El emisario de Mackintosh

A very stylish opening with James Mason as holier and smoother than thou top-politician making a high speech instantly gives a feeling of things not being quite how it seems. And quite rightly so, most things in the story have a feeling of being very cool and calculated. And with Huston's experience it is all handled very well. Compared to Huston's many sanctified classics this film has been seen as more of a minor work of his. But it does have things boiling underneath its cool surface and deserves a deeper look and maybe several viewings. This movie is largely not in-your-face action, but gets parts of the mood and style from earlier movie works and periods. For example the music reminds me of 'The Third Man'. And when action and violence finally occur, it gets surprisingly tense and raw in its effect.

The movie crosses interestingly several genres, like a cold war spy thriller and prison movies. Some of the scenes manage to catch something familiar from early Hitchcock, specially the runaway and chase scene on an Irish moor. The locations in London and Ireland with real local people add much to the realism and fascination of the story. Even the car chases use old beaten up vehicles keeping far away from usual top agent style.

Paul Newman as Joseph Rearden does a strong role but the cool center of the story is Dominique Sanda as an almost emotionless beauty whose appearance covers secrets and surprises. The plot holds up very well all the way to the final moments with some nasty surprises. A film worth seeing for Huston fans and others.

While never actively bad, this thriller just isn't exceptional. The first half isn't bad (we keep wondering why Newman is doing these things, and we wonder where he's going and what's going to happen), though it somehow lacks "oomph" to everything. In the second half, it starts to get dull. You won't be clear on everything in the end, and the climax came off more as a whimper than a bang. Nowhere near the worst movie in the world, but you can give it a miss despite Huston directing and Newman starring. This didn't do very well at the box office when it first came out, and it's easy to see why.

Hitchcock appears to be the ghost that is haunting John Huston in this flick. Or should we say that it is Huston's homage to Hitchcock that we have here, and which seems to either spice up, or overburden the film, depending on who the viewer is. The cinematography, lowkey brown color palette and restrained performances -- allowing the vivid "action" to move the plot-- all have shades of the later Hitchcock movies like "Topaz" or the one with Newman himself in it, "Torn Curtain." In fact Hitchcock made only one more film after the 1973 date of "Mackintosh Man," so we are witnessing something which could be interpreted as an effort on Huston's part to continue that legacy. Some specific parallels are, for example, Newman's struggle in the river to strangle the killer-dog set on him during his escape echoing the struggle in the farmhouse to kill the Russian agent ("Torn Curtain"). Or the mad car chase over rocky Irish roads by Newman and Sanda, mimicking the inevitable car chases patented by Hitch in various of his early b/w films, such as "The Man who Knew too Much (w/ Donat)" or "Young and Innocent".

Another parallel can be seen in the casting. Besides Newman himself, there is Huston's selection of the mysterious Dominique Sanda, one of Europe's most sensuous stars, whose appeal mirrors Hitchcock's obsession with the cool blonde beauty of Grace Kelly, Eva Marie Saint or Tippi Hedren.

Then, too, we have the eloquent James Mason in a late role commanding the opening of the film in the House of Lords by holding forth in the grand manner. But we should guess that he is here a Hitchcockian anti-hero, one in the mold of Phillip Vandamm from Hitch's monumental "North by Northwest." More parallels could be drawn, but for the mise-en-scene, Huston does one up on Hitch by actually filming in Ireland and Malta.

As for the plot it appears to have the tempting multilayered complexity of a typical English thriller, such as those in which Michael Caine appeared before he was swallowed up by Hollywood. If there are plot densities, we are after all, dealing with agents and double-agents, and things can get knotted up. In what other country than England could upperclass spies -- traitors-- be celebrated in literature and movies like the agents Philby or Blunt? Newman's adversaries are gentlemen, but not what they seem to be. We even get an idea of what an English prison is like and the quantities of laundry that they do. Last of all, who is Mrs. Smith? A name deliberately chosen for its opaqueness. Is she convincing as Mackintosh's daughter, or is she merely an agent, and not even a double agent? Yes, there are holes in the plot, but overall, the performances and Newman's Great Escape make up for the plot weaknesses.

