this. The fact that a film can light up specific sense memories like these means that it is true - at least in that respect. This is a remarkably honest film
terrifically unsensational for a spy film and one of the rare "love
stories" that delivers the satisfactions expected of a "love story" without getting mawkish. Everything rings true here except for the ending (a fabricated "happy ending" which is the only thing that kept me from rating this a 10).
To ask for Manchurian Candidate type excitement from this low key film is wrong. The suspense, which is remarkably sustained (those rich long tracking shots of people walking through public places to uncertain destinations to meet with, or maybe not meet with shadow characters who may be allies or enemies) is the truer suspense of the uncertainty of living in a gray, gray world...where nothing much happens, but peril is part of the fabric of mundane life.
(Those sequences are gorgeous....the colors of autumn in a Leningrad park, the closeups of the stone gargoyles....the moody circular stepping pace of the soundtrack....Branford Marsalis' saxophone.) Someone has said here that it is talky. Yes, it is talky...but the talk is brilliant...it is the perfect reflection of a world where everyone - book publishers and bureaucrats and spies alike speaks in mannered, ritualized streams of code. This is not disinformation - it is perfectly understood by all, a language that has supplanted the language of an earlier age in which sincerity was an option.
Besides that ending, the piece is perfectly faithful to LeCarre's novel. LeCarre's books have had good luck when being translated into movies. Of the eight or so that have been adapted, four have made great films: The Spy Who Came into the Cold, The Russia House, and the two George Smiley BBC miniseries. LeCarre is a great writer and more specifically great at plotting and dialogue, and these films all succeed pretty much by filming what is written unadorned and pouring on the atmosphere. And they are blessed with lead performances by three great actors at the top of the form - Richard Burton, Sean Connery and Alec Guiness (Guiness especially...to watch him for six hours in Smiley's People is one of the great pleasures).
A beautifully efficient and elegant translation by Tom Stoppard of a great novel, wonderfully dignified and touching performances by Connery and Michelle Pfeiffer (never seen her better), a beautiful soundtrack by a second tier composer graced by the presence of a real jazz master, a terrific evocation of a place and time....a very moving film.
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