Telefon

Telefon casts Charles Bronson as a KGB agent on assignment in America trying to stop Donald Pleasance from igniting World War III. Bronson is aided and abetted uneasily by CIA agent Lee Remick and the two of them get involved with each other as well as the mission at hand.

It's quite a mission they have, Pleasance is an old line Stalinist and he's noticed the new regime is slowly doing away with his kind. So he knows about this operation involving 51 Manchurian candidates who are Russian sleeper agents the way Laurence Harvey was in the Manchurian Candidate. With the proper phrase these people who are under hypnosis and just living regular humdrum lives get a signal to complete a mission involving sabotage of some military installation in their area. Pleasance has come to America to set these agents off.

It might have been a whole lot easier to just dial long distance once he was out of the Soviet Union, but apparently Pleasance is also getting a few jollies and really wants to see his handiwork. Bronson gets the list and follows Pleasance's trail hoping to head him off.

A nice cast of talented players pulls off and makes entertaining when you think about it, a really silly Cold War era story. Pleasance as usual pulls all the stops out as the villain and Bronson is his usual menacing self. His loyal legion of fans might like Telefon, I'm kind of partial to it myself, but I recognize it's illogicality.

Riveting political thriller. Bronson plays a Russian intelligence major assigned to stop programmed Stalinist agents from carrying out a possible doomsday plan. Bronson's a member of a reformist wing of the Soviet Communist Party that has replaced hardline Stalinists. However, the earlier doomsday plan remains in effect, and now it's being executed in the US by a renegade Soviet agent (Pleasance). Fortunately for Bronson, the winsome Remick is assigned by Soviets to assist him. Problem is if Pleasance is not stopped he could well set off a nuclear catastrophe.

The movie has two elements from earlier Cold War films: The Manchurian Candidate (1962) and Dr. Strangelove (1964). Like Laurence Harvey in the former, agents here are programmed by trigger words to carry out their mission in robotic fashion. At the same time, there's the overhang of a possible doomsday as in Strangelove. Here those elements are skillfully blended to build suspense.

What really distinguishes the film, however, is an overall absence of Cold War good guys and bad guys. There's really only one villain, the unreformed Stalinist. Unlike 50's Cold War films, this one treats operatives of both sides strictly as professionals doing their duty without noticeable favorites. One possible exception is Remick. Despite her coy girlish manner, she's also been assigned to eliminate partner Bronson once he succeeds in killing Pleasance. That way, no one will be left to spill the beans about the aborted plan and embarrass the new Soviet regime. So Bronson is to be rewarded by his superiors with death. Maybe that's a good enough reason, but not unarguably so.

Meanwhile, Bronson's his usual steely self, while Remick plays up the girlish appearance, leaving us to guess how much of a façade it is. But stealing the show is Tyne Daly as the plain-looking brain behind the American side. Her superiors appear rather addled much of the time, while she deftly maneuvers clues behind her bank of computers. Good touch. Most of the action comes from explosions that blow up real good. I don't know how they did them in 1977, but they're impressive as heck.

Anyway, the movie suggests a possible waning of Cold War passions on our side, perhaps because of growing recognition of what a nuclear exchange would entail. Be that as it may, the movie remains a taut and under-rated political thriller, helmed by the masterful Don Siegel.

This excellent spy thriller directed by action master Don Siegel unfortunately has a drab, aloof title that causes many to skip it for a more exciting-sounding tag. Even Charles Bronson fans, and they are legion, often ignore this little gem for others of the genre. Not only a dilly of a suspense story filled with some of Hollywood's best actors at the time, "Telefon" also contains humor and many tongue-in-cheek lines. The Robert Frost poem, "Stopping by Woods on a Snowy Evening," utilized to trigger the drug-induced hypnotized Soviet agents to finish their mission becomes a pun for KGB agent Maj. Grigori Borzov (Bronson)when ready to give alluring Barbara (Lee Remick) a tumble in the hay. Borzov looks KGB agent Barbara lustfully in the eyes and emphatically affirms, "Miles to go before we sleep."

