Explosive international intrigue results when British Intelligence Agent John Shay (George Peppard) suspects Adam Booth (Keith Michell), a colleague, of being a double-agent. Although Shay's superiors warn him against an investigation, he travels to Greece and Turkey in order to check out his suspicions. There, Shay becomes involved with the beautiful Sarah (Dame Joan Collins), who was once his lover, and is now Booth's wife. Before long, Shay realizes that he is being used as a Communist pawn, and has fallen into grave danger.Written by
During the closing credits, in the background is the final scene showing a tower with a light that rotates, shining alternately green and white light. The credits change colors repeatedly as if the tower light is shining on them. See more »
Sam Wanamaker did a very good job of directing this excellent Cold War spy drama, back in the days when no one imagined the Cold War would ever end. The story is essentially British, so the excuse for using the American star George Peppard in the lead is that 'he grew up in America', hence has the accent. Peppard was always good in these parts as the good guy struggling against the forces of darkness, whether Nazis or Communists. He is romantically involved with the popular ingénue actress of the day, Judy Geeson. Sam must have thought she looked a bit too cute in real life, so he stuck some studious spectacles on her face to give her a bit of gravitas. Judy really was extremely cute, and a very sweet-natured person as well. I met her back then along with her parents and sister, and what a 'cute clan' they all were. They were great art lovers and liked to go to private views, which is how I met them all together like that. They had a particular favourite artist whom they always patronised, but I can't remember who he was. Judy's greatest asset was that lovely look around her eyes, which made her such an irresistible sight for any camera, or any fellow, for that matter. Good old Oscar Homolka is here called upon for the n-th time to play a defecting Russian spy, and does even better than usual. Joan Collins does a good job of acting, playing a difficult and amorous ex-lover (type casting?), and generally Sam could be said to get the best out of his actors because he was one himself, so he knew how to treat them and understood the pressures they were under. This is a rollicking good tale of the times, not as sophisticated and profound as le Carré of course, then then who was? There are the usual deceptions, twists, double-crosses and triple-crosses, all good stuff.
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