Lettera al Kremlino

I can't believe anyone would not think this is a 4 star movie, great performances, complex plot and no "James Bond" gadgetry, this is really good stuff. The film has a grainy quality that's perfect for the time and subject matter. The characters are real, human, flawed and believable. In a time where most "thrillers" insult our basic reasoning, this presents a picture of all the human foibles that allow people to be manipulated in various fashions. Similar in feel and texture to " The Spy Who Came in From The Cold " this movie offers some unique performances from some "big names" in unusual roles. The ending is filled with some twists and turns that make this movie well worth seeing.

The Kremlin Letter is the most intense spy drama, with the tightest script and the very best characterizations ever to appear in this peculiarly appealing genre.

John Huston (who plays one scene himself, masterfully) somehow assembled the incredible cast, which reads like a who's who of its time. This was one of the great Nigel Green's last roles, and his performance is typical of all the others in the cast, smooth and riveting.

Barbara Parkins is at her peak, and is more alluring than you would believe. Much hotter than you've ever seen her. Wow.

Critics say this movie is slow and hard to follow. Perhaps they watched it at a cocktail party. It keeps you on your toes and you do have to pay attention, but that's how a good spy movie should be. This ain't James Bond Spoofs A Bad Guy!

If you like a good story filled with intrigue, double-crossing, revenge, sudden deadly action, plot twists and just plain evil bad guys, watch The Kremlin Letter.

I will never forget the image of Ward whispering 'We will do anything...' as Bresnavitch's (Welles' appearance is almost a cameo; purely setup for the story) face is caught in the flicker of the projector (see the movie to understand his fear) . The 'cruelty' of the game is played out in these few moments.

The story line is simple and I won't repeat it here. I will say that from the Highwayman's exit (near the beginning) to the final revelation, the film is non-stop. George Sanders is a bonus. Not absolutely necessary to the story but certainly an amplification of the stakes involved.

Ward is the key to the story (no pun intended). Rone is drawn in for his memory. The Whore, jaded and disinterested in anything other than his immediate existence agrees to participate for money... or perhaps something else.

Remember the opening scene in Mission Impossible (Tom Cruise version)? Phelps' wife is drugged and the race is on to get the information so she can be given the antidote. Contrast this 'we're in it together' attitude with the 'I'm in it for myself' attitude of the Kremlin Letter; lots of lies and deception, but completely self-serving. Not a platitude in sight. A refreshing 'honesty' for the new millennium... from a film nearly thirty years old.

Having seen several versions including the original theatrical release, television cut and the second theatrical release I can understand the misconceptions surrounding this film.

This film is extremely violent. The violence is not the '90's variety. You aren't shown it but you feel it. Bresnavitch's fear... Rone's 'matter of fact' attitude... Ward's 'direction'... The Highwayman's' resignation...

Oh, the method for Russian/English/Russian translation must be experienced. It might not be a first but I haven't seen it in any film since.

Finally I must add that there is not one likeable character in this movie... they are all far too human.

Loosely adapted from the novel by Noel Behn, based upon his experiences in the Army Counter-Intelligence Corps, this is a complex, some might say convoluted, chilling and low key espionage drama which fared badly at the box office due no doubt to its being far too grim for those who had spent the 1960's lapping up James Bond movies and their numerous spin-offs.

Despite a few individually powerful scenes and excellent performances all round, notably those of Richard Boone, Orson Welles, Max von Sydow and Bibi Andersson, the film lacks, for this viewer at any rate, the elusive, magic alchemy by which everything comes together.

Director John Huston was drawn to the story by its depravity, finding it 'shocking, immoral, vicious and cynical.' He was absolutely right of course but he failed to realise that there is only so much of that sort of thing the average filmgoer can take in the space of two hours.

I saw the original release (uncut) and was not disturbed by George Sanders in drag. It seems to me that this one point raised by almost all of the movie anthologies indicates that none have seen the film but only copied one person's comment. The story is clever espionage, keeps you guessing, and keeps your interest. I do not want to say anything else about the story for it will spoil it for those who have not seen it. The performances are all strong and the graphic portrayal may have been too much for the critics. If you want to sense the power and fear of espionage, this is the film to see. There is no holding back. Even the great one, "The Spy Who Came in From the Cold", does not push the cruelty of the spy game as far as this one does. I wish we could get some interest going so that this film will be released on video. I would like to revisit this unique spy film.