Der mysteriöse Mr. Sebastian

Covers an area of espionage seldom seen in spy movies: cryptography and cryptoanalysis. The whole production is given a faint brush of the surreal and it works, especially with Dirk Bogarde's performance as the title character driven by obsessions (and often overwhelmed by them). That the film also manages to work on an occasional comedic level is an additional tribute to all concerned. Keep your eyes open for a pre-M*A*S*H appearance by Donald Sutherland.

At first encounter this would seem as a rather flimsy concoction of muddled espionage pastiche with Dirk Bogarde as a decoding expert surrounded by a league of only very pretty girls - and there are lots of them. One of them is more obtrusive than the others, Susannah York, who importunes on his private life to become his mistress - with complications. The film really becomes interesting, however, when he loses his job, and there the action starts with increasing thickening of the plot, as the espionage business moves into higher gear.

Everything is brilliant in this film, however limited it is to its times of the late 60s which makes it very outdated today, but the acting couldn't be better, by Dirk of course, always intelligent and interesting, Susannah York at her best, John Gielgud and Nigel Davenport in smaller but not less important parts, Lilli Palmer as the most experienced of them all and something of an odd key player, and even Donald Sutherland in one vital scene. Jerry Goldsmith is the name of the music vying with Johann Sebastian Bach as Dirk's only actual relief from his troubles, while it all ends with an odd twist, which neither Dirk, Susannah York nor the audience would have expected. It's not altogether a comedy, no thriller, although better than any later James Bond, no real spy thriller, but something of it all in brilliant combination.

This is a good film to watch if you like British films from the era and especially ones with Dirk Bogarde. It's made with some style but the script is a problem. Though it starts out intriguingly, in the end this espionage film is rather much ado about nothing. The main point of interest in this rarely seen movie now is the equally rarely heard Jerry Goldsmith score, which I rather like. I believe it got an LP release back in 1968, but has never been issued on CD. Perhaps one of the reasons for that, as I've recently read, is that Goldsmith didn't have a good experience doing the score and never had much to say about it or simply didn't want to discuss it at all. Unfortunate, because the score, though minor Goldsmith, does have merit. I hope someday to read just what Goldsmith's problems were with it.

A rather inconsequential film with some rather now dated cinematic ideas is saved by the top line of British acting talent. You can't argue with the cast which includes Dirk Bogarde, Susannah York, Nigel Davenport and John Gieldgud in main roles. 'Sebastian' is also blessed with such an array of acting quality there's no wonder a lot of people really rate the film. The character players include a young Donald Sutherland, the always magnetic and taken from us too soon Janet Munroe (See The Day The Earth Caught Fire), the underrated Ann Beach, and the totally spiffing Ronald Fraser (if you know nothing else by this latter two then try to them together in the excellent Armchair Theatre TV presentation 'A Bit Of A Lift').

For these and other brilliant screen stars to be attracted to this film must mean that there was something in the script that I missed or was missed by the director, or I suppose arguably I just came upon in after it's view by date.

I found the film dated (although I do like British films from the 1960s) and lacking in any real story. I think Bogarde was wrong to say he was not right for the part, he performs well enough but I think a writer such as Le Carre would have fleshed out and nuanced the character and the film as a whole better. My view is that it falls between too many stools not knowing whether it wants to be a hip and happening psychedelic 60s movie, a tale of espionage, a romantic story involving the breaking down of walls, or a comedy farce much beloved of the time.

Despite all these factors I would still recommend a night in with the film if for nothing else than to see brilliant actors tackling greater or lesser roles.

Dirk Bogarde is at his most suave and the swinging London sixties is most convincingly presented in this extremely stylish, sophisticated romp that was slyly coy at the time, and simply fab when viewed today. Jerry Goldsmith provides noticeable musical accompaniment. Hip.