User reviews

This excellent spy thriller directed by action master Don Siegel unfortunately has a drab, aloof title that causes many to skip it for a more exciting-sounding tag. Even Charles Bronson fans, and they are legion, often ignore this little gem for others of the genre. Not only a dilly of a suspense story filled with some of Hollywood's best actors at the time, "Telefon" also contains humor and many tongue-in-cheek lines. The Robert Frost poem, "Stopping by Woods on a Snowy Evening," utilized to trigger the drug-induced hypnotized Soviet agents to finish their mission becomes a pun for KGB agent Maj. Grigori Borzov (Bronson)when ready to give alluring Barbara (Lee Remick) a tumble in the hay. Borzov looks KGB agent Barbara lustfully in the eyes and emphatically affirms, "Miles to go before we sleep."

Though many consider the story fanciful, it is not as far fetched as some of the actual schemes concocted by overly zealous CIA and KGB officials during the Cold War, especially at the time of the eyeball to eyeball confrontation between the Soviets and the Americans during the days of U-2, the Bay of Pigs, and the Cuban Missile Crisis. The fifty KGB agents trained at the time of the U-2 Incident to replace recently deceased Americans with similar profiles, to take out key installation sites when receiving the oral code, lines from the Robert Frost poem, are put on what seems to be permanent hold until one KGB trainer goes berserk and reopens the can of worms over a decade later, when many of the installations have been closed, converted, or moved. Enter agents Borzov and his supposed helper, Barbara, to stop the madman, Nicolai Dalchimsky, played with his usual nefariousness by Donald Pleasence. Borzov uncovers a method to his madness and the fun begins. But what is to become of Borzov once Dalchimsky is removed? There's plenty of spills and thrills along the way with the seasoned actors given intelligent and often humorous lines by writer Peter Hyams whose script is based on the novel by Walter Wager.

Though no one in the cast falters, even in the bit parts, Tyne Daly steals the show as Dorothy Putterman (oh, how the name fits), a computer nerd in those glorious DOS days of old before the world heard of Bill Gates. Not only does Daly get some of the best lines in the movie, she delivers them with élan. She also reminds the viewer to be careful what is said to a computer, because they are very sensitive little fellers.

If you look at the history of American Cold War films, you see they often, but not always reflect the current state of Western-Soviet relations. Many of the B-movies of the 1950's reflected the anti-communist paranoia that existed stateside; and that decades's Invasion of the Body Snatchers (also directed by Don Siegel) brilliantly parodied McCarthyism. Now we find ourselves in the late 1970's. Gone are Stalin and Kruschev - now we have Breznev and Nixon/Ford and Jimmy Carter and a gradual policy of rapprochement and cooling of tensions. In this film, neo-Stalinists are purged by the pro-Détente Soviet leadership. One such old guard agent, played by Donald Pleasance (who is always in fine form with these 'oily' character representations) decides to unleash an old Soviet conspiracy hatched by leaders in the 50's and unknown to most of the current Soviet brass. I am not going to rehash the entire plot, but let it suffice to say that we have a top Soviet Army General (played by Charles Bronson who mercifully does not even attempt a Russian accent) working together with American double agent Lee Remick, to battle forces more sinister than the current leadership of either the US or the USSR. This truly is the movie that best reflects the détente political philosophy in vogue at this time.

I've always liked this movie. But watching it now it is difficult not to laugh out loud at the ridiculous scenes featuring Tyne Daley and her "supercomputer." This stuff was out of date when the film came out, relying on "Lost in Space" style simplicity.

But that's forgivable. What really kept the flick from really being a classic, however, is that it is totally missing the third act! The film ends abruptly with the villain, Dalchimsky, done away with in a fairly simple manner in the small town bar. In the novel, Dalchimsky is also killed in the bar, but not before passing along the coded message that set off the last "sleeper" who then proceeds to make his way to blow up Hoover Dam (or some big dam—can't remember off the top of my head). Then Bronson and Remick's characters had to race to stop the impending disaster. It was a big, exciting ending and I can't understand why they left it out. Maybe they just didn't have the budget. I think spending the dough it would have taken to include the book's ending would have helped mitigate the low budget "TV Movie" feeling "Telefon" often suffers from. But producers knew that Bronson's name would consistently pull a certain audience no matter what, so they rarely tried to do anything big in his films and he never insisted on it—a fact that eventually led to the decline of his career.

