Power Play

"For a coup to be successful you need tanks. My tanks" declares tank commander Peter O'Toole to idealistic young army officer David Hemmings in this engrossing military drama reminiscent of Bunuel's 'La Fievre Monte a El Pao' and Jancso's 'The Red and the White' with a wonderful punch line as he demonstrates to Hemmings that power comes down the barrel of a gun and you never know who's next for the firing squad.

When I first saw this movie about ten years ago, I was blown away by it. On subsequent viewings, its flaws have become more apparent -- most of the characters are flatly written, a few of the minor roles are poorly played. However, the film still remains a worthy effort. Whereas most political films only pay lip service to ideological concerns, Power Play actually attempts to examine both what it means to live in a totalitarian regime and how easily the best intentions can be subverted. The film has a fine lead performance from David Hemmings. While he at first seems to be flamboyantly overacting, Peter O'Toole eventually reveals the chilling truth behind his character's manner. Lastly, Donald Pleasence plays the head of the Secret Police but, as opposed to later performances, doesn't descend into camp and is a frightfully Himmleresque figure. The scenes where he tortures a young woman are disturbing and, thankfully, played for outrage than for exploitation. Powerplay features a downbeat ending but in the end, its the only honest way the film could end. Check it out if you get a chance.

Familiar faces in this film (Hemmings, Pleasance, O'Toole) help to get a Western audience to empathise with what it's like to live under a totalitarian regime. Our sympathies are with the heroes as they move towards a coup d'etat (an odd one in which the military intends to replace a more repressive regime with one less so). However not every conspirator's motives are the purest...

Just to correct an error in the details; this same error is repeated in most movie books/websites.

"Power Play" is not based on a novel, but on an academic book: "Coup d'Etat- A Practical Handbook" by the distinguished academic Edward Luttwak; London- Allen Lane The Penguin Press 1968

This book is an entertaining critique of the coup - chiefly in Latin Amerioa and Africa - its practical aspects and the economics of repression and revolution.

This possibly explains why the movie fails to a certain extent as a gripping drama. However the individual performances are excellent.

Nevertheless, it is worth watching.

And after more than 20 years the book rewards a re reading. Incidentally; I last read the book during the coup against Gorbachev in 1991; and applying Edward Luttwak's principles - I judged - rightly as it turned out- that the coup would fail because the promoters of the coup had not secured or neutralised all their objectives. They should have read the book or watched the movie!

In this no doubt peculiar film that has a rather dated patina and production values that wouldn't bear scrutiny in today's world of slick multimillion endeavours however drove away at me and ended up surprising my, admittedly reduced expectations. There's a professional cast pulling out the stops to keep it going, and the way the story ended up left quite a visceral punch - even though the screenplay rather gives it away in the opening sequence in a chat show reminiscence by a witness, back in the real world, ie New York.

I like odd movies like this for the curveballs they can throw like the really confusing setting imagined for this country in convulsions. Where somewhere in Eastern Europe do all the military speak in rich English accents or American drawl and the character names seem so anglo-saxon? Where are there big sea freighters unloading British rail rolling stock? The little bit of folk music might have Balkan origin but where in Yogoslavia do they have so many sand dunes for the tank sequences? The 'terrorists' look like the young German Red Brigade or even Irish lackeys. The bit the few reviews can't fail to pick up is the faintly absurd torture of a young woman with electrodes attached to her nipples dispassionately supervised by the Blofelt-type Donald Pleasance (who is good here).

All the funny external elements are redeemed however I think by the seriousness of the whole thing and the repeated riff on home truths like perfectly understandable duplicity and cyclic violence that all such Coup-d'etat and by implication all revolutions can involve -despite best efforts from even good chaps. O'Tool's speech at the end about change and society is so deeply ironic and scary - be very scared of change old boy - a very British movie indeed.