The Secret KGB Sex Files (2001) (TV)

Directors:

David McKenzie
John R. Peterson

Writers:

Dan Goldman
John Ross

Release Date:

21 May 2006 (Hungary)

Genre:

Documentary

Tagline:

Never before told secrets of the rich and powerful!

Plot:

The KGB was, for 50 years, an intelligence agency, using money, sex and blackmail as tools to entice...

Plot Keywords:

KGB | Russia | Acronym In Title

Cast

Roger Moore	...	Himself - Host
rest of cast listed alphabetically:
Osama bin Laden	...	Himself (archive footage)
Genadi I. Gerasimov	...	Himself (archive footage)
Joseph Helmich	...	Himself (archive footage)
Oleg Kalugin	...	Himself
Stanislav Lunev	...	Himself

Directed by
David McKenzie
John R. Peterson

Writing credits (in alphabetical order)
Dan Goldman
John Ross

Produced by
David McKenzie	....	executive producer
Christian Moore	....	producer
John R. Peterson	....	producer
James Romanovich	....	associate producer

Original Music by
John Ross

Cinematography by
Scott Kevan

Art Department
Steve McCracken	....	production/marketing art

Production Companies

• Associated Television International
• Range of Vision Productions

Distributors

• GoDigital Media Group (2012) (USA) (all media) (Digital)

Also Known As:

Runtime:

88 min

Country:

USA

Language:

English

Color:

Black and White | Color

Company:

Associated Television International

No New Turn Evident In The Arena Of Espionage.

The unique natures of espionage and counterespionage are approached in this documentary, narrated by Roger Moore, tracking ostensibly little-known activities of the former Soviet Union KGB. In spite of a rather garish title, a primary issue here is the generally successful policy of the infamous Soviet intelligence agency to determine critical character weaknesses of its enemies' agents, demonstrated through freshly obtained video tapes and other documents and by dint of simulated episodes utilizing actors. The role of sex as a weakness is touched upon, but not overplayed, with greed being shown to be at least as great a foible, as limned in the spying cases of Aldrich Ames and of the U.S. Navy's Walker family. It is correctly pointed out that each participant in the Cold War possessed full knowledge of its opponents' activities until the fall of the U.S.S.R., with the purpose of the game being to cripple an enemy's strategy through co-opting of agents. The film's makers propose that with a market-driven economy functioning within the New Russia, formerly secured documentation is now, in the light of day, for sale to highest bidders, with the piece's producers reportedly having access. The C.I.A. is depicted to have as baleful an effect upon international relations as its Soviet counterpart and, in the production's most provocative and most apocryphal section, an inquiry is formulated as to the comparative influence of the two intelligence giants upon the Vatican and its lordship over a billion acolytes. A good portion of this endeavour is about paranoia, with repeated reference made to the legendary suitcase size nuclear devices said to be secreted within the United States as well as other nations, available for the largest offering. Moore, who has played in his share of films based upon espionage themes, capably narrates, although he swallows his words upon occasion. The climactic portion is a scripted polemic against "terrorism", principally depicted in the personage of Osama Bin Laden, meantime bypassing the monolithic presence of the KGB (now FSB), as under Vladimir Putin Russian state socialism has stepped its emblematic single step backward in preparation for a subsequent advance.