British Agent

Well, a film starring Leslie Howard and Kay Francis and directed by Michael Curtiz could never be a complete disaster. "British Agent" from 1934 is far from that, but because of the script, it's a little strange.

This film is based on the memoirs of R.C. Lockhart. "British Agent" is only 80 minutes long and it packs in a tremendous amount of plot. Leslie Howard is Steven Locke, who works for the British embassy in Russia at the time of the revolution. He falls for Elena Moura (Francis), a woman he saves. This is the first problem because they meet in one scene and are madly in love in practically the next.

Locke is instructed to keep Russia from signing a separate peace with Germany, which would be harmful to England. Elena holds to a different ideology, being a follower of Lenin. The two clash, and when Elena finds out Locke's assignment, she's quick to tell the other side. That's the second problem -- in the midst of a revolution, Locke receives a dispatch from London and reads it out loud while Elena is in the house.

Elena continues to be in love with Locke, betraying him at the same time.

The acting is very good, and Howard and Francis have wonderful chemistry. It's just not very plausible. Possibly if the love story had been developed more, it would have been more believable.

It's always a delight to see Leslie Howard in a film, as well as Kay Francis. I'll take them any way I can get them, and here, it's in "British Agent."

And yet I liked it! Leslie Howard can give any part in any film dignity - this one proves it! And Kay Francis can make any man seem appealing - again, Leslie Howard proves it! Take that Scarlet O'Hara!

Howard plays, Stephen Locke, a British diplomat, in the last days of Czarist Russia and the first days of Communist Russia. He meets Elena Moura (Kay Francis) when she runs into the British embassy with the Cossacks in hot pursuit since she is a Bolshevik. And also because she was shooting at them. Locke shields her from harm as the consulate is British soil.

They meet again after the revolution when Stephen tries to convince the new Soviet government not to make a separate peace with Germany. But Elena tells her comrades that Stephen is just an unofficial representative, and therefore Stephen is ignored and Russia does make peace apart from the Allies Meanwhile, Stephen and Eleana fall in love. Why I don't know because Eleana keeps telling her bosses all that she knows about Stephen. Egads this could get embarrassing if this is a compulsion of hers!

So then some diplomat friends of Stephen come to him about a plan to arm the White Army against the newly found Soviet government, the hope being that any new Russian government will rejoin the war. Meanwhile Elena still loves her country AND Communism AND Stephen AND still has these troublesome tattle tale qualities.

This has got to be the most pro-Soviet film Hollywood produced prior to WWII when they went wholesale propaganda on the subject during the war years. Lenin is clearly portrayed as a hero. Kay Francis tells us that the emotion she feels for Lenin is "reverence." Lenin's recovery from an assassination attempt is a cause for rejoicing. The Soviet official in charge of tracing down opponents of the regime says that some call it terror, but it's what has to be done. I interpreted that line as a defense of Stalin's policies in the 1930s.

The historical background is more accurate and detailed than most Hollywood films, with Howard articulating the reasons the Allies were concerned about Russia's withdrawal from the war. Also, both leads managed to be annoying characters without annoying me, the viewer. William Gargan's character, on the other hand, annoyed me tremendously. Why must every American abroad in a 1930s film sound like he should be running a lunch counter in the Bronx?

Much better than its reputation, this film has been treated rather unfairly by ignorants who haven't bothered to look deeper into it, like also other films of the Russian revolution, especially Sternberg's "The Last Command" and Marlene Dietrich's "Knight Without Armour", perhaps the best film of the Russian revolution. This one however is outstanding for the fact that it deals directly with reality. Bruce Lockhart, who lived through this story himself, happened to be a legate at the British Embassy in Petersburg when the crisis grew crucial, and later was in the thick of things in Moscow. He was the one who told the story of Sidney Reilly and his conspiracies and efforts to save Russia, and he later played an important part in the Second World War as Churchill's right hand in the propaganda war against Germany. He wrote a series of extremely interesting memoirs and was also in the centre of things in Prague 1948 when Jan Masaryk was defenestrated and the communists took over. Leslie Howard makes a very credible and true characterization of Lockhart's critical ordeals in the heart of the revolution at a loss against the lack of initiative, resolution and political insight in London. He and Reilly could have saved Russia from the communists, if London had responded. This film romanticizes the drama, of course, with some exaggerations and focusing too much on Kay Francis, while Lenin's would be murderess was much more interesting - she is only shown in the deed. Although between "Of Human Bondage" and "Captain Blood", "British Agent" hardly deserves to be neglected.

Apparently based on the memoirs of Sir Robert Hamilton Bruce Lockhart, this film pits Leslie Howard versus the tumultuous events in Russia during 1917, and 1918. Though this film leaves out any mention of someone named Sidney Reilly (the infamous "Ace of Spies", whose exploits were also recounted by Lockhart), and Kay Francis steps in as a Russian firebrand. Meeting by accident the night of the first revolution, "Locke" and Elena are instantly smitten.

When Locke is sent back to Petrograd to stall the Soviet's armistice with Germany (which would endanger the Allies on the western front), Elena is now secretary to a certain V. Lenin, and from there the melodrama ignites. Short on romance, but long on suspenseful political drama and schemes. Leslie Howard is terrific as usual, and Michael Curtiz' direction is crackling. You have to hand it to a top-drawer director for illustrating political upheaval with such entertaining panache. Also hard to overlook is a young actor named Cesar Romero, displaying a light comedic touch.

'British Agent' did have a good deal of potential. Have always found both Leslie Howard and Kay Francis very watchable, the source material is a thoroughly gripping and well crafted piece of literature and the subject matter is so intriguing. Films like this can risk being convoluted, but many films and television series in this genre have not fallen into this trap. Michael Curtiz also directed two of my favourites 'Casablanca' and 'The Adventures of Robin Hood'. 'Mildred Pierce' is also a classic.

Watching 'British Agent' recently, to me the film could have been a good deal better than it turned out. It is definitely worth seeing for the two leads and is always intriguing with a good deal of atmosphere, but the writing and storytelling fall short of living up to full potential. With a longer length and if it took its time more, 'British Agent' would have felt a lot more fleshed out. While Curtiz doesn't fare too badly in his directing, he definitely went on to do better in subjects that were more in his comfort zone.

Starting with the negatives, 'British Agent' is too short, would have given it about 15-20 minutes longer, and too rushed. The romance especially suffers, far too hastily written and underdeveloped as well as straining in credulity later on. With so much going on in a short length and some of it complicated, it does give a bit convoluted at times.

The dialogue at times rambles and the film can be a little too talk heavy. While the cast are fine mostly, William Gargon came over as too annoying for my tastes.

Howard and Francis however are both very strong in their roles, Howard subtly charismatic and steely and Francis glamorous and forceful without being melodramatic. Despite issues with the way the romance is written, their chemistry is smoldering. The supporting cast on the whole do fine, Gargon is the exception. Curtiz's direction is accomplished, despite moments where a still finding his feet feel creeps in, and has great atmospheric style.

Furthermore, the production values are very stylish and atmospheric. The music is suitably ominous and the dialogue generally is tight and provokes a lot of thought. The story, while flawed in execution, is intriguing and suspenseful at least.

Concluding, a lot to like but falls short. 6/10.