Though many consider the story fanciful, it is not as far fetched as some of the actual schemes concocted by overly zealous CIA and KGB officials during the Cold War, especially at the time of the eyeball to eyeball confrontation between the Soviets and the Americans during the days of U-2, the Bay of Pigs, and the Cuban Missile Crisis. The fifty KGB agents trained at the time of the U-2 Incident to replace recently deceased Americans with similar profiles, to take out key installation sites when receiving the oral code, lines from the Robert Frost poem, are put on what seems to be permanent hold until one KGB trainer goes berserk and reopens the can of worms over a decade later, when many of the installations have been closed, converted, or moved. Enter agents Borzov and his supposed helper, Barbara, to stop the madman, Nicolai Dalchimsky, played with his usual nefariousness by Donald Pleasence. Borzov uncovers a method to his madness and the fun begins. But what is to become of Borzov once Dalchimsky is removed? There's plenty of spills and thrills along the way with the seasoned actors given intelligent and often humorous lines by writer Peter Hyams whose script is based on the novel by Walter Wager.

Though no one in the cast falters, even in the bit parts, Tyne Daly steals the show as Dorothy Putterman (oh, how the name fits), a computer nerd in those glorious DOS days of old before the world heard of Bill Gates. Not only does Daly get some of the best lines in the movie, she delivers them with élan. She also reminds the viewer to be careful what is said to a computer, because they are very sensitive little fellers.

This isn't the most well-known movie in the world, so I really wonder if anyone realized that the Zucker/Zucker/Abrams team that made the original "Naked Gun" copied the whole idea of everyday people activated as assassins with bizarre catchphrases directly from this movie (remember the scene in which Ricardo Monalban "activates" his sweet elderly secretary, played coincidentally by the Zuckers' own mother, to go on a shooting rampage). I have no doubt about it: I went to the U.S. premier of "Naked Gun 33 1/3" in Milwaukee (the hometown of myself and the filmmakers) at which David Zucker said that for each of their movies, they would copy plot lines directly from serious, sometimes obscure genre films like this. I thought of this movie immediately when I saw "Naked Gun" for the first time. When you think about it, the central idea of everyday people becoming murderous robots just by hearing a stanza from Robert Frost is pretty funny by itself, and the Zuckers milked all the absurdity they could from it.

I have rather fond memories of watching this film when it was broadcast at odd hours on a local independent television station. The ideas this movie adapted from Walter Wager's original novel were quite creative, but I recall the acting of everyone here to be pretty bad (especially leads Bronson and Remick). The old-fashioned '70s computers, rotary phones, and Cold War ultra-seriousness further diminish its effectiveness. This isn't the kind of movie MGM is probably anxious to reissue on a deluxe DVD - probably because its two stars and director are all deceased, but it is a reasonably entertaining film to catch on television.

If you look at the history of American Cold War films, you see they often, but not always reflect the current state of Western-Soviet relations. Many of the B-movies of the 1950's reflected the anti-communist paranoia that existed stateside; and that decades's Invasion of the Body Snatchers (also directed by Don Siegel) brilliantly parodied McCarthyism. Now we find ourselves in the late 1970's. Gone are Stalin and Kruschev - now we have Breznev and Nixon/Ford and Jimmy Carter and a gradual policy of rapprochement and cooling of tensions. In this film, neo-Stalinists are purged by the pro-Détente Soviet leadership. One such old guard agent, played by Donald Pleasance (who is always in fine form with these 'oily' character representations) decides to unleash an old Soviet conspiracy hatched by leaders in the 50's and unknown to most of the current Soviet brass. I am not going to rehash the entire plot, but let it suffice to say that we have a top Soviet Army General (played by Charles Bronson who mercifully does not even attempt a Russian accent) working together with American double agent Lee Remick, to battle forces more sinister than the current leadership of either the US or the USSR. This truly is the movie that best reflects the détente political philosophy in vogue at this time.