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Topas

Originaltitel: Topaz
  • 1969
  • 12
  • 2 Std. 23 Min.
IMDb-BEWERTUNG
6,2/10
20.597
IHRE BEWERTUNG
Topas (1969)
A French Intelligence Agent becomes embroiled in the Cold War politics first with uncovering the events leading up to the 1962 Cuban Missile Crisis, and then back to France to break up an international Russian spy ring.
trailer wiedergeben3:01
1 Video
99+ Fotos
SpionDramaThriller

Ein französischer Geheimagent deckt zuerst die Ereignisse auf, die zur Kubakrise von 1962 geführt haben, und kehrt dann nach Frankreich zurück, um einen internationalen russischen Spionageri... Alles lesenEin französischer Geheimagent deckt zuerst die Ereignisse auf, die zur Kubakrise von 1962 geführt haben, und kehrt dann nach Frankreich zurück, um einen internationalen russischen Spionagering auffliegen zu lassen.Ein französischer Geheimagent deckt zuerst die Ereignisse auf, die zur Kubakrise von 1962 geführt haben, und kehrt dann nach Frankreich zurück, um einen internationalen russischen Spionagering auffliegen zu lassen.

  • Regie
    • Alfred Hitchcock
  • Drehbuch
    • Leon Uris
    • Samuel A. Taylor
  • Hauptbesetzung
    • Frederick Stafford
    • Dany Robin
    • John Vernon
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,2/10
    20.597
    IHRE BEWERTUNG
    • Regie
      • Alfred Hitchcock
    • Drehbuch
      • Leon Uris
      • Samuel A. Taylor
    • Hauptbesetzung
      • Frederick Stafford
      • Dany Robin
      • John Vernon
    • 125Benutzerrezensionen
    • 59Kritische Rezensionen
    • 61Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 3 Gewinne & 1 Nominierung insgesamt

    Videos1

    Official Trailer
    Trailer 3:01
    Official Trailer

    Fotos151

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    Topbesetzung70

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    Frederick Stafford
    Frederick Stafford
    • Andre Devereaux
    Dany Robin
    Dany Robin
    • Nicole Devereaux
    John Vernon
    John Vernon
    • Rico Parra
    Karin Dor
    Karin Dor
    • Juanita de Cordoba
    Claude Jade
    Claude Jade
    • Michele Picard
    Michel Subor
    Michel Subor
    • Francois Picard
    Michel Piccoli
    Michel Piccoli
    • Jacques Granville
    Philippe Noiret
    Philippe Noiret
    • Henri Jarre
    John Forsythe
    John Forsythe
    • Michael Nordstrom
    Per-Axel Arosenius
    • Boris Kusenov
    Roscoe Lee Browne
    Roscoe Lee Browne
    • Philippe Dubois
    Edmon Ryan
    Edmon Ryan
    • McKittreck
    Tina Hedström
    Tina Hedström
    • Tamara Kusenova
    • (as Tina Hedstrom)
    Sonja Kolthoff
    • Mrs. Kusenova
    John Van Dreelen
    John Van Dreelen
    • Claude Martin
    Donald Randolph
    Donald Randolph
    • Luis Uribe
    • (as Don Randolph)
    Roberto Contreras
    Roberto Contreras
    • Muñoz
    Carlos Rivas
    Carlos Rivas
    • Hernandez
    • Regie
      • Alfred Hitchcock
    • Drehbuch
      • Leon Uris
      • Samuel A. Taylor
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen125

    6,220.5K
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    ecarle

    The French Connection

    One aspect of "Topaz" that should be kept in mind is that while American and British critics were belittling Hitchcock as a "mere entertainer," the French New Wave critics, led by Francois Truffaut, were lionizing him and Truffaut even published a book-long interview with Hitchcock published in 1967.

    Hitchcock hadn't worked in years and was desperately trying to get another movie going when Universal showed him the book "Topaz" -- about spies in the French government, with a French protagonist and climactic scenes in Paris. I think that Hitchcock may have -- unwisely -- decided to do "Topaz" so he could do a "French picture."

