El agente impostor

Dan Slater (Yul Brynner) is a high level CIA official. His son dies in a ski accident in the Alps. He suspects foul play and goes to investigate. It leads to waitress Gina Ericson (Britt Ekland) and he suspects a trap. Of course, the Russians have actually laid out a trap.

This is mostly a lesser espionage movie. It's helped by Yul Brynner's stoic performance and the European ski resort location. There isn't a great deal of action. It's definitely not Bond. It's also not that realistic. It exists in a lot of middling middle. It's functional.

Although this is not a memorable film, I found it entertaining. Yul Brynner stars as a CIA man who is told that his son has died in a skiing accident in Austria. He, therefore, heads off to Austria to investigate if it really was an accident or something more sinister. A young Britt Ekland is the female lead who he seeks information from because she was one of the last persons to see his son alive. Various character actors of the time (made in 1967)such as Clive Revill, David Bauer, Ronald Radd and Moira Lister appear and the movie jogs along at a nice pace. There are some lovely location shots of the Austrian Tyrol and Yul does a good job in the lead role. Well worth a look!

A ruthless CIA agent arrives at an Alps ski paradise to track down his son's deadly accident he thinks is really murder, and finds himself in a complex web of intrigue.

Well-staged, quite surprising minor Cold War espionage with magnificent snow-bound photography and exciting action sequences, hampered by bursts of gratuitous violence and an unpleasant hero.

Passable spy thriller that's a disappointment considering the talent on display. While it isn't a dud, there's nothing particularly outstanding about it and it emerges as a fairly routine and forgettable film.

There are some enjoyable aspects to the film however. I admired Yul Brynner for delivering a lead character that was so uncompromising, cold and ruthless – while he was hardly an admirable hero he was believable and convincing and therefore more interesting as a character. I'm sure if this film were made today the character would've had some more 'likable' elements inserted into him during the film.

The weakest aspect is Ernie Freeman's dreadful score – cornball and overdone, regularly undermining the potential suspense in key scenes.

For mine, while the film itself isn't particularly noteworthy, in a broader context it has a curious interest. Despite being made by a major studio, having a major star and a director who delivered many top-notch films in this period (especially a certain ape film made the same year), it didn't make much impact at the time and is totally forgotten today, even for a film made four decades ago. Why is this? I actually think it would be much more remembered if it had been filmed as a flashy, goofy spy film that is now considered to be representative of late 1960s film style and culture – the likes of which were spoofed in the Austin Powers films. For example, while imo 'In Like Flint' is a dreadful film, clearly inferior to TDM, because of its glossy and spoofy style I can see how its much more remembered and referenced today.

Of course, TDM could've still been remembered on the basis of sheer quality but apart from Brynner's performance, it just doesn't have enough of it.

A pretty solid little spy thriller; it's never as intelligent as the "Ipcress File", but it's far superior to its two sequels, for example. No great shakes here, but the combination of an intriguing story, great cinematography, good Brynner performance(s) and Schaffner's adequate direction leads to a thoroughly passable time-filler.