Blue Ice

I try to be respectful of others opinions as everyone is entitled to one, but, as an actor and a producer who has been the recipient of ignorant comments, I have to respond to some of the comments regarding BLUE ICE. For the person who chastises Michal Cain for doing this picture and suggesting he did it for the pay check, It was his company that produced it. It was supposed to be the first in a line of quarterly pictures for TV with the same character. His partner died and that ended that.

Regarding Bob Hoskins small role...he and Caine have been lifelong friends and this is just one more of a number of pictures they have done together and to suggest that Hoskins has "ruined" his career is just ludicrous.The man continues to turn in outstanding performances in A-list films and top of the line independents. See MRS. HENDERSON PRESNETS.

The name "Harry" is a staple of Noir through both film, novels and TV-to wit "Harry O" on TV with David Janson in the 70's. "Harry" in Heminghway's TO HAVE AND HAVE NOT, and yes, the "Harry Palmer" stories of Len Deighton but that does not mean BLUE ICE is a rip off of those stories. And to suggest that Michal Caine does not do well in action films is ridiculous. See ZULU, BATTLE OF BRITIAN, A BRIDGE TO FAR, and a host of others.

I found BLUE ICE to be intelligent, well done, well acted picture with a good script. I do agree that the ending is not up to snuff but the rest of the film, especially the "Jazz" sections, is not something one sees often and it added a measure of quality to the picture.

Clearly intended to be an update to the Harry Palmer successes of the 60's right down to the character's stiff upper lip/questionable ethics superior, love of jazz, reluctant spy scenario, and same first name. Obviously, copyright required a change to last name, otherwise, this is a Harry Palmer movie.

Far from the quality of Ipcress File and Funeral in Berlin, but superior story and plot compared to the subsequent Russian/Quebec produced "official Palmer movies".

Caine turns in another solid performance, but potential of film limited to script gaps. Highlights would be scenes between Caine and Hoskins that are far superior to rest of film. Sean Young hopelessly miscast, so what else is new, and there is no chemistry between her and Caine.

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.

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.

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.