    There are some great individual scenes in Topaz -- the opening defection in Copenhagen, the suspenseful mission to get secrets from the Cubans in Harlem's Hotel Theresa (Hitchcock in Harlem?!); the hero's dangerous mission into Cuba and the death of his key contact there.

    But Hitchcock really didn't like making "Topaz," he was bored and ill and resentful (Universal had killed a project called "Frenzy" -- not to be confused with the 1972 film he made of that name -- and Hitchcock was bitter about it.)

    So we end up with a very half-hearted Hitchcock movie with a few good scenes, no real stars, THREE failed endings (all available to see on the DVD), and an attempt to "make nice with my French friends."
    7fletch5

    Interesting but unsatisfying

    "Topaz" is one of Hitchcock's least satisfying films, yet the same time it's one of his most interesting ones, as well. Usually people don't remember it, maybe because there are no famous Hitchcock stars. Either the director didn't get any, or he didn't want them, because the audiences should tightly concentrate on the complex plot.

    The film clearly divides into three parts. The one in the middle, which takes place in Cuba, is the best of them. It involves the films most memorable scene, the beautifully photographed murder. Weakest part is the last one, where you might get confused with the messy intrigues.

    There are too many characters in the movie, which leaves many of them just bystanders, for example the worried wife (Dany Robin), who doesn't do really anything. The films brightest spot is Karin Dor, who gives an excellent performance as the beautiful Juanita. Too bad that her screen time is quite short. And the ending climax shines with its absence: the film ends like bumping into a wall.
    8patrick.hunter

    Atypical Hitchcock

    Like so many Hollywood talents, Hitchcock was stereotyped. Also like so many Hollywood talents, whenever he tried to escape stereotyping, he would get criticized. That certainly was the case with TOPAZ. Although not as humorous, nor as romantic, nor even as exciting as the director's best films, the movie is nonetheless an intelligent and intriguing spy drama, one that compares more to a motion picture like DAY OF THE JACKYL than usual Hitchcock fare.

    His other spy dramas, like NORTH BY NORTHWEST, may be more fun, but none of them are as realistic. In fact, very few spy films have the authenticity as TOPAZ. The story is based on fact. In 1962, a Russian top-level KGB defector informed the U.S. that some very high-level French diplomats, in a group called "Sapphire", were selling secrets to the Soviet Union. TIME Magazine printed this story in April 26, 1968, and did so using the same source that Leon Uris did: the U.S. sympathizing (and exiled) former Chief of French Intelligence, Philippe Thyraud de Vosjoli.

    Incidentally, a viewer needs to know the chronology and key events surrounding the 1962 Cuban Missile Crises as background, or else the film will be confusing. I suspect many critics condemn it because it's easier for them to dismiss the film rather than confront their own ignorance.

    Not that this movie is without weaknesses. Hitchcock was no realist, and the grim world of films like THE SPY WHO CAME IN FROM THE COLD is probably the type of ambiance it should have presented, but doesn't. However, I definitely join the camp of those who consider it underrated. I read writers on Hitchcock who unthinkingly rank TOPAZ with his worst stuff, and yet many of us prefer it over THE TROUBLE WITH HARRY, MR. AND MRS. SMITH, and other Hitchcock works that don't get castigated as nearly as much. I can't help but suspect they receive less criticism because they are more typical Hitchcock. This film is atypical Hitchcock, so readjust your expectations accordingly.
    7JuguAbraham

    Brilliant sequences in an unsung Hitchcock film

    While Leon Uris' book is a good read, Hitchcock's adaptation of the book for cinema captures much of the book's selling points. The killing of Juanita by Rico Parra is central to book and the film. The book has a sensual scene where Juanita distracts Parra to allow Andre to escape before she is killed. In the film, Hitchcock dispenses with the sexual distraction to go directly to the killing. The killing of Juanita captured by the overhead camera, shows the purple gown spreading in the floor as blood would have spread. No blood is shown—only the gown. What a brilliant shot from Hitchcock and cameraman Jack Hildyard! The second remarkable facet of the movie is the performance of Phillip Noiret as a French bureaucrat and spy. The lunch sequence (a typical Hitchcock food event) may look simple but the montage of shots capturing Noiret's apparent interest in the food than the conversation is truly engaging. Noiret is a fine actor. So is Michel Piccoli. The two of them outshine Frederick Stafford and John Forsythe.

