The Looking Glass War

The film is part allegory on the WWII betrayal of Poland by the United States (under FDR) and Britain, which like the main character (now obscure cult icon) Christopher Jones is used and then abandoned. Not to spoil, I will just mention there is a nice one-liner quote from one of the character that touches on both main themes in one shot. (Have to now read the John le Carré novel to see if it's in there or from the screenwriting). The location migrates from Great Britain in the half to East Germany in the second. The main character Leiser (Christopher Jones) is a Pole who is recruited and exploited for the UK government/military war-related mission (locating rockets) and who is sent to East Germany (hostile) in return for promise of citizenship.

The other major theme is a straightforward counterculture anti-war mongering theme, but certainly not presented in a cliche manner - quite the opposite and film must be viewed to its full conclusion to witness. Very simple and digestable theme for any viewer to get, regardless if they are educated in deeper history or not. So the film is effective thematically without knowing the deeper obscure 'classified' references.

It's a straightforward thriller with a very clear mission, easy to follow in plot, and that develops into an especially interesting artistic form in its second half. The ending is effective and somewhat poignant final scene, where the main impact and revelation is experienced.

There is a good amount of symbolism buried within the film as well, which makes for a film worthwhile of subsequent viewing for film students. Film also has two large act with a shorter final conclusion, which swap locations and style. Lots of film technique, very subtlely presented and well-structured.

The cast is fantastic starring Christopher Jones, but also a younger prime Anthony Hopkins, Pia Degermark and even Susan George in an important scene.

A pleasant surprise representing buried and hidden historical allegory, but also for its equally noble anti-war theme --- both symbiotic and written with perfect synthesis.

I cannot speak for the book as far as adaptation, but knowing the history and war references as well as being literate and a fan of counterculture era film, this hit the mark. And it even makes me want to read the book as well.

Very interesting film. Obscure, subdued. Significant.

Although undeniably the weakest of the three John Le Carre novels to be filmed during the 1960's this is not quite as bad some would have us believe. It proved to be one of only two features to be directed by Frank R. Pierson, the other being the third version of 'A Star is Born'. The latter film at least made money despite a critical drubbing whereas this one failed on both counts.

There are some redeeming features here, notably the cinematography of Austin Dempster and first class performances from Ralph Richardson, Paul Rogers, Robert Urquart and Anthony Hopkins who is slowly moving up the ranks. Hopkins freely admitted that his ambition was to be an international film star and in time would certainly be granted his wish!

The weak link is Christopher Jones whose rather quirky personality at first appeals but then becomes rather tiresome. He is working through his James Dean complex here and in the role of a Pole is not very well dubbed. He was to be even more miscast in 'Ryan's Daughter' which proved to be another nail in his coffin. Also disappointing is Pia Degermark as the love interest. Having shone in 'Elvira Madigan' she is rather bland here and despite her off-screen relationship with Jones there is precious little chemistry.

Even by the author's standards the material is pretty bleak and Mister Pierson alas is not in the same league as Messrs. Ritt and Lumet.

Where it does succeed admirably is in depicting the soul-destroying and morally ambiguous nature of the Espionage business where human beings are nothing if not expendable.

"War is hell, Mr. Thornhill. Even when it's a Cold one"!

26/04/2021: Congrats to Mr. Hopkins on his well-deserved Academy Award.

Christoper Jones does a great job. And with Ralph Richardson and Sir Tony Hopkins in support you have to have a real experience. Maybe some people weren't happy that Jones wasn't James Bond. I don't think he was ever meant to be. This is an entirely different protagonist...much more realistic and human. Even with the "correct papers" you were guilty until proven innocent once you entered the Soviet Bloc. The danger he faces was as great as any 007. And he does so without the weapons that J. Bond was provided with. Like Bond, a seemingly impossible mission. But with none of the "Tier One" hardware that Bond ever had. Just a man...no super powers...not even a pistol. This "unfair" powers of force provides a deeper and more subtle level of suspense and tension. He can't survive can he? Can he complete his mission? So I don't spoil it for you I won't go on. Let me say this is one of the best Cold War spy movies I've seen and Jones deserves a great deal of credit. Enjoy.

He was an inexperienced man clutched out of crises and thrown into an impossible situation. I think he pulls this off quite well. Very few remember;e the danger and suspense of penetrating East Germany. The constant striving to be free against the murderous boot of the Stasi.

During the Cold War, the British Intelligence receives a blurred photograph from East Germany taken from Hamburg and Director LeClerc (Ralph Richardson) believes that they are missiles. Their agent Taylor King (Timothy West), who receives a film that might clarify the detail from a pilot in Finland, is found dead on the road and the police believe that he was accidentally killed in a hit-and-run. LeClerc meets the Polish defector Fred Leiser (Christopher Jones), who jumped overboard from a ship expecting to have asylum and stay with his British girlfriend (Susan George) that is pregnant, and decides to recruit him to cross the border and spy the Eat German facility to check the missiles. In return, he would have salary, insurance and political asylum. Leiser is trained by the agent and family man John Avery (Anthony Hopkins) and soon he finds that his girlfriend has had an abortion. When Leiser crosses the border, he stumbles with the local Anna (Pia Degermark) and they stay together in the beginning of a dangerous journey where he is just a pawn in a war game.

"The Looking Glass War" is a dated thriller with a disappointing story. The characters are poorly developed and it is hard to understand the motivation of Leiser in his assignment after discovering that his girlfriend had forced an abortion. He is neither British nor an idealistic man to risk his life in a suicidal mission. Actually it is difficult to understand who he is since he is capable to kill two men in cold blood, slap the face of his girlfriend and let Anna with him knowing that his mission is compromised. The betrayal of LeClerc is the great plot point in the story but also difficult to understand why he plots all operation apparently to justify his agency and get rid off a defector. In the end, there is no consequence receiving or not the message from Leiser. My vote is six.

Title (Brazil): Not Available

A uniformed boarder guard actually says "Your papers please!" in this drab adaptation of John Le Carre's novel (with Bergmanesque visuals from cameraman Austin Dempster).

First-time director Frank R. Pierson had recently received two Oscar nominations as a scriptwriter when Columbia gambled upon his ability to direct a feature film. Columbia lost, it went out on the graveyard shift in February and Pierson went back to TV for several more years.

Both leads were blessed with sullen good looks but not the ability to speak English and soon disappeared. Fortunately they're backed by a fine line-up of British acting talent who are the ones who make the film worth watching. (As in the earlier Le Carre adaptation 'The Deadly Affair' time is devoted to the unhappy home lives of the minders; and again it's not a pretty sight.)