One effect of watching this one is that you will always read Frost's "Stopping By Woods" from a very different point of view.

No question, there's a whole lot of good acting in Don Siegel's "Telefon" (from Tyne Daly, for instance), but the story, from Walter Wager's novel, is, at least partly, ridiculous. Criticism of international secret policy comes off o.k., claiming that what intelligence agencies have always lacked most is intelligence. But it's more about suspense and action; especially the blowing up of a whole valley is staged with Siegel's dynamic perfection routine.

The film has got Charles Bronson in its center and he does his usual fine job as an ultra-cool Soviet major smuggled into the U.S. in order to exterminate a fellow KGB agent (Donald Pleasence) who has gone crazy there and is now endangering the whole Cold War balance system.

Please note the important rôle telephones play throughout the whole film, not just for Pleasence's ambitions. And watch out for Roy Jenson as his last victim, a man who has played lots of minor parts in major movies. - And don't forget listen to the film, as Lalo Schifrin's score is very fascinating once again.

This time around, Bronson is a Russian major sent to the USA to eliminate a renegade Stalinist who is activating human time bombs. It's a kind of Manchurian Candidate times twelve. Bronson's double-agent assistant is Lee Remick.

The plot, though not hard to follow, is a bit intricate and involves the solution of several puzzles and a good deal of travel around the country, from Denver to Akron to Los Angeles to Cambridge (NM), to some dumpy bar in rural Texas with a rattlesnake in a cage. The series is designed to spell out the name of the villain, Dalchimsky, across a map of the USA. It's not worth going into enough detail to explain exactly what that means. But I must add that I thought it was pretty rotten of the director to actually blow that rattlesnake's head off for real, Crotalus atrox, a beautiful specimen. Where is PETA when you need them? And what do they have against snakes? Oh, sure, nobody would argue that rattlesnakes are as cuddly as French poodles or sea otters -- but, still.

Bronson is his usual self with his built-in swagger and mustache. He's a Russian major and his hair looks styled by Mister Kenneth or something. And he's completely incapable of projecting anxiety, let alone fear. Lee Remick was no longer a teenage baton twirler but she has the strangest, most appealing pair of pale blue eyes, surrounded by black circles, like Meg Ryan's. And she too has a curious rolling gait, like a sailor's. Neither Bronson nor Remich was ever a major star by Hollywood standards but they're both engaging and it's sad to think that they are now both history. I could never get with Donald Pleasance as an actor. He's probably a fine man and loves his dog, but his shining dome and pop eyes become banal in a hurry. Sheree North in her small part gives a good impression of being an exuberantly sexy no-nonsense woman.

The plot has its implausibilities. We kind of expect Bronson and Remick to wind up together somehow, and they do, but it comes out of nowhere. Bronson has heretofore done no more than smile at Remick, and that only once, when suddenly they get in the car and take off for a motel ten miles away.

A couple of fireballs for the young at mind, but no car chases, no slow motion deaths (except for that disenfranchised rattler), and only one shooting.

This is one of about two Bronson vehicles I look forward to seeing again. I'm not sure why. Schifrin's music is no more than adequate. The photography is interesting, all of its colors drawn from the red end of the spectrum, all beige, gray, orange, and scarlet. Anyone in blue looks like a tramp at a Kandinsky exhibit. Maybe I like the irony of a Russian major trying to save the USA from being blown up.

Telefon casts Charles Bronson as a KGB agent on assignment in America trying to stop Donald Pleasance from igniting World War III. Bronson is aided and abetted uneasily by CIA agent Lee Remick and the two of them get involved with each other as well as the mission at hand.

It's quite a mission they have, Pleasance is an old line Stalinist and he's noticed the new regime is slowly doing away with his kind. So he knows about this operation involving 51 Manchurian candidates who are Russian sleeper agents the way Laurence Harvey was in the Manchurian Candidate. With the proper phrase these people who are under hypnosis and just living regular humdrum lives get a signal to complete a mission involving sabotage of some military installation in their area. Pleasance has come to America to set these agents off.

It might have been a whole lot easier to just dial long distance once he was out of the Soviet Union, but apparently Pleasance is also getting a few jollies and really wants to see his handiwork. Bronson gets the list and follows Pleasance's trail hoping to head him off.