Of four ****, three and a half. Still a must for fans of the director Huston, or the stars Newman, Mason or Sanda, and the many supporting stalwarts of British b/w postwar movies and Masterpiece Theatre productions.

A well-made espionage thriller, THE MACKINTOSH MAN has all the necessary elements for a real knockout spy yarn – only it's never quite as involving as it should be. The screenplay by highly-respected writer Walter Hill features a solid premise and plenty of interesting twists and turns, and the various UK locations are used to great effect, bringing a character of their own to the film. The cast is also well-chosen, and portray their roles with respectable conviction, yet something still seems off about the picture. It's almost as if the whole enterprise lack that special "oomph" that is necessary to really sell a spy picture.

Perhaps the problem is that, after years of James Bond movies and various Cold War thrillers, too many of the film's elements have simply been done before and done better, and the ominous feeling of déjà vu is too immense for the film to survive. Or maybe the problem is that we expect a lot more from a director with clout of John Huston, who seems to take a strangely apathetic approach to the material which makes the film's recycled elements feel even more trying. For whatever reason, the film never seems to grip us in the way a good thriller is supposed to. As a whole, THE MACKINTOSH MAN is a fine film for a rainy evening, but it stands as not only a wasted opportunity, but also as possibly the least distinctive film of director Huston.

Thrilling and exciting picture with an extraordinary duo , Paul Newman and Dominique Sanda , they form an awesome pair in this interesting flick . This is an entertaining movie full of all usual trimmings : car pursuits , fistfights , noisy action , getaway and capture . It deals with a member of British Intelligence named Reardon (Paul Newman) who undergoes a risked assignment ordered by Mackintosh (Harry Andrews) . As he is recruited , assuming a fictitious criminal identity and allows himself to be caught , imprisoned, and freed in order to infiltrate a spy organization led by a mysterious leader (Michael Hordern) . Reardon have to expose a communist traitor and he also must catch him . The intrigue involves a Conservative Member of the British Parliament, Sir George Wheeler (James Mason) , who is best known for his frequent political diatribes on the British government . Meanwhile , Reardon goes in action , being helped by a beautiful agent (Dominique Sanda in her first Hollywood movie for French actress) .

A cold war spy thriller with all the edge-of-seat ingredients : suspense , thrills , a complex intrigue , twists and turns . Intriguing and thrilling script , being one of the first produced screenplays of Walter Hill who later became an action thriller director . Paul Newman is first rate as a secret agent assigned a dangerous mission accompanied by a beauty Dominique Sanda . Wily and excellent , as always , James Mason as a cunning Parliament member with dark aims . This is the first of two movies that actors Paul Newman and James Mason made together , the other was Verdict . It's also the second of two movies that director John Huston and actor Paul Newman made together , he first was The judge Roy Bean , made the previous year . Supporting cast is frankly magnificent , such as Ian Bannen , Nigel Patrick , Michael Hordern , Percy Herbert , the last film of Noel Purcell and Niall MacGinnis and special mention to Harry Andrews as Mackintosh . This film and its source novel were loosely based on the identification, defection and escape from Wormwood Scrubs Prison in 1966 of Russian spy George Blake who was working in British intelligence as a double agent but was not one of the Cambridge Five spies . Colorful and evocative cinematography by Oswald Morris filmed on location in London , Ireland and Malta . Enjoyable musical score by the great Maurice Jarre , including a catching leitmotif .

The motion picture was well produced by John Foreman who financed various Huston films such as The Man Who Would Be King ; being stunningly directed by the great John Huston at his best . Director John Huston made this spy movie not longer after he had helmed another espionage film , Kremlin's letter . The picture was made in a good time of the 70s and 80s when Huston resurged as a director of quality films with Fat City, (1972 ), the afore-mentioned The man who would be king (1975) and Wise blood (1979). He ended his career on a high note with Under volcano (1984), Honor of Prizzi (1985) and Dublineses (1987). Rating : 7 above average , worthwhile watching , though P.G. , parents guide , for its violence and beatings . This is one of John Huston's main films , a model of his kind , the spy genre , definitely a must see if you are aficionado to thriller film . Huston broke a new ground with this landmark movie , providing exciting scenes and unforgettable dialogs .