Callan

"Callan" (Edward Woodward) was retired from his top secret job after his boss "Hunter" (Eric Porter) thought he'd lost his edge, but now that very man is courting him to return for one very special task. That will involve him killing a man called "Schneider". If he does this, then he will be reinstated no questions asked. Thing is, though, "Callan" isn't just an hit man, he wants to know a little bit more about his quarry and so sets about getting to know this man (Carl Möhner) who loves replaying Napoleonic battles using hand painted, cast-iron, armies and who shares a seemingly innocuous life with his wife (Catherine Schell). His employer isn't convinced with these methods, so decides to let his replacement "Meres" (Richard Egan) make up a plan B - in which it is quite possible that "Callan" could end up being collateral damage. What now ensues is a decently paced, if slightly confusing, thriller replete with just about everything save a poisoned umbrella tip. Woodward and his fixer "Lonely" (Russell Hunter) have reprised their roles from the successful ATV television series from the late 1960s and in many ways this is just one feature-length episode from that. It works fine, with solid production values and it's even got a little bit of soul.

This is a tight, intelligent thriller closely based on the fine novel Red File For Callan, from which the great 1960s-1970s Thames TV series developed. David Callan is a solitary, mentally unstable killer, who is given one last chance to return to "The Section", a shadowy British government security department. Callan hates to kill, but is qualified for little else, and has been forced by his old masters into a dull, mundane office job with a harassing boss. His test is to murder someone - a man whom it turns out he knows, an apparently harmless businessman with whom he shares an interest in military history and battle games. The film boasts a first-class performance from Edward Woodward as Callan, reprising his TV role with confidence. Russell Hunter is also extremely good as Lonely, a smelly petty crook whom Callan employs to buy him a gun. Sadly the film was made with little style, and the military band score is disappointingly out of kilter with Jack Trombey's fine, moody Callan TV theme.

The Callan character was an icon in British television history, and was extremely popular with viewers. This story got its first TV outing as A Magnum for Schneider (the book's original title) in a 50 minute slot on Armchair Theatre, a famous British TV drama anthology. (This unofficial pilot can now be seen on a very good DVD compilation of what early episodes are still unwiped, called "Callan: The Monochrome Years" (Network DVD, 2010).) There was also a recent BBC radio version. Callan was seen, like The Ipcress File, as an antidote to the invulnerable 007. Why there were no other Callan films made, since the creator James Mitchell wrote several filmable novels about the character, is a mystery.

Callan boasts one technical distinction: according to the Guinness Book of Movie Facts and Feats, this was the first film to be released with a Dolby encoded mono soundtrack. (A Clockwork Orange used Dolby noise reduction in its making some years before but used a conventional soundtrack on its release prints.) When I saw Callan on its release at a local cinema, I remember thinking the sound was uncommonly clear and the dialogue for once actually audible.

This 1974 film of "Callan," lets itself down due to a screenplay that is thinly plotted and the sense of intrigue and tension being diluted. The film is on for too long, about 15 minutes should have been edited from the final version. "Callan" is a remake of the play that started it all, "A Magnum For Schneider." Whilst that latter production was filmed entirely in the studio, the suspense and tension never let up. Every scene counted for something. This 1974 movie has a lot of location shooting but so what? It doesn't compensate for a slack narrative. The story is very good at 55 minutes on television but at 100 minutes on film, it becomes tiresome and irritating. There are a few scenes that are OK but that's about all. The scene where Callan deals with Darth Vader himself - Dave Prowse - demonstrates a bit of the tension from the series. It was the right decision to have Edward Woodward and Russell Hunter reprise their respective characters. Who else would we fans want? Eric Porter is effectively cast as Hunter but he's no match for Ronald Radd. Peter Egan is bloody terrible as Meres!

The music is all wrong for the film. That harmonica noise soon grates on my nerves.

A disappointing experience.

The spy genre saw a (British-led) backlash in the mid-/late-1960s against the 'James Bond-led' type of upper class, super-human, perfect being spies and attention being paid in literature ("The spy who came in from the cold") and film (the Harry Palmer films) to a much more realistic portrayal of who spies were and what they actually did (often grubby little men working in atrocious conditions and for minimal recompense). In addition to literature and film, I can recall seeing the original "Callan" series on TV and of being very impressed by it. As portrayed by Woodward, Callan really was a working class thug (ex-army/ex-offender/borderline alcoholic and capable of great viciousness) doing the most unglamorous kinds of things in order to "take care" (with threats, blackmail, entrapment and, ultimately, 'termination') of people his superiors ordered him to. At the same time, Woodward gave the character a real human side who often displayed pity and empathy for his victims and who refused to turn into just the simple killing machine his masters wanted. I thought this film (which I had never seen before and found on some TV network being broadcast between 1.00 and 3.00 AM!) caught all of this very well. It was made at a time of great violence/almost seeming social melt-down (IRA bombing campaigns in Britain, the never-ending "Troubles" in Ireland, terrorism across much of Europe, the PLO terrorist attacks across the world. the Vietnam War staggering towards its bloody (and probably inevitable) end) and there are a number of places in the film where issues of direct relevance for today are also addressed (where to draw the line between 'enhanced interrogation' and outright torture, what are the limits of surveillance, how far can people 'follow orders' and still stay human?) An exciting film to watch but also one with a lot more to offer as well.

I saw this film prior to viewing any episodes of the TV series. With hindsight, one can identify ways in which this adaptation falls short of it's source material - however, taken on it's own merit, this is an excellent, slow burn thriller.

It has one undeniable advantage over the TV show. It is shot on film on location and therefore the grimy, low-rent milieu Callan occupies is rendered credibly. One of the strengths of the TV version is it's relentlessly downbeat tone, but this was somewhat mitigated by the stagey, shot on video aesthetic, which gave the material intimacy. On film the effect is far more cold and alienating. In some ways the film reminded me of an English 'Taxi Driver', with long scenes of Edward Woodward in a grubby bedsit practising his quick-draw.

I'd advise all viewers to give this fine film a look, and for Callan purists to give it a chance on it's own terms.

It would be interesting to know more about the circumstances that led to the making of this film. Would there have been sequels? Was it an opportunity to bring Woodward's excellent performance as the character to a wider, potentially international, audience?

In some ways, the later series The Equalizer feels like an americanised variation on Callan, wherein he has quit government work and become a freelance troubleshooter on behalf of private citizens. But Robert McCall is a much more straightfoward, palatable character for the US than the complex David Callan and his shades-of-grey world. Let me tell you, Brit 70s TV was really something!