A nice cast of talented players pulls off and makes entertaining when you think about it, a really silly Cold War era story. Pleasance as usual pulls all the stops out as the villain and Bronson is his usual menacing self. His loyal legion of fans might like Telefon, I'm kind of partial to it myself, but I recognize it's illogicality.

This isn't the most well-known movie in the world, so I really wonder if anyone realized that the Zucker/Zucker/Abrams team that made the original "Naked Gun" copied the whole idea of everyday people activated as assassins with bizarre catchphrases directly from this movie (remember the scene in which Ricardo Monalban "activates" his sweet elderly secretary, played coincidentally by the Zuckers' own mother, to go on a shooting rampage). I have no doubt about it: I went to the U.S. premier of "Naked Gun 33 1/3" in Milwaukee (the hometown of myself and the filmmakers) at which David Zucker said that for each of their movies, they would copy plot lines directly from serious, sometimes obscure genre films like this. I thought of this movie immediately when I saw "Naked Gun" for the first time. When you think about it, the central idea of everyday people becoming murderous robots just by hearing a stanza from Robert Frost is pretty funny by itself, and the Zuckers milked all the absurdity they could from it.

I have rather fond memories of watching this film when it was broadcast at odd hours on a local independent television station. The ideas this movie adapted from Walter Wager's original novel were quite creative, but I recall the acting of everyone here to be pretty bad (especially leads Bronson and Remick). The old-fashioned '70s computers, rotary phones, and Cold War ultra-seriousness further diminish its effectiveness. This isn't the kind of movie MGM is probably anxious to reissue on a deluxe DVD - probably because its two stars and director are all deceased, but it is a reasonably entertaining film to catch on television.

This movie is one of my favorites. Lee Remick and Charles Bronson were the perfect pair for this thriller. Donald Pleasance was also well casted. Who cares if a KGB uniform was not exactly correct as some people have commented on! When I see a movie I want to be entertained and this one had me on edge from beginning to end. Bravo! I would love to get a copy of this film as these type of movies are ones that you could watch over and over again. The chemistry of Lee Remick and Charles Bronson happened as soon as they laid eyes on each other and their performances were excellent. I was also intrigued by the surprise ending

I was never a big Charles Bronson fan. His movies usually followed the same predictable patterns of revenge and violence with Bronson usually coming off dry and stiff. His performances were usually always one note.

Of the few films of his I have enjoyed (see also "The Mechanic" and "Hard Times") from that era, "Telefon is a surprisingly gripping thriller even though the story is downright silly at times. Bronson plays (and doesn't even begin to resemble) a KGB agent out to track a killer who have been brainwashed. One call from this guy and the reciting of some lines from a Frost poem and that person is hypnotized into going out and committing an act of violence that resembles terrorism in many cases. Donald Pleasance convincingly plays the bad guy and that, I think, is what makes the movie work. Pleasance is credible in the role, thus we fear him and route for Bronson to catch him. Also on hand is Lee Remick as an American agent assigned to help Bronson but who also has a hidden agenda of her own.

Director Don Seigel handles the silly material in a straightforward manner never taking things too seriously. Bronson is less stiff then usual and the action scenes are well done. The ending is a bit abrupt but that is minor nit picking. It's a silly thriller I enjoyed and, if you are a Bronson fan, I am sure you will enjoy it too.

This film is not exactly literature, but the pacing works. The acting is good, and the characters are well drawn, if not a little too characatured, to coin a term. Bronson plays a Soviet KGB guy who is (naturally) the "only one" the Soviets can rely on to complete the mission. Lee Remick does her best with the script that calls for her to be the CIA agent who is simultaneously hardened/sexy-horny/friendly/sincere/scheming/and afraid. A tough role, but she pulls it together with a pre-Charlie's Angels perfection that is to be admired. Donald Pleasance is the bad guy flying all around the U.S. getting all cast members concerned about potentially unleashing "World War III;" the official fear of the Cold War. The whole plot's an implausible mess, but fun viewing, and certainly no worse than much of what's at the box office 30 years later...

The radical Russian Nicolai Dalchimsky (Donald Pleasence) steals some names and codes and flees to the United States of America with the intention of beginning the Third World War. The list is formed by ordinary American citizens that are actually brainwashed Russian agents that have been programmed fifteen years ago to destroy military bases and facilities and are triggered through a phone call with a message.

