L'affaire Farewell

In this film the adage "truth is stranger than fiction" is well demonstrated. The real story of Vladimir Vetrov, the KBG Colonel who leaked vital details of the Soviet spy network to the West in the early 1980's is even more bizarre that the story related here, where Colonel Sergei Gregoriev (Emir Kursturica) uses a French electronics engineer Pierre Froment (Guillaume Canet), resident in Moscow, to pass secrets to the French domestic intelligence agency, the DST, and on to the CIA. Sergei ruled out using the DSGT, the French external intelligence service because he was aware it had been penetrated by the KGB. As it is the story here is a little lacking in tension despite the larger than life Sergei becoming more and more reckless as the story progresses .Some of the minor parts are pure vaudeville, Fred Ward's Ronald Reagan for example. However the two principals Kursturica and Canet, both prominent film directors, completely contrasting personalities, are very convincing. The 80's cold war atmosphere is well re-created – even the credits are vaguely menacing.

As in several recent spy stories "based on real events" the viewer is left with the impression that the West and Soviets had so thoroughly penetrated each other's security defences that they might as well have monthly meetings to hand over each other's secrets. This story does suggest that the Soviet Union was not able to keep up with Western technology, particularly in computing, and in resorting to stealing software the Soviets sowed the seeds of their downfall. In one instance the West was able to feed the Soviets with enough crook software to cripple their gas pipelines and cause a truly big explosion (without injuring a single person, apparently).

We do get considerable insight into what motivated Sergei, if not Vetrov (who seems to have been a less admirable character). Sergei is s true believer in communism, but he also fiercely loves his son, whom he wants to inherit something worthwhile. In a way the movie is as much about a parent sacrificing themselves for the sake of their child than the old spy versus spy routine. Froment is a less interesting character, but something inside him keeps him involved with the egregious Sergei despite his own misgivings and that of his wife Jessica (a refugee from East Germany with good reason to be afraid). Perhaps it's the opportunity for an otherwise unremarkable person to do something important. Or maybe he just finds it hard to say "non" to a person as charismatic as Sergei.

This film is not an "edge of your seat" suspense thriller but it tells an absorbing story, and is a useful reminder of the spy paranoia that prospered during the cold war.

This is a very empowering, true-story about one man, Sergei Gregoriev, who probably did more to bring down the Communist government in Russia - and end the cold war - than any other person who ever lived! This man should be honored by a postage stamp in every Western country in the world and in every high school history textbook! What an incredibly brave human being!

I gained a lot of insights from watching this amazing film. The Russians lost an estimated 26 million people during World War 2. That's 1 in 3 people that died in all of World War 2 did so within the borders of the Soviet Union! I can only imagine the trauma and paranoia that was inflicted on the survivors who later then came to power. It didn't help either that a monster was at the head of government (Stalin) from 1924 to 1953. And, you wonder why the Soviets had a such a mind-boggling intelligence apparatus established throughout the United States? Once this network of spies was dismantled, the Soviet leadership was blind! Out of fear they bankrupted themselves on military spending because they could no longer accurately assess what actual threats the United States posed to them!

Sergei Gregoriev, knew how his government would react to such a threat and he sacrificed everything to make it happen. I don't think he would be happy with the gangster capitalism that took Communism's place. But at least there are no more brutal wars fought in desperately poor countries, which have cost millions of lives because of the Cold War! Future generations will thank you for your sacrifice, Sergei Gregoriev!

We just returned from seeing this film as part of the Annual French Film Festival at Boston's Museum of Fine Arts, 7/10/10. In the U.S., we have an expression sometimes used to express one's admiration for a certain talented actor/actress who is riveting to watch on screen.I will use this expression here w/ regards to the lead actor, " I could watch Emir Kusturica read the phone book". It is his performance more than any other single factor, that causes me to think very highly of this film.It is a rare thing to watch a film about a real life hero without seeing a film that is also maudlin, clichéd or too simplistic.

But in "Farewell" I felt that the story was compelling,and the screenplay was well written,economical, completely believable and well acted.There were no unnecessary scenes and the whole thing mostly made sense, as sad as that sense was.The cinematography was crummy, but you can't have everything.Besides,I was so mesmerized by K's performance that I didn't really care that much about the cinematography, because my eyes were always focused in on him.As I exited the theater I felt like I had just been hit by a truck, and I am still feeling this film.

Farewell is the wrought piece of espionage spy fiction you didn't really expect to be as good as it is; as is often the case, films and film-makers take it upon themselves to entrust that elements of espionage and distrust between superpowers, or people therein epitomising superpowers, should make for crash-bang, explosive viewing involving very little narrative; very little character and a whole lot of wooden spectacle. It is with open arms then, that we welcome in Christian Carion's 2011 film Farewell; the anti-thesis to Mission Impossible: II or a badly drawn Bond film of the post-Dalton era. The film is one of its ilk that happens to have both a soul and a brain; these characters are people involved in international espionage and some rather dangerous stuff, but they are people involved in such things whilst doing their utmost to maintain families; they are people involved in what they're in, of whom enjoy playing tennis and reading poetry and listening to Queen – they are human beings; they can be overweight; they can wear glasses; they can relax by watching a Western, they are not stock action heroes of a ridiculously photogenic nature; they are not James Bonds darting around in sports cars out-peddling a space orientated laser beam.

