Der Spion, der aus der Kälte kam

You can check my voting history to see how rarely I give out perfect 10s. But this film truly deserves the honor.

I hesitate to call it a spy movie because it's nothing like any spy movie I've ever seen. There are no hi tech gadgets, shoe phones and sexy Russian agents. There are no fantastic plots to recover microfilm hidden in the crown jewels. The hero doesn't even carry a gun. Instead the battle is fought with pure intelligence, political manipulation and trickery. This is what true espionage is about, the way WWII history books tell us. In the same way Kubrick's "2001: A Space Odyssey" broke the rules of the scifi stereotype, this film did the same with the spy genre.

I won't say anything about the plot except that it requires your full attention. Things are not spelled out for us, and it requires a bit of work to piece it together, but that makes the payoff all the more stunning. This movie reads as if it were a book (which may be good or bad depending on how you like your movies). But I assure you it's not boring. I found myself whispering after every scene "This is so freaking cool! How much cooler can it get?" The answer: much.

The acting is flawless. Richard Burton is perfect as the cynical, faithless enigma who hides his mission so well even we can't guess what he's up to. Claire Bloom is equally convincing as the clueless but intelligent bystander. Oskar Werner, in the greatest role I've seen him play, is both chilling and magnetic as the interrogator. Even the minor roles were expertly played.

The script is so clever I highly recommend watching the film with subtitles so that you don't miss any of the great lines and wit. It may also help you keep up with the plot which, as I said, can be tricky.

Sol Kaplan's musical score is sparse but very effective in maintaining the heavy mood. The piano pieces really make you feel the weight of the dreary, cold war era. And the lack of music during tense scenes is equally powerful.

And that brings me to my favourite part of the film: the amazing camera work, cinematography and lighting. This is one of those films that makes you realize that black&white isn't just a choice of film; it's an entire art form unto itself. Darkness and light, sharpness and haze, shadows and contrast are used to the fullest. But it's not obnoxiously done like a 2nd year film student might do. No, everything flows naturally so a layperson can enjoy the scenery just as much as a cinema geek.

And there you have it; nothing but praise from me. The only problem is that it has ruined all the other spy films and political thrillers for me.

I had a relative who in the fringes of their job came into contact with people from the intelligence services.

They always said real spies were less James Bond and more Alec Leamas.

Middle aged, bitter, alone, likely to be divorced, drink too much, politically slightly left of centre.

John Le Carre's The Spy Who Came In from the Cold is noted for maybe showing the true face of spycraft.

On the fringes it has characters like George Smiley. As it goes on, the only person in control is Control. His talk to Leamas about the dirty things the spy services have to do. It is not small talk. It is the literal truth.

Alec Leamas (Richard Burton) messes up an operation in Berlin and is recalled to Britain.

He has been given a new assignment. Leamas has to pretend to have been thrown out by the security services.

It is a ruse for Leamas to come into the attention of British communists and East German intelligence. Be seen as a potential defector.

Leamas is meant to bring down an East German high ranking intelligence officer named Mundt. Leamas finds himself deep of a complex and messy espionage game.

American director Martin Ritt seems to be at ease with such complex material. He makes sure to include a pivotal scene where an important plot point is explained. So many times, espionage films want to leave it dense.

Ritt was left wing and a victim of the McCarthyite witch hunts. Maybe that explained why he was able to identify with an outsider like Leamas and the complex manoeuvrings of the intelligence agencies.

As for Burton, he was already halfway there as the self loathing alcoholic Leamas. The rest was courtesy of a good script and his acting ability.

Having just read LeCarré's first novel, 'Call for the Dead', I am now appreciating his third novel 'The Spy Who Came in From the Cold' even more. This film adaptation directed by Martin Ritt is a fine preamble to the masterful BBC series 'Tinker, Tailor, Soldier, Spy' and 'Smiley's People'. One of the joys of LeCarré's novels is that many characters return again and again. Mundt, the "villain" in 'Spy...' first appears in 'Call..' and as usual LeCarré wraps up a few loose ends from the previous story.

This black and white film recreates the sullen atmosphere of cold war espionage in a way that color seems to diminish for some unexplainable reason. Those were black and white kinda times in my memory. Depressing, frightening and dour.