The responsible for the secret program, General Strelsky (Oatrick Magee) and Colonel Malchenko (Alan Badel) summon Major Grigori "Gregg" Borzov (Charles Bronson) to travel to the United States to eliminate Dalchimsky. Gregg teams up with the Russian agent Barbara (Lee Remick) that was instructed to obey his orders but does not know what is happening. But Barbara has a secret agenda from her superiors to accomplish by the end of their assignment.

"Telefon" is presently a dated rip-off of the central idea of "The Manchurian Candidate", with Russian agents with sleepy instructions and programmed to destroy but it is still engaging. Don Siegel was a master of action and "Telefon" never disappoints. My vote is seven.

Title (Brazil): "O Telefone" ("The Telephone")

Don Siegel tried his hand at the political paranoia thriller which was in vogue at the time, and this time we're served the Cold War spy version. Siegel recruited the two most Soviet-looking things he could find short of the real thing: Finland and Charlie Bronson. And this along with an absolute disregard for the language barrier is ample proof of the film's utter Americanness. You may think that pitting Bronson as a Soviet agent against another arch-Russian baddie (Donald Pleasence) and place them both in the United States would be a good idea, but it soon becomes clear that a tired-looking Bronson is miscast and a little out of his depth here. He and Siegel steer what could have been an enjoyable script into rather boring spy pulp territory, with unimpressive action and visual effects to boot. The only actors who really make the most of what they've got to work with here are Lee Remick and Tyne Daly. The script was written by Peter Hyams (Capricorn One) and Stirling Silliphant (In the Heat of the Night).

Bronson and Remick make an unusual, but intriguing pair in this cold war suspense drama. He plays a KGB agent (with a notable American accent, attributed to his many trips to the U.S.!) who is sent to eliminate a renegade Stalinist who is wreaking havoc on various American military/industrial sites. The renegade (Pleasence) has unearthed a 15 year-old plot that the Soviets had put into place and then abandoned in which 51 agents were brainwashed into believing that they were Americans, but who can be reactivated through verbal command to complete their missions. Once they hear the key phrase (usually delivered to them over the telephone, hence the title), they single-mindedly go about blowing up whatever target was originally intended and then offing themselves. Bronson joins forces with CIA operative Remick, giving her limited information about the mission, but using her resources to reach his ends. The film becomes a sort of cross-country chase as the agent couple fight to either catch up to or stay ahead of Pleasence before he sets off another dormant killing machine. Logic and believability often take a backseat here with the premise itself being a little hard to swallow. However, the acting of the leads and the eeriness of the situation go a long way to cover up the problems with the plot. Bronson is his usual rather silent, tough self, but it works, especially against the more animated and sophisticated Remick. Her character is not always particularly credible, but she adds tastefulness to any film and can always be counted on for good reactions (her eyes captured more light than practically anyone before or since, except maybe Meg Foster.) There are some other decent performances in the film (such as Magee as a weary Russian general) but one that grates is Daly as a know-it-all CIA computer technician. Meant to be comic relief, she winds up more of a distraction and a point of irritation during a lot of her scenes. Pleasence has few lines and isn't in the film a great deal, but manages to ham it up nonetheless with several unintentionally hilarious expressions and loopy disguises. Composer Schifrin provides an effective, Russian-tinged score for the film.

Charles Bronson, (Maj. Grigori Borzov),"Twinky",'69 played a Russian KGB agent who was assigned to stop a possible World Ward III with the United States. Many years back there was a secret plan called "Telefon" which had a mysterious ability to capture a person's brain and set them off in all kinds of destructive evil deeds. Lee Remick,(Barbara),"No Way to Treat A Lady",'68, played the role of an agent for the United States and was assigned to work with Maj. Grigori. Barbara tries to turn Grigori on by all kinds of advances towards his manhood, but he is like a cold fish and strictly doing his assignment given him by the KGB. Donald Pleasance,(Nicolae Dolchinsky),"The House of Usher",'88, plays his usual role of the evil character who starts all kinds of trouble by just simply making telephone calls. Bronson and Remick were a great team together, however, the ending turned out completely different than what I had thought it would have ended.

Loves the originality of the story. They don't make like this anymore and would recommend if you like spy and thriller movies.

