Espion à jamais

Straining desperately to recreate the atmosphere of the Harry Palmer films of the 1960s, Blue Ice even includes a surreal but dreadful torture scene. It would have been fine if not for a predictable plot and a script which at times is simply terrible - a police interrogation scene begins with the line: `For the last time, who are you working for?' Plus sides: Sean Young's bottom makes another screen appearance (nudity being about the only memorable aspect she brings to any of her roles) and there's a moderately exciting denouement on the docks.

Here's another film that one might label a neo-noir. It's film noir in story, attitude and camera-work but it's color and it's a 1992 film, not one from the late 1940s or early '50s.

The story is set in England and is a good mixture of suspense, action and romance. It's nicely filmed with a lot of night shots featuring some cool neon signs of London streets and pubs. Looks-wise, this film reminded me a lot of "Stormy Monday."

There is some good jazz in here, too. The action picks up much more in the second half of the film, capped off by a unique huge transformer-like vehicle chasing Michael Caine. The ending was a bit weak and hokey but overall, the film was entertaining and good stuff if you're a noir buff.

A lot of people seem to 'pan' this film, and although it is not the best it is certainly not as bad as the current 5.2 rating on here.

The acting is ok, the best are the supporting actors who only get a cameo role, Jack Shepherd, Ian Holm, Alun Armstrong and Bob Hoskins (the best), Michael Caine does as well as he can with the script and Sean Young plays a slightly sleazy vamp type quite well, an underrated performance I feel.

The film is set in London and that is where it was filmed but the weather seems to be overcast and dreary in every scene, it would have been nice to have some scenes when the sun is out, also it seems to be filmed in a sort of 1970's style rather than the 90's when it was filmed, again making it more grim, although it seems like it is intended as a kind of 'film noir', unfortunately it was making it look grimmer than it needed to have been, and this did not help. It could have been a bit more stylish.

The story is Ok but the script, music score and editing did not help, it seemed a kind of hotch potch, it would have helped with better continuity and longer/more of a story-line, with a better script and direction and with a bit more style and content this could have been a classic similar to the Harry Palmer films Michael Caine made previously.

So although not as good as those it is not as bad as some people make it out to be, with all the remakes/sequels being churned out in the film industry it would be interesting if someone would remake this one, I'm sure with a bit more style and substance it could be a good movie.

Yes, it's a British action film and Sir Michael is rather too old and although he's a big man etc etc (see "Get Carter") to credibly do "action" in all its established forms including deeply impress hot chick (Sean Young) which by custom he is supposed to do. Reaction to it seems to be generous condemnation from domestic reviewers and moderate enjoyment elsewhere.

The film itself rather resembles its own torture scene - a series of flash-backs but in this case of a dozen and more earlier movies some of which starred Caine or Bob Hoskins (one with the torture scene starred Dick Powell). That is a mixed blessing - on the down side it has all been done and seen before, some as has been noted, in British budget made-for-TV series - themselves lifted and downsized from big screen originals. This though is where all resemblances to the likes of "The Sweeney" and "The Professionals" ends.

Here there's stars a-plenty, and a good British cast. Added to which is the lovely cinematography particularly of Soho night exteriors. Caine and Hoskins are inescapably stars and watchable whatever they do, this time they reprise some of their famous roles - Hoskins his star turn in "Long Good Friday." Caine "The Ipcress File and "Get Carter". Even Alun Armstrong gets it a second time doing a Caine a favour - thought he might have learnt by now. But audiences had left cinemas wanting more and here we have more. And no bad thing at all. Oh, one other thing, Harry Palmer didn't smile, Caine here does too much. Perhaps he was having too much fun and lacked a director willing to tell him. Remember what Roman Polanski is said to have said on the subject.

In the opening scenes at a funeral you gotta love Michael Caine's explanation of blue ice. Typical dry British humour, which only Caine could nail down. "Blue Ice" is an often panned British espionage thriller, which I didn't mind despite its bleak and formulaic narrative with a saucy noir touch and an all-familiar hard-edge Caine performance. A former British spy now jazz club owner is asked by his mistress (who happens to be the wife of the American Ambassador) to find an old boyfriend and when he does he becomes embroiled in murder and something much more. Director Russell Mulcahy (who has always been a stylish film-maker) window dresses this thriller with jazzed up sophistication and inflated slickness amongst its suspense, brutality and sleepy London locations caught by his sweeping camera. The contrived plot is slow building, manipulating and toying with the protagonist in a fascinating manner and a sense of witty humour doesn't go astray. There's one sequence that really stood out for me, because of how surreal and nightmarish it becomes and that's the drug-induced interrogation of Caine's character. Sean Young plays it rather distantly cold as the sultry mistress. While the likes Ian Holm and Bob Hoskins have small parts. A sturdily told, if burnished 90s action thriller joint.

"Just put it down to blue ice".