Scorpio

In the 1960s, disenchantment among the Western populations led to the hippie movement and a new questioning of authority. Combining this with the Watergate scandal and you set the context for movies like SCORPIO and THREE DAYS OF THE CONDOR. Both films view our own government with great suspicion--particularly the CIA. Such films probably would NOT have been accepted by the public just a decade earlier, but in the 70s paranoia of this type was fashionable. So was the moral relativism that implied that the US and Soviet governments were pretty much the same.

In some ways, the plot to SCORPIO is pretty interesting--a CIA agent (Burt Lancaster) is perceived to be a double agent and is ordered to be killed. Oddly, Alain Delon, a Frenchman, is given this task but Lancaster seems too slippery and skilled to be easily taken. Unfortunately, after a while the film both becomes rather dull and is rather hard to believe. As one reviewer pointed out, the way that Lancaster and Scofield knew each other didn't really make sense, as an American serving with the Spanish Republicans would have been seen as an extreme leftist--not exactly a person you'd expect to later be in the CIA. Of course, this DID help the moral relativism being pushed in the film.

Aside from watching the acrobatic Lancaster do his own stunts and Scofield overact (in a fun way), this is a very low energy film--and you'd not expect this would be the case for an espionage thriller. It just seemed very detached and uninvolving. Overall, it's a passable film, but not one you should go out of your way to see.

In Paris, CIA operative Cross (Burt Lancaster) uses freelance assassin Jean 'Scorpio' Laurier (Alain Delon) to kill. It's their sixth or seventh assassination together. CIA don't usually do the killings themselves. They try to take out Cross within the Agency and fail. They do a deal with Scorpio to kill Cross. In Paris, Cross is given a safe house from his Soviet opposite Zharkov.

Cross and Scorpio need to be closer. There is a connection but a deeper emotional connection would make the chase more compelling. Scorpio can't be an outsider especially considering their conversation later in the movie. They talk like teacher and student. It doesn't really fit their relationship as described in the beginning. I still like their connection. It just needs some minor changes. On the other hand, Cross and Zharkov are almost perfect. They are both world-wearied warriors on their last legs. The movie does drag a bit too long after the explosive climax in Paris. Despite that scene, the movie could use a good action car chase in the city. It could use some more action and it needs to get to the ending faster. Overall, it has some interesting aspects of the genre but it's not one of the memorable ones.

Whereas Ian Fleming and Robert Ludlum tended toward the super-hero approach to international espionage, John Le Carre preferred it's more-realistic side: the tawdry shadow-world of betrayal, futility, and the brutal exploitation of human weakness. It looks like screenwriters Daniel W. Rintels and Gerald Wilson and director Michael Winner took a page from the Le Carre playbook when crafting this 1973 thriller.

Scorpio ranks with The Spy Who Came In From The Cold and The Looking Glass War as one of the best espionage flicks ever made. Burt Lancaster displays subtle depth as a veteran CIA agent who might be turning to the other side. Alain Delon excels as the young French assassin tasked with the liquidation of his old friend and mentor. Paul Scofield, John Colicos, and a young James Sikking all turn in fine supporting performances.

Scorpio is a lesser-known yet very satisfying classic from the Anti-Hero/Anti-Establishment era of the 1970's.

Handsome Alain Delon is "Scorpio" in this 1973 spy film starring Burt Lancaster and Paul Scofield, and featuring John Colicos, Arthur Hil and Joanna Linville. Cross (Lancaster) is an old CIA agent who assassinates foreign officials the U.S. needs out of the way. His some time parter is Jean Laurier, aka Scorpio, a freelancer. Scorpio is given the order to kill Cross - the agency feels he knows too much. Cross is very clever, but Scorpio knows him well enough to anticipate some of his moves. The two men play an international game of cat and mouse, and along the way, there are casualties.

This is a compelling if somewhat slow thriller, very typical of the spy films one saw in the '60s and '70s. What makes this one is the locations - having been to Vienna, I sat across from the opera house in the exact place where one scene was shot. The streets, the hotel lobbies and the rooms were unmistakably European. The cast is excellent, with Lancaster doing a great job - and his own stunts at the age of 59 - as a down to earth, tired agent. Scofield is effective as Zharkov, a Communist friend who helps Cross, and John Colicos is very good in a typical role for him as Cross' cold-blooded boss. Delon isn't quite in the league of these actors - he brings a kind of lethargy to his role and is almost too internalized, plus his accent is quite thick, so some of his dialogue is difficult to understand. You can't beat him for eye candy, though.

I've enjoyed other spy films better, but this one, written by David Rintels (my cousin's brother-in-law) is good with the right atmosphere and some dandy performances.

I had seen this years ago and thankfully it was shown again on thisTV out of Indianapolis.

Although this film is a great spy thriller, it is much more about friendship. Deep friendship. Between enemies and old friends. Not the fleeting digital facebook friendship where facebook folks are friended are defriended with the ease of changing lipstick. But deep, 'no questions asked' friendship of life threatening assistance. Do you have any friends like that? I think not. This is more a human story of old loyalties not nameless rule book bureaucrats.

There is a very poignant scene in the music hall where Max and Cross are listening to Brahms talking about the favor that Cross needs. Earlier in a cafe, Cross tells Max he needs a favor, and Max says he will do it no matter what and has the weekend free. Max is a music instructor. In the music hall, Cross says the favor may be painful, he needs a message delivered to his wife and it will probably kick back to Max. Max doesn't care, because after WWII, Cross was the one who liberated Max from the camps, where "he couldn't listen to Brahms without crying". Now, after being liberated he can. He dies helping Cross. Who has friends like that?

Cross friendships go deep, from the hood in DC to a Soviet spy. In fact, those friendships transcend race and politics.

Scorpio predates Casino Royale in a great foot chase through a construction sight and it also has the intrigue of 3 Days of the Condor. It also predates the Bourne Identity series in that Cross is one step ahead of the CIA most of the time.

GREAT LINE:

SCORPIO: "I think you better try McLeods chair for fit, it is going to be empty soon". Said to 2nd highest CIA guy after learning that an agent of McLeod killed Cross's wife.

I liked Cross's coterie of old friends that he relies on for his escape through Europe and in the US. A great entertaining thriller and with Burt Lancaster, Alan Deloin and Max Schofield you will have a delightful time.