A suspenseful and thrilling spy movie with chills , frantic action , explosion , pursuits , plot twists and excitement enough .A KGB agent named Maj. Grigori Borzov (Charles Bronson) is assigned to stop the nefarious activities in America of a hardline Stalinist agent (Donald Pleasence) who has practical and very sinister plans of his own to reinstigate the Cold War by using infiltrated agents who reactivate themselves when they hear certain coded words. They're seemingly ordinary people after receiving a phone call go out and destroy key American military installations. They'll do anything to stop Telefon !. The operation that can trigger 51 human time bombs. The Most Explosive Picture of the Year! They'll do anything to stop Telefon. Your next phone call may be your last!

Wonderful toughly eccentric thriller with noisy action, nail-biting scenes, violence, twists and turns. The story moves with pace from Russia -though actually shot in Finland well photographed by Robert Butler- to a wide variety of places in the US. Something rather out of the ordinary run of spy thrillers, this movie also covers a lot of territory so far as locations concerned. Charles Bronson gives a nice acting in his usual style as a Russian officer is sent to the U. S. to try and stop sleeper agents who will mindlessly attack government entities. Charles Bronson in his ordinary tough role , he was at his best period with the ¨Death Wish¨series and while playing some 70s westerns ; his westerns made during the 1970s include Chino by John Sturges (1973) , Red sun (1971) , Chato the Apache by Michael Winner (1972), From noon till three by Francis D Gilroy (1976), Nevada Express by Tom Gries (1975) and The White Buffalo by J. L. Thompson (1977) . The star is partnered by attractive Lee Remick who almost steals the show , Donald Pleasence as as the diabolical mastermind who attempts to use hypnotized Americans to commit sabotage , while Alan Badel , Patrick Magee are really effective as high officials in the Russian secret police and the dynamic Tyne Daly , later of TV's Cagney and Lacey, as CIA computer analyst is memorable , giving a very sympathetic acting . Along with other secondaries such as Sheree North, Frank Marth , Helen Camp , Roy Jenson, John Carter, Jacqueline Scott, and John Mitchum.

Still on a roll after ¨Dirty Harry¨ hit , Donald Siegel turns into an on-the-mark classic and well-paced yarn about cold war espionage and a threatening world conspiracy . Donald was a splendid director who excelled in all kinds of genres as Thriller : ¨Escape from Alcatraz¨, ¨Telefon¨, ¨Madigan¨, ¨Rough cut¨, ¨Private hell¨, ¨The black windmill¨, ¨Coogan's bluff¨, ¨Jinxed¨ . Noir Film as ¨The big steal¨, ¨Riot in cell block eleven¨ . Western as ¨Flamingo Star¨, ¨The shootist¨, ¨The beguiled¨, ¨Two mules for Sister Sara¨. And the classy SciFi : ¨Invasion of body snatchers¨, among others. Rating : 6.5/10 . Worthwhile watching. Essential and indispensable seeing for Charles Bronson and Lee Remick fans.

Nicolai Dalchimski, a now rogue secret agent for KGB has stolen an important notebook which has the names and phone numbers of sleeping undercover KGB agents living in America. Under hypnosis they were given instructions, that when they hear a certain poem resided it triggers them to unknowingly act upon their mission which is a suicidal act on mainly military targets. Dalchimski heads to America to begin the process, so the Soviets send Colonel Borzov over there to put a stop to it before it causes a world war three.

A curiously low-key, but plodding espionage cold war thriller (taken off Walter Wager's novel) by stalwart director Don Siegel. I'm really caught here, as the plot remains stimulating due to the novelty of its new slant (involving a KGB assignment of brainwashed sleepers living in the USA, who could be used to destroy an important target when a certain quote is mentioned to them), but I found it durably grinding than excitingly gripping. There was so much opportunity arising from the situations to the let the tension gradually build-up (as the concept is an alarming one), but despite some tight drilling set-pieces it never manages to tie them together to create a rampant urgency throughout. It's quite a spotty cross-country trip (spending a lot of time with Charles Bronson and Lee Remick), which gathers a head of steam before letting go the in the final third when the two parties finally come to blows (some underground car parking) and then delivering a well-staged, but underwhelming climax.

