The Quiller Memorandum

Languid, some might say ponderous mid-60's British-made cold-war drama (it could scarcely be called a thriller, more "The Spy Who Came In From The Cold" than, say "Thunderball") that for all its longueurs, does have some redeeming features. These include another superior soundtrack by John Barry, if perhaps a little too much son-of "The Ipcress File", some fine real-life (West) Berlin exteriors, particularly of the Olympic Stadium with its evocation of 1936 and all that and Harold Pinter's typically rhythmic, if at times inscrutable screenplay. George Segal, plays the edgy American-abroad new CI5 recruit (looking unnervingly at times like a young George W Bush!) before he started doing "genial" and reminds us that his previous part was in the heavyweight "Who's Afraid of Virginia Woolf". Try as he might though, he can't quite carry the lead here, lacking as he does the magnetism of Connery or the cynicism of Caine. Alec Guinness gets to play a Smiley prototype but brings too much Noel Coward to the table. Max Van Sydow is better as the neo-Nazi leader, veiled by the veneer of respectability as he cracks his knuckles and swings a golf club all the time he's injecting Segal with massive doses of truth serum, while Senta Berger is pleasant, but slight, as the pretty young teacher who apparently leads our man initially to the "other side", but whose escape at the end from capture and certain death at the hands of the "baddies" might lead one to suspect her true proclivities. The movie wants to be more Le Carre than Fleming (the nods to the latter fall flat with a couple of fairly underpowered car-chases and a very unconvincing fight scene when Segal first tries to escape his captors) but fails to make up in suspense what it obviously lacks in thrills. I also expected just a little more from the interrogation scenes from the man who wrote "The Birthday Party". Watchable and intriguing as it occasionally is, enigmatic is perhaps the most apposite adjective you could use to describe the "action" within. In conclusion, having recently watched "Quiller's" almost exact contemporary "The Ipcress File", I have to say that I preferred the latter's more pointed narrative, down-home grittiness and star acting to the similar fare offered here.

As other reviewers have suggested, this Cold War Neo-Nazi intrigue is more concerned with subtle, low-key plot evolution than the James Bond in-your-face-gadgetry genre that was prevalent during the 60's-70's. George Segal provides us with a lead character who is somewhat quirky in his demeanor, yet nonetheless effective in his role as an agent. His dry but quick Yiddish humor shines through on many occasions, providing diversions that masquerade his underlying desire to expose the antagonists' machinations. His romantic interest is Senta Berger, whose understated and laconic dialog provides the perfect counterpoint to Segal's character. Alec Guiness and George Sanders have brief roles as Segal's Control and Home Office head, respectively, and both rather coldly and matter-of-factly pooh-pooh over the grisly death of Segal's agent predecessor. In typically British mordant fashion, George Sanders and a fellow staffer in Britain are lunching in London on pheasant, more concerned with the quality of their repast than with the loss of their man in the field!

That said, the story moves along in a neo-noirish, eerie fashion as Segal continues his search for and exposure of the Nazi cadre. Great job by Max von Sydow who articulately plays his villainous role to the fullest. The remaining cast, mostly German actors, fulfill the demands of their roles more than adequately. Nice plot twist at the end, especially for those who disdain trite endings. Good period piece!

This isn't your standard spy film with lots of gunplay, outrageous villains, and explosions. It's a more realistic or credible portrayal of how a single character copes with trying to get information in a dangerous environment. The characters and dialog are well-written and most roles are nicely acted. I found it an interesting and pleasant change of pace from the usual spy film, sort of in the realm of The Spy Who Came in From the Cold (but not quite as good).

Released at a time when the larger-than-life type of spy movie (the James Bond series) was in full swing and splashy, satirical ones (such as "Our Man Flynt" and "The Silencers") were about to take off, this is a quieter, more down-to-earth and realistic effort. Segal plays a secret agent assigned to ferret out the headquarters of a Neo-Nazi movement in Berlin. His two predecessors were killed off in their attempts, but he nevertheless proceeds with headstrong (perhaps even bullheaded) confidence without the aid of cover or even a firearm! His investigations (and baiting) lead him to a pretty schoolteacher (Berger) who he immediately takes a liking to and who may be of assistance to him in his quest. Before long, his purposefully clumsy nosing around leads to his capture and interrogation by a very elegantly menacing von Sydow, who wants to know where Segal's own headquarters is! When drug-induced questioning fails to produce results, Segal is booted to the river, but he isn't quite ready to give in yet. He recruits Berger to help him infiltrate the Neo-Nazis and discover their base of operations, but, once again, is thwarted. Finally, he is placed in the no-win position of either choosing to aid von Sydow or allowing Berger to be murdered. The film illustrates the never-ending game of spying and the futility that results as each mission is only accomplished in its own realm, but the big picture goes on and on with little or no resolution. Segal is an unusual actor to be cast as a spy, but his quirky approach and his talent for repartee do assist him in retaining interest (even if its at the expense of the character as originally conceived in the source novels.) Guinness appears as Segal's superior and offers a great deal of presence and class. Von Sydow (one of the few actors to have recovered from playing Jesus Christ and gone on to a varied and lengthy career) is excellent. He brings graceful authority and steely determination to his role. His virtual army of nearly silent, oddball henchmen add to the flavor of paranoia and nervousness. Berger is luminous and exceedingly solid in a complicated role. Always under-appreciated by U.S. audiences, it's a relief to know that she's had a major impact on the German film community in later years. Special guests Sanders and Helpmann bring their special brand of haughty authority to their roles as members of British Intelligence. The film magnificently utilizes West German locations to bring the story to life. Widescreen viewing is a must, if possible, if for no other reason than to fully glimpse the extraordinary stadium built by Hitler for the 1936 Olympic games. The film has that beautiful, pristine look that seems to only come about in mid-60's cinema, made even more so by the clean appearance and tailored lines of the clothing on the supporting cast and the extras. By day, the city is presented so beautifully, it's hard to imagine that such ugly things are going on amidst it. Composer Barry provides an atmospheric score (though one that is somewhat of a departure from the notes and instruments used in his more famous pieces), but silence is put to good use as well. Is there another film with as many sequences of extended, audible footsteps? Fans of "Willy Wonka and the Chocolate Factory" will notice that film's Mr. Slugworth (Meisner) in a small role as the operator of a swim club (which features some memorably husky, "master race" swimmers emerging from the pool.) The film's screenplay (by noted playwright Pinter) reuses to spoon feed the audience, rather requiring that they rely on their instinct and attention span to pick up the threads of the plot.

Very satisfying spy flick which, if it grabs you, may haunt you for a long time. Perfect and slightly ironic ending. Excellent musical score too.