George Smiley makes a small appearance, albeit very important as a character in the plot line, and is nicely played by Rupert Davies, capturing the diffident and wry Smiley as effectively as Guinness did later on and Denholm Elliot even further on in the TV film 'A Murder of Quality'. Cyril Cusack's Control could easily be the younger version of Alexander Knox's masterful rendition in the Smiley TV shows. The continuity suggested in all of these films is very satisfying. It's a shame so many of the other versions of LeCarré's novels are so mediocre... ie 'The Little Drummer Girl' with a totally miscast Diane Keaton, and 'The Russia House', too Hollywood by half.

Richard Burton turns in just about the greatest performance of his life here. He is the embodiment of the disillusioned, bitter and down-trodden ego-maniac that seems to be the basic cocktail for a spy's personality, according to LeCarré.

I've seen this film many times but just recently spotted LeCarré himself (at least it certainly looks like him) as an extra in a short scene. As Leamas is making his roundabout way to Smiley's house at 9 Bywater Street, he is exiting the first of 2 taxis. As he does so a tall, lean man in black is walking towards him. Ritt seems to be focusing the camera on this "extra" actor who actually makes furtive glances at Leamas. It is later revealed that Leamas has been followed by the Communists. Could LeCarré be playing that non-speaking, uncredited part of the Eastern "watcher" trailing Leamas to Smiley's house? Wouldn't surprise me in the least. It's a part LeCarré would have enjoyed playing, I think.

And, like Hitchcock, LeCarré has appeared in film adaptations of his books before.

Claire Bloom is excellent as the naive English communist who hasn't got a clue as to what she's supporting. The end of this film is always shocking to me. The ruthlessness of the spy-masters, the lies, the back-stabbing.... There is nothing over-blown in this film. It's all very subtle and intriguing and with the passage of time just gets more and more fascinating.

Highly recommended to fans of this genre, especially LeCarré fanatics. If you haven't read his books you are missing out on perhaps the finest living writer of the English language. Some "experts" think his writing style is out of date because the plots are so involved and the prose so full of humor and political incorrectness; I read something to that effect in the most recent edition of the 'Halliwell' guide. Perhaps the editor of that book has A.D.D. or something, or perhaps he's just seen to many glitzy, empty flicks designed to entertain the gawping masses, I don't know. To me, LeCarré will never go out of style and it is to be hoped the film adaptations of his books will continue to be made. A few remakes wouldn't be out of order either.

The last reviewer wrote: Burton is cast as Alex Leamas, a nerve-dead, aged secret operative operating out of West Berlin. After a routine assignment goes awry, Leamas is sent home and out of the service. He struggles to try to live a normal, average life as a librarian's assistant, but he can't make it work for him (something that is not helped by his chronic alcoholism). This fact is made forcefully clear when he winds up beating a local grocer and is sentenced to jail time. Slowly but surely, he allows himself to be pulled back into the Cold War he operated in, not suspecting or maybe not even caring that his superiors are setting him up for a fall.

I think this is wrong. I believe the Burton character, Leamas, working with his UK spy agency, pretends to be kicked out of the spy service and acts as if he is going to seed so he can be "turned" by the enemy and complete his secret mission.

Regardless, it's a great film with a great performance by Burton as the world-weary spy who has seen it all, and Claire Bloom as the idealistic UK communist party member who has no idea how ugly it is out there.

The Spy Who Came In From the Cold stars Richard Burton as a world-weary, defeated, cynical and alcoholic ex-agent. It is the performance of his life. It is astonishing to think he was only 40 when he starred in it, as he looks so much older, perhaps from the five-pack-of-cigarettes and three bottles of hard liquor a day that was his habit then.

The movie is from the John Le Carre novel and is a hard-nosed look at the world of international espionage and double agents, as different from the Bond movies as night from day.

Stripped of glamour and endless sunshine, Martin Ritt, the director, uses black and white, rain and wind to enhance the story. One could say the cinematography is a character in itself.

There is no distinction here between the good guys and the bad guys. Spies are of themselves irredeemably evil men in the game for their own nefarious purposes, divorced from all that is decent and humane.

Burton's eyes constantly reflect this as he manages to infiltrate the East Communist Bloc and plays the game instigated by his "Control" in London.

Claire Bloom portrays his innocent young girlfriend, naive and pliable. Oskar Werner and Peter Van Eyck play the East Germans fighting for control of Burton's memoirs and each other.

It is hard to be believe that Burton lost his Oscar to Lee Marvin (in Cat Ballou!!) when he so richly deserved it for his once in a lifetime performance in "The Spy--" Cyril Cusack has a wonderful supporting role as "Control" and just about steals his two scenes from Burton. He never disappoints.

I loved this film in the theatre when it was released and subsequent viewings never fail to enthrall me.

8 out of 10.