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IMDbPro

A Morte Não Manda Aviso

Título original: The Quiller Memorandum
  • 1966
  • Approved
  • 1 h 44 min
AVALIAÇÃO DA IMDb
6,3/10
4,6 mil
SUA AVALIAÇÃO
A Morte Não Manda Aviso (1966)
In the West Berlin of the 1960s, two British agents are killed by a Nazi group, prompting British Intelligence to dispatch agent Quiller to investigate.
Reproduzir trailer3:08
1 vídeo
58 fotos
CrimeDramaMistérioSuspense

Adicionar um enredo no seu idiomaIn the West Berlin of the 1960s, two British agents are killed by a Nazi group, prompting British Intelligence to dispatch agent Quiller to investigate.In the West Berlin of the 1960s, two British agents are killed by a Nazi group, prompting British Intelligence to dispatch agent Quiller to investigate.In the West Berlin of the 1960s, two British agents are killed by a Nazi group, prompting British Intelligence to dispatch agent Quiller to investigate.

  • Direção
    • Michael Anderson
  • Roteiristas
    • Elleston Trevor
    • Harold Pinter
  • Artistas
    • George Segal
    • Alec Guinness
    • Max von Sydow
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,3/10
    4,6 mil
    SUA AVALIAÇÃO
    • Direção
      • Michael Anderson
    • Roteiristas
      • Elleston Trevor
      • Harold Pinter
    • Artistas
      • George Segal
      • Alec Guinness
      • Max von Sydow
    • 92Avaliações de usuários
    • 42Avaliações da crítica
  • Veja as informações de produção no IMDbPro
    • Indicado para 3 prêmios BAFTA
      • 4 indicações no total

    Vídeos1

    Official Trailer
    Trailer 3:08
    Official Trailer

    Fotos58

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    Elenco principal25

    Editar
    George Segal
    George Segal
    • Quiller
    Alec Guinness
    Alec Guinness
    • Pol
    Max von Sydow
    Max von Sydow
    • Oktober
    Senta Berger
    Senta Berger
    • Inge Lindt
    George Sanders
    George Sanders
    • Gibbs
    Robert Helpmann
    Robert Helpmann
    • Weng
    Robert Flemyng
    Robert Flemyng
    • Rushington
    Peter Carsten
    Peter Carsten
    • Hengel
    Edith Schneider
    • Headmistress
    Günter Meisner
    Günter Meisner
    • Hassler
    • (as Gunter Meisner)
    Ernst Walder
    • Grauber
    Philip Madoc
    Philip Madoc
    • Oktober's Man (Brown Trousers)
    John Rees
    • Oktober's Man (Black-Rimmed Glasses)
    Bernard Barnsley
    • Mr. 'F'
    • (não creditado)
    Victor Beaumont
    Victor Beaumont
    • Weiss
    • (não creditado)
    Harry Brooks Jr.
    • Oktober's Man (Tall Blonde)
    • (não creditado)
    Otto Friese
    • Waiter
    • (não creditado)
    Herbert Fux
    Herbert Fux
    • Oktober's Man (Pipe)
    • (não creditado)
    • Direção
      • Michael Anderson
    • Roteiristas
      • Elleston Trevor
      • Harold Pinter
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários92

    6,34.5K
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    Avaliações em destaque

    7Dr.X

    effective, low key, intelligent, spy film

    This isn't your standard spy film with lots of gunplay, outrageous villains, and explosions. It's a more realistic or credible portrayal of how a single character copes with trying to get information in a dangerous environment. The characters and dialog are well-written and most roles are nicely acted. I found it an interesting and pleasant change of pace from the usual spy film, sort of in the realm of The Spy Who Came in From the Cold (but not quite as good).
    Poseidon-3