The scene epitomising how Farewell really is different to most others of its ilk arrives with a snappy sequence set on a park bench between two people; as might be considered standard with any film of this ilk, we witness such a sequence that is often the first thing people think of when certain genre buzz words are mentioned. Here, the already seated man witnesses another slump down next to him so that they may continue their business – business which would result in serious ramifications should either of them be caught. Instead of cutting to the chase and prolonging causality, the new arrival first mutters about how he hates the fact he is having an affair with someone away from his marriage; that his son knows all about it and, he feels, hates him as a result. Such is the film's nature to take something familiar to the genre, or something with which we will identify, and spin it around to encompass character; to encompass problems away from what would usually be the sole and lone body of content; to take an instance as stereotypical as two blokes meeting on a park bench and incorporate some sort of air of both naturality and substance to proceedings.

The sense that we're being treated like adults begins with the opening sequence, a procession of found footage depicting numerous things Cold-war orientated ranging from shots taken from the fronts of the Vietnam War to numerous technological advancements of the 1970s alluding to the Space Race. All of it is Cold-War orientated and it arrives without voice-overs informing us of what's what and why we're seeing what we're seeing; there is no brief expositional history lesson. Guillaume Canet pays Pierre Froment, an engineer living in Russia with his family of wife and young daughter; the man observes a television set displaying a McEnroe-Borg tennis match, this sense of there being a fondness for that of duelling; a fondness of keeping up with how two super-powers in a respective field are getting along in their long, intense rivalry prominent.

The film is a double-stranded piece, a piece flicking between two men occupying Moscow in the early 1980s doing their utmost to transfer information from secretive sources onto the Americans, and that of the American president of the time in Ronald Reagan (Ward), no less, who dishes it out to his international colleagues, particularly that of then-French Socialist President François Mitterrand (Magnan), when he isn't confining with his own. Pierre's friend is Emir Kusturica's large, life-weary Soviet native to their surroundings Sergei Gregoriev; a man with his own wife and son with whom he does not get along. Sergei uses Pierre as a half-way house in his delivering of top-secret Soviet intelligence which eventually make their way through to the upper-echelons of The White House, a premise spun out by director Carion to really good effect as we delve into this world of lies and power-play.

In spite of the two strands and the array of characters, ranging from this lowly Frenchman to the President of the United States himself, it is Pierre's film; a man caught up in this mucky pool of grime and maltrust and having it go on to affect his home life and general well-being. In a subway fairly early on, it is established how efficient and how clinical the police state work; their picking up of an unknown woman after the insinuation Pierre is in trouble reiterates what he is up against - the verbal establishment beforehand of Pierre's inexperience within this field follows that of Sergei's infiltrating of the backseat to his car with enough ease to fool Pierre as to his even being there. In this regard, the tension is often palpable; if for the fact we often fear Pierre's capture, something that would not stop the film from carrying on with one of its other equilibriums but as to whether his actions will destroy his exemplary home situation and those he holds dear to him. Farewell is the spy thriller peering in at the private lives of these people; the primary stuff about passing on information and keeping informants secret acting as a mere premise to fascinating accounts of how these people exist with themselves; with their families and with one another, the bulk of it making for really good value – you could sure do worse for a thriller.

Farewell is a spy drama set in Moscow/Russia in the early 1980's. It stars Guillaume Canet and Emir Custarica, both noted directors in their own rights.It is based on real events with the basic story correct though the nature of the two leading characters and a few events are somewhat changed or omitted.

The plot centres around the leaking of Russian intelligence to the French government. Sergei (Canet) works for the Russian secret service but has been recruited by (or volunteered to) the French government to pass intelligence data from his office. Sergei is doing this for purely moral reasons arguing that it will one day bring the system down and give his son a better future. His contact is a French engineer working in Moscow, Pierre, coerced in to helping by the French government and operating as Sergei's dropping point. The story develops around the personal relationship between Sergei and Pierre and also that of their families. Sergei is confident and casual but ultimately a little careless. While Pierre becomes paranoid and with his young family in tow begins to feel the stress.

The data turns out to industrial espionage on everything from the Space Shuttle to the US defence strategy and even secret communication codes. When the American are shown the information by the French (in a neat piece of one-upmanship) it is only a matter of time before action has to be taken and lives are in danger.

The pace is slow and constant and never flat. Tantalisingly delicate, a very light brush from the director allows the actors to communicate in manner rarely seen in Hollywood films. Similar with the cinematography which is used sparingly and always to accentuate the story. Watch out for the early scene where they first meet which simply says 'spies'. Then the scenes of northern Russia in winter.

This is a very smart film with excellent understated performances from all the cast. Watch out for several more famous actors in cameo and small roles. Fred Ward playing Ronald Reagan looks positively weird though they get away with it.

If you arrived here before viewing be sure, it is well worth watching. Spy Game plus.