Das Quiller Memorandum - Gefahr aus dem Dunkel
Originaltitel: The Quiller Memorandum
IMDb-BEWERTUNG
6,3/10
4590
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuIn the West Berlin of the 1960s, two British agents are killed by a Nazi group, prompting British Intelligence to dispatch agent Quiller to investigate.In the West Berlin of the 1960s, two British agents are killed by a Nazi group, prompting British Intelligence to dispatch agent Quiller to investigate.In the West Berlin of the 1960s, two British agents are killed by a Nazi group, prompting British Intelligence to dispatch agent Quiller to investigate.
- Regie
- Drehbuch
- Hauptbesetzung
- Nominiert für 3 BAFTA Awards
- 4 Nominierungen insgesamt
Günter Meisner
- Hassler
- (as Gunter Meisner)
Bernard Barnsley
- Mr. 'F'
- (Nicht genannt)
Victor Beaumont
- Weiss
- (Nicht genannt)
Harry Brooks Jr.
- Oktober's Man (Tall Blonde)
- (Nicht genannt)
Otto Friese
- Waiter
- (Nicht genannt)
Herbert Fux
- Oktober's Man (Pipe)
- (Nicht genannt)
Empfohlene Bewertungen
Very satisfying spy flick which, if it grabs you, may haunt you for a long time. Perfect and slightly ironic ending. Excellent musical score too.
An almost unrecognizable George Segal stars in "The Quiller Memorandum," set in Berlin and made 40 years ago. Segal is a very young man in this, with that flippant, relaxed quality that made him so popular. This time he's a spy trying to get the location of a neo-Nazi organization. The cast is full of familiar faces: Alec Guinness, who doesn't have much of a role, George Sanders, who has even less of one, Max von Sydow in what was to become a very familiar part for him, Robert Helpmann, Robert Flemyng, and the beautiful, enigmatic Senta Berger.
This is a very good spy movie. Spy movies were the "in" thing in the '60s. This one doesn't have gadgets and goes more for subtlety. The last 30 minutes are tense and exciting, and the last scene, loaded with subtext, is just great.
This is a very good spy movie. Spy movies were the "in" thing in the '60s. This one doesn't have gadgets and goes more for subtlety. The last 30 minutes are tense and exciting, and the last scene, loaded with subtext, is just great.
THE QUILLER MEMORANDUM (3 outta 5 stars)
The 1960s saw a plethora of two kinds of spy movies: the outrageous semi-serious James Bond ripoffs (like the Flint and Matt Helm movies) and the very dry, methodical ones that were more talk than action (mostly John Le Carre and Alistair MacLean adaptations). This is one of the better examples of the talky thrillers. Not that the movie is boring... there is lots of good, cat-and-mouse dialogue courtesy of playwright Harold Pinter. George Segal plays the hero, an undercover spy who goes to West Berlin to find out who killed his predecessor... who was on the trail of modern-day Nazis. Segal has surprisingly little difficulty in finding himself right in the thick of things... being captured and drugged by the baddies... and even having time for a romance with a German schoolteacher who may know more than she lets on. Parts of the movie reminded me a lot of the classic "The Third Man"... which I think the director was trying to emulate at times. Well, this is not quite a classic of that caliber but it is a very well-written and smoothly-paced "old school" thriller. Segal makes a very cool lead... witty and sarcastic, yet with a vulnerable side, too.
The 1960s saw a plethora of two kinds of spy movies: the outrageous semi-serious James Bond ripoffs (like the Flint and Matt Helm movies) and the very dry, methodical ones that were more talk than action (mostly John Le Carre and Alistair MacLean adaptations). This is one of the better examples of the talky thrillers. Not that the movie is boring... there is lots of good, cat-and-mouse dialogue courtesy of playwright Harold Pinter. George Segal plays the hero, an undercover spy who goes to West Berlin to find out who killed his predecessor... who was on the trail of modern-day Nazis. Segal has surprisingly little difficulty in finding himself right in the thick of things... being captured and drugged by the baddies... and even having time for a romance with a German schoolteacher who may know more than she lets on. Parts of the movie reminded me a lot of the classic "The Third Man"... which I think the director was trying to emulate at times. Well, this is not quite a classic of that caliber but it is a very well-written and smoothly-paced "old school" thriller. Segal makes a very cool lead... witty and sarcastic, yet with a vulnerable side, too.