    The third most fascinating shot is post-torture interrogation of Mrs Mendoza—the whispered response from a posture that reminds one of Michelangelo's Pieta—with her dead husband replacing the dead Christ.

    Hitchcock's perseverance with "marriage" continues. Andre blandly tells his daughter of his wife "She left me. I did not leave her" after a tryst with his lover in Havana. The Michel Piccoli character says of Andre's wife "Andre, his wife and I were very close. She married him." We know later that Andre's wife was cheating on him as she recognizes the Piccoli character's phone number at his secret love nest.

    The defection sequence in Copenhagen might look clumsy—but Hitchcock's style is everywhere—faces in mirrors, close up of a porcelain figure about to be dropped with no music in the background, etc. What was most amusing was the criticism of the American espionage agents: "We would have done it better" and the exchange of words by the defector in Washington, D.C. Andre's outburst to his bosses on the outcome of French intervention in the defection would lead to the defector's assassination is equally poignant had the film ended with the French spy defecting to Russia (one of the alternate endings).

    Finally, Hitchcock's use of the newspaper headlines during key scenes in the background was interesting: The Pieta shot had the newspaper shot in the background and the newspaper left behind on a bench in Paris is the final shot. The alternate endings—the duel and the departure of the spies to two cold-warring countries would not have served well as well the suicide of the spy suggested by the gunshot in his house.
    7ma-cortes

    Suspenseful film from maestro Hitchcock with a confusing plot , thriller , intrigue , twists and turns

    Good but no great Hitch film that maintains suspense level , including constant shift of scenarios keeps spectators on their toes . A French intelligence agent named Andre Deveraux (Frederick Stafford) befriends American official called Michael Nordstrom (John Forsythe) and both of whom become involved in the Cold War politics to dig out info , first with uncovering the events leading up to the 1962 Cuban Missle Crisis, and then back to France to discover a secret conspiracy . Andre travels to La Habana to obtain evidences of the Missiles , there meets his lover named Juanita Cordoba (Karin Dor who wears marvelous gowns by Edith Head and dubbed her own voice in the German Version) who is secretly embroiled with a local underground resistance whilst also being entangled in another way with Parra (John Vernon) . Meanwhile, an ex-KGB official defector flees to USA where he is interviewed and tells him about Topaz, the codename for a group of French officials in high circles who work for the Soviet Union , as the protagonists attempt to break up an international Russian spy ring (Philippe Noiret , Michel Piccoli) infiltrated in French government .