    Attractive, thoughtful spy film with an excellent cast

    Released at a time when the larger-than-life type of spy movie (the James Bond series) was in full swing and splashy, satirical ones (such as "Our Man Flynt" and "The Silencers") were about to take off, this is a quieter, more down-to-earth and realistic effort. Segal plays a secret agent assigned to ferret out the headquarters of a Neo-Nazi movement in Berlin. His two predecessors were killed off in their attempts, but he nevertheless proceeds with headstrong (perhaps even bullheaded) confidence without the aid of cover or even a firearm! His investigations (and baiting) lead him to a pretty schoolteacher (Berger) who he immediately takes a liking to and who may be of assistance to him in his quest. Before long, his purposefully clumsy nosing around leads to his capture and interrogation by a very elegantly menacing von Sydow, who wants to know where Segal's own headquarters is! When drug-induced questioning fails to produce results, Segal is booted to the river, but he isn't quite ready to give in yet. He recruits Berger to help him infiltrate the Neo-Nazis and discover their base of operations, but, once again, is thwarted. Finally, he is placed in the no-win position of either choosing to aid von Sydow or allowing Berger to be murdered. The film illustrates the never-ending game of spying and the futility that results as each mission is only accomplished in its own realm, but the big picture goes on and on with little or no resolution. Segal is an unusual actor to be cast as a spy, but his quirky approach and his talent for repartee do assist him in retaining interest (even if its at the expense of the character as originally conceived in the source novels.) Guinness appears as Segal's superior and offers a great deal of presence and class. Von Sydow (one of the few actors to have recovered from playing Jesus Christ and gone on to a varied and lengthy career) is excellent. He brings graceful authority and steely determination to his role. His virtual army of nearly silent, oddball henchmen add to the flavor of paranoia and nervousness. Berger is luminous and exceedingly solid in a complicated role. Always under-appreciated by U.S. audiences, it's a relief to know that she's had a major impact on the German film community in later years. Special guests Sanders and Helpmann bring their special brand of haughty authority to their roles as members of British Intelligence. The film magnificently utilizes West German locations to bring the story to life. Widescreen viewing is a must, if possible, if for no other reason than to fully glimpse the extraordinary stadium built by Hitler for the 1936 Olympic games. The film has that beautiful, pristine look that seems to only come about in mid-60's cinema, made even more so by the clean appearance and tailored lines of the clothing on the supporting cast and the extras. By day, the city is presented so beautifully, it's hard to imagine that such ugly things are going on amidst it. Composer Barry provides an atmospheric score (though one that is somewhat of a departure from the notes and instruments used in his more famous pieces), but silence is put to good use as well. Is there another film with as many sequences of extended, audible footsteps? Fans of "Willy Wonka and the Chocolate Factory" will notice that film's Mr. Slugworth (Meisner) in a small role as the operator of a swim club (which features some memorably husky, "master race" swimmers emerging from the pool.) The film's screenplay (by noted playwright Pinter) reuses to spoon feed the audience, rather requiring that they rely on their instinct and attention span to pick up the threads of the plot.
    6hokeybutt

    They Don't Make 'Em Like This Anymore

    THE QUILLER MEMORANDUM (3 outta 5 stars)

    The 1960s saw a plethora of two kinds of spy movies: the outrageous semi-serious James Bond ripoffs (like the Flint and Matt Helm movies) and the very dry, methodical ones that were more talk than action (mostly John Le Carre and Alistair MacLean adaptations). This is one of the better examples of the talky thrillers. Not that the movie is boring... there is lots of good, cat-and-mouse dialogue courtesy of playwright Harold Pinter. George Segal plays the hero, an undercover spy who goes to West Berlin to find out who killed his predecessor... who was on the trail of modern-day Nazis. Segal has surprisingly little difficulty in finding himself right in the thick of things... being captured and drugged by the baddies... and even having time for a romance with a German schoolteacher who may know more than she lets on. Parts of the movie reminded me a lot of the classic "The Third Man"... which I think the director was trying to emulate at times. Well, this is not quite a classic of that caliber but it is a very well-written and smoothly-paced "old school" thriller. Segal makes a very cool lead... witty and sarcastic, yet with a vulnerable side, too.
    MChittum-California

