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The Ipcress File (1965)

Not Rated | | Thriller | 2 August 1965 (USA)
In London, a counter espionage Agent deals with his own bureaucracy while investigating the kidnapping and brainwashing of British scientists.

Director:

Sidney J. Furie

Writers:

W.H. Canaway (screenplay) (as Bill Canaway), James Doran (screenplay)
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Won 3 BAFTA Film Awards. Another 2 wins & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
Michael Caine ... Harry Palmer
Nigel Green ... Major Dalby
Guy Doleman ... Colonel H.L. Ross
Sue Lloyd ... Jean Courtney
Gordon Jackson ... Jock Carswell
Aubrey Richards Aubrey Richards ... Dr. Radcliffe
Frank Gatliff ... Bluejay
Thomas Baptiste ... Barney - American Agent
Oliver MacGreevy Oliver MacGreevy ... Housemartin (as Oliver Macgreevy)
Freda Bamford ... Alice
Pauline Winter Pauline Winter ... Charlady
Anthony Blackshaw ... Edwards
Barry Raymond Barry Raymond ... Gray
David Glover David Glover ... Chilcott-Oakes
Stanley Meadows ... Inspector Pat Keightley
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Storyline

Several leading Western scientists have been kidnapped only to reappear a fews days later. Unfortunately, each scientist has been brainwashed and is now completely useless. The British send Agent Harry Palmer to investigate. Palmer is surprised to be selected for such a mission (considering his past) and believes he has been chosen because he is expendable. Written by Dave Jenkins <david.jenkins@smallworld.co.uk>

Plot Summary | Add Synopsis

Taglines:

Spy man, spy man, what do you see? "One murder! Two murders! And mine makes three!" See more »

Genres:

Thriller

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK

Language:

English | Albanian

Release Date:

2 August 1965 (USA) See more »

Also Known As:

Ipcress See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Recording System)

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

On the first day of shooting, Director Sidney J. Furie gathered the cast and said, "This is what I think of the script." He then set it on fire. See more »

Goofs

When Palmer turns over when he is in the cell the wall moves showing that it has been painted on to chipboard. See more »

Quotes

Carswell: Don't worry, man. You were the only one to come up with anything. He seemed very pleased.
Palmer: Well, he's got a right comical way of showing it.
See more »

Connections

Followed by Funeral in Berlin (1966) See more »

Soundtracks

The Thin Red Line
(uncredited)
Music by Kenneth Alford
See more »

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User Reviews

Ipcress Still Hip and Best
13 December 2000 | by FilmFlaneurSee all my reviews

Although conceived and produced by Harry Salzman and scored by John Barry, this is a film which deliberately positions itself miles away from the up until this time familiar James Bond espionage ethos. Palmer is a short sighted, class-ridden, form-signing petty criminal, co-opted into the spy service to avoid a year in jail. He lives in a bedsit and wakes up with an alarm call and not a stunning sexual conquest. Unlike Bond too, he operates in an environment which is recognisable and totally believable: big echoing offices ruled by "passed over Majors", where filling out forms is as important as tedious leg work and the idea of a Aston Martin as a company car would be ridiculous. The glamorous stereotypes of 007 have been replaced by the grinding, self effacing reality of the civil service, with its believable day to day grind. In short Ipcress has roots in the contemporary wave of 60's kitchen-sink drama, and not garish Bond fantasies.

This is a film taking a fresh look at what has passed for a spy film before. It's fitting then that a lot of the imagery revolves around sight and seeing. Palmer's glasses are an obvious symbol of imperfect vision (exemplified by a couple of 'blurred vision' special effects in the film). The camera in turn plays avant garde tricks, shooting alternately through the crowded window of a phone booth, through glasses, ornaments and other objects and so on. This is a film in which vision, or *comprehension* - deciphering 'Ipcress' or identifying 'Albania' as really London, for instance - is finally of paramount importance. Palmer has to both see, then understand, the web that surrounds him before he identifies the traitor. At the most basic level this 'knowing' extends to his own self, through the psychological trauma he undergoes.

Class, too, is an important element. Whereas the public school educated Bond would be at home conversing with Palmer's superiors, Palmer is the working class staff man, insubordinate perhaps and cocky, but one who ultimately knows his place. Even the main villain is fairly aristocratic. This makes Palmer's final choice of shot all the more relishable. In the class-ridden snobbery of the secret service it proves to be one of the elite who is suspect and must be killed. Palmer is the better man - and not just morally either: his appreciation of Mozart ('proper' Mozart, too, not the appalling bandstand variety pushed on him by Daulby) and fine cooking, marks him out as a man of taste, in contrast to the surrounding snobbery and elitism.

This theme of class, as well as the locations chosen for 'The Ipcress File' mark it out as a very British spy film - possibly the best one ever in contrast to the Bond cycle, which represented an attempt to create a deliberate trans-Atlantic product. One parallel serves to illustrate this difference: Bond has an American agent friend (Felix Leiter), an occasional minor character in the series. In contrast Palmer shoots an American agent dead by mistake and they tail him in revenge, while another dies in his flat. There is no camaraderie here, and the snug special relationship is nowhere in sight.

Over the years 'The Ipcress File' has lost none of its edge (with the possible exception of the dated 60's psychedelia which confronts Palmer in his torture chair) or punch. Utterly compulsive as a spy drama, it remains one of Caine and Furie's best films, an example of a contemporary fresh approach that still remains a classic.


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