Languid, some might say ponderous mid-60's British-made cold-war drama (it could scarcely be called a thriller, more "The Spy Who Came In From The Cold" than, say "Thunderball") that for all its longueurs, does have some redeeming features. These include another superior soundtrack by John Barry, if perhaps a little too much son-of "The Ipcress File", some fine real-life (West) Berlin exteriors, particularly of the Olympic Stadium with its evocation of 1936 and all that and Harold Pinter's typically rhythmic, if at times inscrutable screenplay. George Segal, plays the edgy American-abroad new CI5 recruit (looking unnervingly at times like a young George W Bush!) before he started doing "genial" and reminds us that his previous part was in the heavyweight "Who's Afraid of Virginia Woolf". Try as he might though, he can't quite carry the lead here, lacking as he does the magnetism of Connery or the cynicism of Caine. Alec Guinness gets to play a Smiley prototype but brings too much Noel Coward to the table. Max Van Sydow is better as the neo-Nazi leader, veiled by the veneer of respectability as he cracks his knuckles and swings a golf club all the time he's injecting Segal with massive doses of truth serum, while Senta Berger is pleasant, but slight, as the pretty young teacher who apparently leads our man initially to the "other side", but whose escape at the end from capture and certain death at the hands of the "baddies" might lead one to suspect her true proclivities. The movie wants to be more Le Carre than Fleming (the nods to the latter fall flat with a couple of fairly underpowered car-chases and a very unconvincing fight scene when Segal first tries to escape his captors) but fails to make up in suspense what it obviously lacks in thrills. I also expected just a little more from the interrogation scenes from the man who wrote "The Birthday Party". Watchable and intriguing as it occasionally is, enigmatic is perhaps the most apposite adjective you could use to describe the "action" within. In conclusion, having recently watched "Quiller's" almost exact contemporary "The Ipcress File", I have to say that I preferred the latter's more pointed narrative, down-home grittiness and star acting to the similar fare offered here.
Other viewers have said it all: it is a good movie and more interestingly it is a different kind of spy movie. It is credible. The shooting on location in Berlin makes it that much more thrilling.
Good acting. Fantastic last 30 minutes where I have rarely felt so tense so the suspense was intense: great chase in the streets of Berlin but in a different way from James Bond...
Definitely worth seeing. You won't be disappointed.
Final note: there is no stupid romance to spoil the film. The ending in itself contributes to the film's value (you will see).
My vote: 8 / 10.
Good acting. Fantastic last 30 minutes where I have rarely felt so tense so the suspense was intense: great chase in the streets of Berlin but in a different way from James Bond...
Definitely worth seeing. You won't be disappointed.
Final note: there is no stupid romance to spoil the film. The ending in itself contributes to the film's value (you will see).
My vote: 8 / 10.
Wusstest du schon
- WissenswertesThe source novel "The Berlin Memorandum" is billed in the credits as being by Adam Hall. This is a nom de plume for author Elleston Trevor.
- PatzerDuring the car chase scene, the cars behind Quiller's Porsche appear and disappear, and are sometimes alongside his car, on the driver's (left) side.
- VerbindungenFeatured in Al Murray's Great British Spy Movies (2014)
- SoundtracksWednesday's Child (Theme Song)
Music by John Barry
Lyric by Mack David
Sung by Matt Monro
[Played on the radio when shoeless Quiller arrives at the hotel]
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- Laufzeit1 Stunde 44 Minuten
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What is the French language plot outline for Das Quiller Memorandum - Gefahr aus dem Dunkel (1966)?
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