steve-raybould's reviews

I saw this film last night and it has being going around in my head all day. It builds with a slow intensity which becomes absolutely compulsive. In style it reminded me a lot of The Godfather films. Calm, matter of fact but intensively observed portrayals of almost unbelievably hideous events. It has the same effect - if you stop to watch for just a few seconds, you are irresistibly drawn into the stream of events. Yves Montand is at his down beat best. What struck me most is that this true story of the post-way purges in the USSR's East European client states is of a time and place almost inconceivable to most of us now. The blind belief in The Party, the Inquisition-like mind games of the interrogators that convince the accused that to demonstrate their true loyalty to the Party, they must confess to the most ridiculous accusations of their betrayal of it. And I was surprised to see that it was made in 1971, the feel is absolutely contemporary, even though it depicts such far off events. While I was watching, I was convinced that I knew the story - isn't this the same as Koestler's 'Darkness at Noon'?

Out of the many Marlowe novel adaptations, this must be one of the closest to the spirit of the original. Unfortunately Chandler himself does not seem to have had the opportunity to contribute to the screenplay - although there are plenty of Chandleresque wisecracks. The film, unlike most of the other adaptions reflects the original author's full dislike of the cops (although the tough police chief having to answer a telephone call from his daughter during an interrogation is an unusual appeal for the viewer's understanding), and mistrust bordering on pathological hatred of women (I suspect that the ending is an uncharacteristic 'cop out' to assuage the producer's or popular taste). Director/star Robert Montgomery shows great self-restraint by appearing only briefly in the action. When he does show himself, mainly in mirror-reflections, the star appears (as in that other great latter day film noir, China Town) battered and bruised and not at all flattering. The plot is suitably twisted and confusing - just like the novels. And the concept of timing the whole dark affair against the backdrop of the Christmas holidays only emphasises the bleakness of the subject matter. Incidentally the idea of continuing the opening titles' jolly Christmas carol chorus in darker, more disturbing tones throughout the soundtrack is fascinating and I think unique. Audrey Totter (whatever happened to her?) makes a very sexy femme fatale. And as she plays most of her lines to camera we are seduced just as protagonist Marlowe. On top of that, her gowns are absolutely magnificent examples of forties chic. Lloyd Nolan deserves special mention as a superb heavy. What a wonderful example of Hollywood film noir.

The seediness of the post-war colonial Far East and that rather morbid fascination with death and fate that pervades the consciousness of people who have been through a world-shattering conflict flavours this film. A great script (by RC Sherriff of 'Journeys End' fame) and a great cast - headed by that master of actorly understatement, Micheal Redgrave - slowly build the story, bit by bit. The exotic setting, where strange things could happen. The drab ordinariness of military outposts - which hightens the surreality of the events. A sense of a military and aristocratic world giving way with poor grace to the brash 'modern' future - epitomised by the crass Brummagem scrap dealer (accompanied by his effete elderly public-school personal assistant). The sense of dread is created by the pure spoken word and performance - of a good tale well-told. MR James in the age of Dakotas.

Great plot, excellently under-stated performances, writing and direction. The fact that this film was made in 1946, so close to the events its depicts, seems to add an almost documentary-like quality to this film. Indeed, in the opening credits, the line 'Filmed in the British Zone of Western Germany' suggest that the realistic prison-camp scenes were probably shot in genuine locations. The cast is almost a repertory company of British 1940s actors - but no-one is taking an easy ride. There are fresh and challenging performances, even though the faces are familiar. What struck me is how the film is free of the gung-ho 'smart prisoners, dumb Krauts' type of prison camp film that dominated the genre later on. This film is the product of a people tired of war. At the same time, it retains some of the stiff upper lip feel of many British wartime films, but with the confidence of victory, it does not need to indulge in the 'beastly Hun' elements. Moving without being sentimental. A very 'human' film, only a few steps short of a masterpiece.

An enjoyable thriller, which although filmed in Spain, manages to capture the atmosphere and lunacy of the last days of Batista's dictatorship perfectly. Probably a contractual purposes project on the behalf of director Lester, he manages to inject just enough of his own idiosyncratic style to lift this adventure flick out of the run of the mill. Connery is totally convincing in his role as Brit counter-insurgency advisor/mercenary. Brook Adams is stunning. Good anglo-american supporting cast. Plot begins to lose its impetus about a reel before the end, and at a running time of nearly two hours, is overlong. But well worth renting the video. Socialists will not find its political interpetation of events offensive, but may be puzzled or angered by the soundtrack over the final titles - as a victorious Fidel approaches the podium, chants of 'Fidel! Fidel!' are over dubbed with a Nuremberg chorus of 'Sieg Heil!'. Discuss.