Un cerveau d'un milliard de dollars

A mad Texas general wants to start to overthrow parts of the satellite Eastern Block using his own private army and super computer. Reluctant secret agent - and former crooked army sergeant - Harry Palmer is given the job of trying to stop him before it is too late.

Last of the three HP films made for the cinema.

What a silly idea this film is based on. For a start the plot is far too James Bond for a series whose raison d'etre is to be anti James Bond and besides how can a basic Honeywell Computer (with punch cards) be worth a billion dollars? The thing had about as much power as a Sinclair Spectrum!

Star Caine looks bored to death with all this nonsense and chases around Finland looking like he would rather have been anywhere else but here - and I don't think it is all skilled acting. Director Ken Russell has his supporters and fans, although every passing years his supporters seemed less-and-less inclined to put their hands in their pocket for his product. He became a clapped out old duffer very early in life.

Danger, tension and silly are not easy bedfellows and even solid pros like Malden, Begley and Caine cannot breath much life in to this race-and-chase nonsense. Although Ed Begley chews up the set as a red-baiting Texan general gone mad in a bunker. Part Hitler, part Sterling Hayden in Doctor Strangelove.

Russian general Colonel Stock (Oskar Homolka) turns up again to reprise his role from Funeral in Berlin, even though it makes no sense to the plot - why would the enemy (in the cold war) help a British agent? Last thing on earth he would do unless he had gone stark raving mad or liked Gulag food.

Despite the series coming back much later as a made-for-TV double (made back-to-back) the show had clearly had its day. I could have lived without seeing this and you could too.

Michael Caine's first Harry Palmer film, "The Ipcress File", seems to have been deliberately designed to present a quite different picture of life in the British Secret Service to that shown in the James Bond films. Whereas Bond is a glamorous figure who lives a life of luxury, travels to exotic locations, drives expensive cars and seduces a succession of glamorous women, Palmer earns an average wage, lives in a seedy and down-market flat, shops at his local supermarket, drives a Ford Zephyr rather than an Aston Martin and never travels outside London where he is mostly employed in dull, bureaucratic work.

I have never seen the second Palmer film, "Funeral in Berlin", but the third, "Billion Dollar Brain", is much closer to the Bond-type spy movie than is "The Ipcress File". Palmer travels to exotic foreign destinations (Finland and Latvia) and meets (and beds) a beautiful young woman who might just be a double agent. (The girl, Anya, was played by Francoise Dorleac in her last film before her tragic death). The most Bond-like element in the film is the villain, General Midwinter, a Texan oil millionaire who, with his grandiose schemes and his own private army, bears a close resemblance to some of Ian Fleming's characters such as Goldfinger or Stromberg.

When the film begins, Palmer has left MI5 and is working as a freelance private investigator. An apparently routine commission to deliver a mysterious package to Helsinki leads to his becoming embroiled with Midwinter, a far-right fanatic who dreams of overthrowing world Communism and has formed his own Crusade for Freedom, controlled by a powerful computer, the "Brain" of the title. (In 1967 it presumably looked very state-of-the-art, but today, with its reel-to-reel tapes and punch cards, it looks ludicrously dated. Strange to think that his billion dollars probably purchased Midwinter something with rather less calculating power than today's £500 laptops). The Brain has calculated (on the basis of false information fed in by a corrupt agent who has been syphoning off Midwinter's funds) that an anti-Soviet uprising is about to occur in Latvia, and Midwinter is resolved to send his private army to intervene.

Some people have seen parallels with George W Bush, but in 1967 there was another Texan in the White House, a man who had led America into a war even bloodier and even less popular than Iraq, and the character of Midwinter was doubtless intended to reflect the view that President Johnson was a dangerous warmonger. As, by implication, were those Americans who had been stupid enough to put him into the White House. (In the 1960s the European Left made little distinction between Republicans and Democrats, who were seen as two sides of the same coin). The hero of the film, apart from Palmer, is the Soviet commander Colonel Stok, desperately trying to prevent Midwinter from setting off World War III. Stok is played by Oskar Homolka who was presumably cast because of his strong resemblance to the then Soviet leader Leonid Brezhnev.

This world view- Americans are mad and bad, the Soviets are decent and civilised, and anyone who opposes Communism or Russian domination of Eastern Europe must be a Neo-Nazi- was an unusual one to find in a Cold War thriller, but it was one that was fairly common in left-wing circles in Europe during the sixties, even though the Soviets had plenty of self-righteous lunatics of their own, many of them in positions of high authority. Replace the word "Communism" in Midwinter's speeches with "Capitalism" and he begins to sound like Brezhnev's ranting, shoe-banging predecessor Nikita Khrushchev. Any hopes that Brezhnev would prove to be more liberal, however, were to be dashed the year after the film was made when he ordered the Red Army to crush the pro-democracy movement in Czechoslovakia. This sort of pro-Soviet viewpoint looks very outdated today, discredited by the events of the late eighties and early nineties when the peoples of Eastern Europe proved that they did indeed prefer democracy to the Communist system. We can be thankful that at the time of these events the Soviet Union was led by the only real statesman it ever produced, Mikhail Gorbachev. Had the likes of Brezhnev and Stok still been in charge they would have turned half a continent into a bloodbath in an attempt to maintain Soviet power by force of arms.