    This suspenseful Hitchcock film contains cloak-and-dagger intrigue , whirlwind plot , thrills , twists and results to be pretty entertaining . Hitchcock takes you behind the actual headlines to expose the most explosive spy scandal of the century, though this was reportedly one of his most unhappy directing jobs , being Alfred's biggest failure , as it cost approximately $4,000,000 to make and received only $1,000,000 at the box office. According to Donald Spoto's book "The Art of Alfred Hitchcock: Fifty Years Of His Motion Pictures", Universal Pictures executives forced this project on Alfred Hitchcock. Overlong film as a running at 143 minutes, this is Alfred Hitchcock's longest film . The first draft of the script was hired Leon Uris to adapt his own novel , but Uris didn't care for Hitchcock's eccentric sense of humor, nor did he appreciate the director's habit of monopolizing all of his time as they worked through a script. Hitchcock was disappointed that Uris seemed to ignore his requests to humanize the story's villains , in his opinion the novel painted them as cardboard monsters , with only a partial draft completed, Uris left the film. Alfred declared it unshootable at the last minute and called in Samuel A. Taylor , writer of Vertigo , to rewrite it from scratch , as some scenes were written just hours before they were shot. According to Alfred Hitchcock, this was another of his experimental movies ; in addition to the dialogue, the plot is revealed through the use of colors, predominantly red, yellow and white , he admits that this did not work out. Good support cast mostly formed by European actors who give nice interpretations such as : Dany Robin as Nicole Devereaux , Vernon as Rico Parra , gorgeous Karin Dor as Juanita Cordoba , Michel Piccoli a Jacques Granville , Philippe Noiret as Henri Jarre , Claude Jade as Michèle Picard and Roscoe Lee Browne as Philippe Dubois . Of course , habitual Director Cameo , as Alfred Hitchcock appears about 30 minutes in at the airport getting out of a wheelchair . Emotive and sensitive score by Maurice Jarre , Jean Michel Jarre's father ; knowing that he had no ear for music, Alfred Hitchcock didn't even bother listening to Maurice Jarre's completed score for the film, slotting it onto the images without a quibble . Colorful and bright cinematography by excellent cameraman Jack Hildyard who photographed 'Bridge on the river Kai' and David Lean's usual . Appropriate production design by Henry Bumstead , Hitch's ordinary . This is a medium-to-rare Hitchcock picture in which was shot three versions with completely different endings , all are included in the Laserdisc , video , DVD and BluRays reissues.

    .

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    Handlung

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    • Wissenswertes
      According to Sir Alfred Hitchcock, this was another of his experimental movies. In addition to the dialogue, the plot is revealed through the use of colors, predominantly red, yellow, and white. He admits that this did not work out.
    • Patzer
      A shot during the May Day parade sequence at the beginning of the film clearly reveals the parade to be taking place during the 50th anniversary of the October revolution (around the 1:29 mark), putting it in 1967 as opposed to 1961-63 when the story is supposed to have taken place. Therefore a person watching this parade could not have possibly defected to the USA and warned them of the Soviet missile deployment in Cuba (as is claimed in the beginning of the film).
    • Zitate

      Nicole Devereaux: Okay, I'm going. And you two secret agents can settle down and be secret agents.

      Andre Devereaux: I wish you wouldn't use such words, my love.

      Nicole Devereaux: Why? Who do you think you are fooling, my master spy? Everybody in Washington knows that you are not a Commercial Attaché. Everybody in Washington knows that the Chief of Russian Intelligence is the chauffeur who drives a car for...

      Andre Devereaux: Everybody in Washington does *not* know these things. And I would thank you not to repeat them. Go to bed.

      Michael Nordstrom: Nicole, where did you hear that about the Chief of Russian Intelligence?

      Nicole Devereaux: From my butcher.

    • Crazy Credits
      Opening credits prologue: Somewhere in this crowd is a high Russian official who disagrees with his government's display of force and what it threatens. Very soon his conscience will force him to attempt an escape while apparently on a vacation with his family. Copenhagen, Denmark Nineteen Hundred Sixty-two
    • Alternative Versionen
      Hitchcock shot two versions with completely different endings. Both endings are featured in the laserdisc version.
    • Verbindungen
      Edited into Topaz: Alternative Endings (1969)
    • Soundtracks
      Chant sans paroles, op. 40, No. 6
      (1878)

      Written by Pyotr Ilyich Tchaikovsky (as Pyotr Tchaikovsky)

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    Details

    Ändern
    • Erscheinungsdatum
      • 1. Januar 1970 (Westdeutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Offizielle Standorte
      • Streaming on "YouTube Movies & TV" YouTube Channel
      • Universal Pictures Home Entertainment
    • Sprachen
      • Englisch
      • Spanisch
      • Französisch
      • Russisch
    • Auch bekannt als
      • Topaz
    • Drehorte
      • Frederiksberg, Dänemark
    • Produktionsfirma
      • Alfred J. Hitchcock Productions
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    Box Office

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    • Budget
      • 4.000.000 $ (geschätzt)
    • Weltweiter Bruttoertrag
      • 88 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      • 2 Std. 23 Min.(143 min)
    • Farbe
      • Color
    • Seitenverhältnis
      • 1.85 : 1

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