The plot-work (by Peter Hyams and Stirling Silliphant) is quite constructive (if outrageous) with its sober script consisting of humorous quirks, but Siegel's efficiently grounded direction tries to cleverly milk out the dramatic suspense, but is forced to sourcing the material in an mechanical fashion. Although Pleasance's phone calls of stating Robert Frost's "Stopping by Woods" to trigger of the sleepers are eerily achieved. Those familiar with his work though would come to appreciate the use of the well positioned camera (photographed by Michael Butler), from the leering frames to the long, expansive shots of the surrounding backdrops. Siegel truly had an eye for those details. The music was composed by no other Lalo Schifrin (who's done quite a few scores for Siegel --- "Dirty Harry" (1971) comes to mind), as he chips in with an engrossingly simmering and characteristic score that works with its dangerous tone.

The performances are acceptably spot-on with a sturdy as ever Charles Bronson and Lee Remick shines with her affable presence. The two worked together very fittingly, but sometimes their moody interludes did take away from the bigger picture. Donald Pleasance gleefully turns it up as the rogue Russian agent, but in the end I wished there was a little more to his character. Patrick Magee, Sheree North, Jacqueline Scott also show up good support roles and Tyne Daly appears in something of a disposable character, well for laughs anyway. The way she was brought in, I thought there might have been more made of it. Also if you look at the cast there are some regulars, if only used in small parts that feature in other Bronson and Clint Eastwood films… with the likes of character actors Ed Bakey, John Mitchum and Roy Jenson.

Hypnotically established gear work that's leisurely paced, but bestows little to no fireworks.

"Telefon" isn't exactly the most plausible espionage thriller ever made, but it was particularly the far-fetched and flamboyant plot line, along with the acting performances and harsh violence, that kept me glued to the screen. "Telefon" is the codename for an old Soviet war incentive against the US. Years ago, during the peak years of the Cold War, 51 Russian secret agents were strategically placed all over America. They were instructed to build up regular lives, however, reciting a specific piece from Robert Frost's poem "Stopping by Woods on a Snowy Evening" triggers some kind of hypnotic effect that turns them into unstoppable kamikaze soldiers with sabotaging assignments. The "Telefon" project got pretty much forgotten during the détente era, but now the dangerously berserk Stalinist Nicolai Dalchimsky single-handedly decide to awake the "sleeper" agents and leave a trail of destruction throughout America. Moscow headquarters' only chance to prevent World War III from happening is to send Major Grigori Borzov, who's loyal as a dog and has a photographic memory, to the US and eliminate Dalchimsky. You got to admit the idea behind "Telefon", which is based on a best-selling novel, is crazy enough to provide 100 minutes of grotesque and exhilarating action. In fact, the action and the extended imaginative sabotaging operations are what matter most here, as the rest of the script is full of ineptness and holes. The film hastily jumps from one wrecking sequence to the next without bothering to explain the background of the "Telefon" project or the motives of the culprit. Donald Pleasance, who portrays the evil Dalchimsky, is terribly underused because the screenplay never once bothers to elaborate on his malignant plans. This could have been a great role for Pleasance, but now it's just another villainous character like he has depicted dozens and dozens already. Charles Bronson is at his best, since he doesn't have to speak any more than absolutely necessary, but nevertheless acts forceful and confident. Don Siegel's direction is surprisingly pedestrian and distant, which isn't normal for him. Still, "Telefon" is good solid Charlie Bronson entertainment with a totally bonkers plot line!

I've always liked "Telefon". I liked it when I saw it in the theater and I've liked it all of the many times that I've seen it since. "Telefon" never lets me down. It is still an exciting movie to watch. The last fifteen minutes or so is great stuff. The scene in Houston is another winner. The cast is very good and they all do a nice job. Charles Bronson was one of the greats. He delivers a nice performance in this movie. Director Don Siegel is one of my favorites. He made a very good movie with "Telefon". (I remember as part of the promotion for this movie there was a phone number you could call a hear a brief audio trailer. We must have called that number twenty times.)

Charles Bronson plays a KGB agent with a mission to stop deranged (whatelse?) Donald Pleasence from setting off a group of terrorists attacks by activating brain-washed agents via the telephone. It is certainly not the worst way to spend a couple of hours. The plot is a little shaky and ultimately the ending leaves a little bit to be desired, but Bronson is believable enough. Lee Remick plays his secret agent partner. Remick was always a very underrated actress in my opinion, so it was nice to see one of her movies. Pleasence is exactly what you would expect out of him in his later years. The CIA agents are throwaways, even with super-smart computer whiz Tyne Daly on their side. All in all it is not the most memorable of the cold war spy thrillers, but a long cry from the worst.