The film was directed by Ken Russell, not a name normally associated with spy movies. This was, however, only his second feature film (in the sixties he was much better known for his work on television) and he apparently made it reluctantly, being obliged to do so for contractual reasons. It is, however, obvious that he already had ambitions to be more than the director of run-of-the-mill thrillers, because his style already shows the hallmarks of the auteur director he was to become in the following decade- unusual camera angles especially on close-ups, shots using a moving camera, moody, atmospheric photography of the wintry, snow-bound Finnish landscape. The battle on the ice is a direct Eisenstein reference. This makes the film quite attractive visually, and some of the acting is good. Caine is too downbeat- he clearly failed to realise that this style of film called for a different style of acting from "The Ipcress File"- but Karl Malden is good as the cynical, amoral Leo Newbigen, and Ed Begley makes the best Bond villain not actually found in a Bond movie. Nevertheless, the film must lose at least one star for its objectionable politics. 5/10

Former MI5 Harry Palmer (Michael Caine) is now a private detective. He gets a phone call from a computer voice directing him to a package in an airport locker. He's told to go to Helsinki where he gives the thermos to Anya (Françoise Dorléac) and his old friend Leo Newbigen (Karl Malden). He is soon suspicious of Leo and his mysterious boss. He is coerced to work for MI5 Colonel Ross (Guy Doleman) who tells him that the thermos is filled with a deadly virus and the conspiracy is headed by an oil tycoon General Midwinter (Ed Begley).

This spy thriller isn't serious or realistic. It's basically a lower grade espionage movie with a convoluted premise. It does jump around a little with out-of-the-way locales, virus, beauties and Russians. Director Ken Russell made a competent but somewhat unimpressive movie. It's a low tension mystery rather than a high power thriller. Then the movie turns into a spoof with the cartoon villain. Its craziness is just enough fun to be interesting.

For roughly the first twenty five minutes of it's running time, "Billion Dollar Brain" looks like it's shaping up to be something very good indeed. And then, slowly but surely, the whole thing unravels. By the time a further hour or so has elapsed, neither you nor Harry Palmer know nor particularly care what the hell is going on. The blame for this lies firmly at the door of director Ken Russell.

When we first reacquaint ourselves with Caine's coolly amused hero, he is operating as a private eye from a seedy, rundown office in Central London. And living almost exclusively on corn flakes. His superior, Colonel Ross (played once more by the wonderful Guy Doleman), wants him back in the service. Harry's not interested, but a little persuasion and blackmail ensures that he's soon off to Finland to deliver a thermosflask to a mysterious professor. Here he encounters the spectacularly sexy Francoise Dorleac and her highly unlikely lover, a lucky old sod played by Karl Malden.

People turn up dead, and triple-cross follows double-cross. But after a while it becomes pretty obvious that all of the complex subterfuge is merely an attempt to mask a rather run-of-the-mill 'madman takes over the world' plot.

Such is the stuff of every Bond picture, and it's a big disappointment after the relatively believable milieus of the first two Palmer flicks. The major problem, though, is that the director's hand is so uncertain, and his pacing so uneven, that we are never sure exactly what kind of film we are watching. Russell mixes the starkly beautiful mise en scene and ready cynicism of a 'realistic' cold war drama with the pop-art excesses of a Broccoli fantasy, but the cake doesn't rise. Heavy-handed attempts at political satire just make the warmed-over fare even more inedible.

There are compensations: Russell knows how to frame a shot, and Billy Williams' cinematography is often extremely beautiful (especially when shooting the ill-fated Dorleac). All of the main performers are charismatic and Richard Rodney Bennett turns in an atmospheric score. The spookily evocative theremin-like sound is created using an ancient French keyboard instrument, the ondes martinot.

In the draggy latter-half, a couple of sequences manage to pique the interest, especially the superbly staged 'Alexander Nevsky' parody, framed by the surreal contrasts of blinding white ice and pitch black sky. There is also an eerie, darkly comic sequence in which Harry awakes in a bathtub full of dead bodies, unsure of what exactly is happening. Unfortunately, all of the surrounding guff only serves to dull their impact.

Amuse yourself in the tedious stretches by looking out for blink-and-you'll-miss-em spots by Susan George and Donald Sutherland. Caine's brother Stanley also appears as the postman in the opening scene.

I'm baffled by the dislike afforded this enjoyable sixties romp. The charge that it is less realistic than the previous films is groundless because the others weren't the real world either. The first featured some daft business with a psychedelic torture chamber and the second some far fetched romps around the Berlin wall. Of course, the events in 'Brain' are no less credible. The kremlin wouldn't allow a top Colonel to be chums with a British spy, let alone allow him to wander around Latvia taking photographs. The real purpose is to open the plot and make it more colourful, and also the opportunity to satirise entrenched positions and the madness of humanity. Recent events in Russia, especially under Yeltsin, prove that truth is definitely stranger than fiction. The score is terrific and the breath-neck direction may be enough to make it accessible to young, contemporary film fans.

The cast is superb. Guy Doleman is brilliant again as the supercilious Colonel Ross. The scene where he spills the cereals and refuses to move his feet while Palmer sweeps them up is priceless. The Russian spy Anya gives a hilarious speech of ennui about her father on the boat with Palmer and Oskar Homolka as Colonel Stock gives a short, classic lament on the ice flow written by John McGrath who does a great job here, especially in his cutting swipes at blinkered thinking. "The air in Texas is pure. That's why I haven't set foot outside of Texas in twenty five years" yells the batty General Midwinter. But the most chilling and truthful exchange occurs between Palmer and amoral spy Leo Newbigen. "When he gets between five miles of the Latvian border, every alarm in the world is gonna blow and four minutes later no one is going to be around." - "You want your money, don't you?"

Ken Russell began his career doing documentaries about classical composers and his experience pays off here in his use of sound with image. Anyone bored with current fair and hasn't seen this trilogy could do worse in giving them a go. This one was the best, in my opinion.