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.
A number of 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 their 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 <firstname.lastname@example.org>
When Harry Palmer returns to his apartment to find the dead CIA agent sprawled on his living room floor, the dead man's mouth is open. When the camera cuts from Palmer back to the dead man, the dead man's mouth is now closed. See more »
London, in the early 60s, was captured by Sidney Furie in all its splendor. One of the best things in the movie is the fantastic camera work by its cinematographer, Otto Heller. The director and his cameraman place the camera as a sort of "peeping Tom" device. Mr. Furie and Mr. Heller takes us along to spy on Harry Palmer in this satisfying adaptation of Len Deighton's novel. The musical score by John Barry is another element that works well with one is witnessing.
Harry Palmer came alive the way Michael Caine played him. Palmer is a man from humble origins, in sharp contrast with the rest of the people he works for, who are clearly highly educated and who look down on this man because he is different. Mr. Caine is versatile actor whose take on Harry was right on the money. We can't do anything but admire him for making this man so approachable and believable.
The film was blessed with an excellent cast. Nigel Green, who plays Major Dalby makes his character come true with little effort. So does Guy Doleman as Col. Ross. Sue Lloyd, Gordon Jackson, and the rest of the actors give amazing performances.
"The Ipcress File" shows us what London looked like in the sixties. It hasn't changed that much, but all the exteriors used in the film is a joy to watch. That speaks volumes of Otto Heller who had an eye for what to photograph, as everything fit nicely into the context of the film.
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