El espía que surgió del frío

The last reviewer wrote: Burton is cast as Alex Leamas, a nerve-dead, aged secret operative operating out of West Berlin. After a routine assignment goes awry, Leamas is sent home and out of the service. He struggles to try to live a normal, average life as a librarian's assistant, but he can't make it work for him (something that is not helped by his chronic alcoholism). This fact is made forcefully clear when he winds up beating a local grocer and is sentenced to jail time. Slowly but surely, he allows himself to be pulled back into the Cold War he operated in, not suspecting or maybe not even caring that his superiors are setting him up for a fall.

I think this is wrong. I believe the Burton character, Leamas, working with his UK spy agency, pretends to be kicked out of the spy service and acts as if he is going to seed so he can be "turned" by the enemy and complete his secret mission.

Regardless, it's a great film with a great performance by Burton as the world-weary spy who has seen it all, and Claire Bloom as the idealistic UK communist party member who has no idea how ugly it is out there.

It's truly refreshing to see a spy movie which does not involve fast cars, bikini clad women, super heroes etc. This movie shows how spies are used and discarded. The main character cannot perform stunning stunts while doing one hand push ups. He is just your average Joe who drinks too much and knows that there is no escape from his profession which he seems to hate. The idealism of young people seems to depress him even more which he rips apart towards the end (the highlight of the movie). The bleak look of the movie (it's in B&W) gives it even more of an authentic look and sets the mood for the viewer.

There are no explosions, no car chases, no sweeping a woman off her feet......just plain, simple story telling.

It seems to me as though no one remembers this film. In fact, I think that it would be fair to say that I wouldn't have become intrigued enough by it to finally rent if I hadn't seen just the briefest of clips of it on an ABC news broadcast. When I think about it, I realize why should anyone remember it? This was made during the Golden Age of Bond, which this film acts as a dark mirror to. More's the pity, actually, as this was one of Richard Burton's finest performances.

Burton is cast as Alex Leamas, a nerve-dead, aged secret operative operating out of West Berlin. After a routine assignment goes awry, Leamas is sent home and out of the service. He struggles to try to live a normal, average life as a librarian's assistant, but he can't make it work for him (something that is not helped by his chronic alcoholism). This fact is made forcefully clear when he winds up beating a local grocer and is sentenced to jail time. Slowly but surely, he allows himself to be pulled back into the Cold War he operated in, not suspecting or maybe not even caring that his superiors are setting him up for a fall.

One will never mistake Alex Leamas' grey, rainy world for the sunlight universe of James Bond. It offers what is probably the ugliest depiction of the Great Game on film: drunkards, ex-Nazis, Jews, and die-hard Communists swimming like sharks through a fish pond, all of them devouring any who get in their way. None have any more than lip-service loyalty to their fellow operatives, their countries, or maybe even their own ideologies. At it's center stands Burton, playing Leamas as a walking dead man, festering with hate, resentment, and cynicism at the system that eventually sends him into the gutter. His devastating parked car monologue alone is worth the price of renting this one from the local video store.

It's bitter cynic tone may have been the film's undoing; rarely have I seen a film so downbeat in it's depiction of humanity. Still, it is not one that deserves to be forgotten.

You can check my voting history to see how rarely I give out perfect 10s. But this film truly deserves the honor.

I hesitate to call it a spy movie because it's nothing like any spy movie I've ever seen. There are no hi tech gadgets, shoe phones and sexy Russian agents. There are no fantastic plots to recover microfilm hidden in the crown jewels. The hero doesn't even carry a gun. Instead the battle is fought with pure intelligence, political manipulation and trickery. This is what true espionage is about, the way WWII history books tell us. In the same way Kubrick's "2001: A Space Odyssey" broke the rules of the scifi stereotype, this film did the same with the spy genre.

I won't say anything about the plot except that it requires your full attention. Things are not spelled out for us, and it requires a bit of work to piece it together, but that makes the payoff all the more stunning. This movie reads as if it were a book (which may be good or bad depending on how you like your movies). But I assure you it's not boring. I found myself whispering after every scene "This is so freaking cool! How much cooler can it get?" The answer: much.

The acting is flawless. Richard Burton is perfect as the cynical, faithless enigma who hides his mission so well even we can't guess what he's up to. Claire Bloom is equally convincing as the clueless but intelligent bystander. Oskar Werner, in the greatest role I've seen him play, is both chilling and magnetic as the interrogator. Even the minor roles were expertly played.

The script is so clever I highly recommend watching the film with subtitles so that you don't miss any of the great lines and wit. It may also help you keep up with the plot which, as I said, can be tricky.

Sol Kaplan's musical score is sparse but very effective in maintaining the heavy mood. The piano pieces really make you feel the weight of the dreary, cold war era. And the lack of music during tense scenes is equally powerful.

And that brings me to my favourite part of the film: the amazing camera work, cinematography and lighting. This is one of those films that makes you realize that black&white isn't just a choice of film; it's an entire art form unto itself. Darkness and light, sharpness and haze, shadows and contrast are used to the fullest. But it's not obnoxiously done like a 2nd year film student might do. No, everything flows naturally so a layperson can enjoy the scenery just as much as a cinema geek.

And there you have it; nothing but praise from me. The only problem is that it has ruined all the other spy films and political thrillers for me.

The Spy Who Came In From the Cold stars Richard Burton as a world-weary, defeated, cynical and alcoholic ex-agent. It is the performance of his life. It is astonishing to think he was only 40 when he starred in it, as he looks so much older, perhaps from the five-pack-of-cigarettes and three bottles of hard liquor a day that was his habit then.

The movie is from the John Le Carre novel and is a hard-nosed look at the world of international espionage and double agents, as different from the Bond movies as night from day.

Stripped of glamour and endless sunshine, Martin Ritt, the director, uses black and white, rain and wind to enhance the story. One could say the cinematography is a character in itself.

There is no distinction here between the good guys and the bad guys. Spies are of themselves irredeemably evil men in the game for their own nefarious purposes, divorced from all that is decent and humane.

Burton's eyes constantly reflect this as he manages to infiltrate the East Communist Bloc and plays the game instigated by his "Control" in London.

Claire Bloom portrays his innocent young girlfriend, naive and pliable. Oskar Werner and Peter Van Eyck play the East Germans fighting for control of Burton's memoirs and each other.

It is hard to be believe that Burton lost his Oscar to Lee Marvin (in Cat Ballou!!) when he so richly deserved it for his once in a lifetime performance in "The Spy--" Cyril Cusack has a wonderful supporting role as "Control" and just about steals his two scenes from Burton. He never disappoints.

I loved this film in the theatre when it was released and subsequent viewings never fail to enthrall me.

8 out of 10.