Bäreninsel in der Hölle der Arktis

I wish the people who keep butchering excellent Alistair MacLean books would clear off and stop ruining this great author's works by transforming them into crummy movies. This is a truly dire version of one of his best books ever. It sticks to the plot in loose terms, but alters the characters beyond recognition and even substitues a gold hunting element to the plot to explain why they're all on this desolate island in the first place, when in the book there was a perfectly good explanation for it anyway. Donald Sutherland looks bored, Vanessa Redgrave looks miscast, Christopher Lee gets killed in the middle and looks glad to get out of it early, and Lloyd Bridges wears a smirk that suggests his agent told him it was a comedy. Even the other actors, such as the talented Barbara Parkins, seem unenthused by the whole project. What they needed to do here was to stick more rigidly to the story in the actual book and to get a cast who were actually interested in what they were doing. This is a travesty. Only River of Death beats it as the worst ever film version of a MacLean book.

Comparing Alistair MacLean and Ian Fleming is salutary. Both were heavy-drinking Scots who wrote action thrillers, hitting the jackpot in the Fifties and Sixties. But whereas Fleming's novels have risen to be Penguin Modern Classics, MacLean-- once said to be the world's best-selling novelist-- is now totally out of print in the States, and in and out of it in his own country.

Fleming created a flat but fascinating protagonist who became more interesting than the villains and girls he encountered; MacLean never used the same character twice, preferring chase and setting to psychology. His inability to invent interesting female foils was absolute; often they have the same name, Mary or variants thereon. MacLean trusted that the story would be its own reward, but without psychological flesh on the bones his stock situation-- group of professionals in tight-lipped quest for a treasure, one of them a snake in the grass- becomes wearisome.

MacLean's other handicap was that he liked money. After "The Guns of Navarone" hit dollar paydirt, he increasingly wrote with movie adaptation in mind, producing hybrids that were neither literary nor cinematic; whereas Fleming barely lived to see the Bond films blossoming into history's biggest screen moneyspinner.

"Bear Island" is a case study in the frosty aridity of MacLean's "visual" imagination. The gang are placed in a locale he knows and loves: the Arctic, scene of his first hit, "HMS Ulysses", and "Ice Station Zebra", a good film. In the background is World War Two, in which MacLean's naval service was the making of him. The principals are uneasily allied in search of Nazi gold buried on Bear Island, near Spitzbergen. There is much betraying and motive-revelation, chases in boats and on skis and snowmobiles, close-quarters work with fists, knives and guns, before the treasure hunt is played out. But it's all as chilly as the temperature.

To begin with, the film was an Anglo-Canadian co-production, never a promising sign; it was shot in British Columbia with a cast ill at ease with their roles. Donald Sutherland, the Canadian contribution, gawps and mumbles in his usual fashion, hardly the strong silent MacLean hero. Vanessa Redgrave-- incredibly, this was the part with which she chose to follow an Oscar for "Julia"-- is a statuesque Scandinavian with a wobbly Ingrid Bergmanesque accent. Christopher Lee seems to pine for cape and fangs. Lloyd Bridges, the bad apple, hams it up in a manner anticipating his turn to actual self-parody in "Airplane!".

All are often encased in anoraks and big fur hoods, so knowing who is doing what to whom is a puzzle. The pace is crippled by the conditions: fights seem slapstick, and there is a ludicrous moment when several characters flounderingly "break into a run" knee deep in snow, at a leaden pace. The icy scenery is attractive, but to get scale the camera has to stand well back, diminishing the figures of the actors and making their manoeuvres seem as trivial as a puppet show.

Director Don Sharp, as Ken Annakin noted in his memoirs, was better at derring-do than humour, but nobody goes to MacLean for a laugh: here too he is unlike Fleming, whose pawky vein of wit was broadened by the Bond scenarists and has preserved the early 007 entries magnificently. The solemnity of "Bear Island"'s furry, flailing personnel becomes risible.

The picture, in short, was a weary and chilly haul for the audience. Not that many were given the chance; it was hardly released to cinemas and became a TV schedule filler. It might as well have been a midatlantic melange from Lord Grade.

The similar theme music, Arctic setting, Norwegians and group alone left wondering who the antagonist is. This is a neat little film I found cross referencing Donald Sutherland films I haven't seen before. The Nazi U boat subplot is also great for its atmosphere. Another bonus is that it offers a pretty good line up of old school actors such as Richard Widmark, Loyd Bridges and Christopher Lee. There aren't many great films about the Arctic but this is one that you will enjoy.

I read the book and saw the movie. I enjoyed both. Donald Sutherland was excellent. This is a suspense thriller and so it goes slower than a typical action flick. If you expect this to be an action flick you will be disappointed. There are a few surprises which is typical of the writer's style.

If you want an action movie MacLean is not for you as he is the Master of Suspense and writes in a way to keep you on the edge of your seat wondering what is going on. If you see this from the middle, you will be bored, you must see it from the start and watch with full attention. If you miss any of the plot, you will get confused frustrated and wonder why you're watching the movie.

When you watch this, don't do anything else except watch it and I assure you that you will applaud this movie along with others like unto it like Where Eagles Dare, Guns of Navarone, Force 10 from Navarone, Ice Station Zebra, Detonator I and Detonator II, Satan Bug and a few more. The only one that dragged for me was Puppet on a Chain but I saw it chopped up on network TV so I need to see it again unchopped, unedited and not edited for television.

German scientist Otto Gerran (Richard Widmark) leads an expedition to icy Bear Island - which was also a base for Nazi U-boats in WWII - for some kind of environmental research. Included in the group are fellow scientist Frank Lansing (Donald Sutherland), nurse Heddi Lindquist (Vanessa Redgrave), Russian Lechinski (Christopher Lee) and boat captain Smithy (Lloyd Bridges) among others. When they arrive at the titular location, the group discovers one of the three folks stationed there has gone missing. Before you can say TEN LITTLE INDIANS, folks start getting offed in an effort to hide the island's secret.

This is a pretty enjoyable action-mystery adaptation of Alistair MacLean's snowbound novel. The cast is all game, which is good as this must have been a hell of a production to shoot as 70% of it looks shot on location (Alaska and Canada). Director Don Sharp keeps things moving fast and, while you'll probably solve most of the mystery early on, there are still some nice twists. The production is nicely mounted, with great sets and some nice Bond-esquire snow chases. One great scene has Sutherland discovering a German U-boat and he finds the dead crew aboard it, shackled to their posts.

One interesting thing my friend who sent this to me pointed out is that this totally has a vibe of John Carpenter's THE THING. Now, of course, THE THING is a remake but I'd wager that film's screenwriter Bill Lancaster or John Carpenter saw this before setting about their version. The opening - where a lone guy runs across a snow-covered plain while being chased by a snowboat - sounds exactly like the opening of Carpenter's film. Look for Bruce Greenwood in his first big screen roll as Tommy the Technician, sporting an epic beard.