    In Berlin during filming

    This film has special meaning for me as I was living in Berlin during the filming and, subsequent screening in the city. Mind you, in 1966-67 the Wall was there, East German border guards and a definite (cold war) cloud hanging over the city. I loved seeing and feeling the night shots in this film and, as it was shot on location, the sense of reality was heightened for me. Very eerie film score, I believe John Barry did it but, I'm not sure. George Segal was good at digging for information without gadgets. A bit too sardonic at times, I think his character wanted to be elsewhere, clashing with KGB agents instead of ferreting out neo-nazis. I feel this film much more typified real counter espionage in the 60's as opposed to the early Bond flicks (which I love, by the way). Senta Berger was gorgeous! And, the final scene (with her and Segal) is done extremely well (won't spoil it for those who still wish to see it...it fully sums up the film, the tension filled times and cold war-era Germany). Also contains one of the final appearences of George Sanders in a brief role, a classic in his own right!
    6dglink

    Slow Spy Film from the 1960's

    Slow-moving Cold War era thriller in the mode of "The Spy Who Came in from the Cold," "The Quiller Memorandum" lacks thrills and fails to match the quality of that Richard Burton classic. After a pair of their agents are murdered in West Berlin, the British Secret Service for some unknown reason send in an American to investigate and find the location of a neo-Nazi group's headquarters. Unfortunately, the film is weighed down, not only by a ponderous script, but also by a miscast lead; instead of a heavy weight actor in the mold of a William Holden, George Segal was cast as Quiller. Despite an Oscar nomination for "Who's Afraid of Virginia Woolf?," Segal's strength lies in light comedy, and both his demeanor and physical build made him an unlikely pick for an action role, even if the film is short on action. Although the situations are often deadly serious, Segal seems to take them lightly; perhaps in the decade that spawned James Bond, he was confused and thought he was in a spy spoof.

    Harold Pinter's screenplay, adapted from a novel by Trevor Dudley Smith, is "oh so serious" and perhaps too cerebral to be entertaining, at least without a charismatic star to carry the film. Among the few elements of humor are the scenes between George Sanders and Michael Helpmann, who dryly discuss the recent murders and their luncheon choices with an equal lack of interest. However, Sanders, Helpmann, and Alec Guinness as Pol, Quiller's contact in Berlin, appear too briefly to save the film. However, Max Von Sydow makes a strong impression as Oktober, leader of the neo-Nazi group; his performance is strong, authoritative, and genuinely menacing. Senta Berger appears in an ambiguous role as a teacher, who worked at a school where a neo-Nazi had also been employed. Quiller's lead in finding the neo-Nazi headquarters, Berger is the film's intended love interest, but her cool blank expressions fail to ignite any sparks between her and Segal, and the romance only exists as empty words in the script.

    Michael Anderson's direction is pedestrian, and the few car chases are perfunctory at best. In the 1960's, spy films both serious and light were the vogue and many fine examples come to mind, like the aforementioned "The Spy Who Came in from the Cold," "From Russia with Love," and "The Ipcress File," among others. Unfortunately, "The Quiller Memorandum" does not merit mention alongside them.

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    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      The source novel "The Berlin Memorandum" is billed in the credits as being by Adam Hall. This is a nom de plume for author Elleston Trevor.
    • Erros de gravação
      During the car chase scene, the cars behind Quiller's Porsche appear and disappear, and are sometimes alongside his car, on the driver's (left) side.
    • Citações

      Quiller: Met a man called Oktober.

      Pol: Oh yes?

      Quiller: Know him?

      Pol: We've never actually met.

      Quiller: At the end of our conversation, he ordered them to kill me.

      Pol: And did they?

    • Conexões
      Featured in Al Murray's Great British Spy Movies (2014)
    • Trilhas sonoras
      Wednesday's Child (Theme Song)
      Music by John Barry

      Lyric by Mack David

      Sung by Matt Monro

      [Played on the radio when shoeless Quiller arrives at the hotel]

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    Perguntas frequentes16

    • How long is The Quiller Memorandum?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 13 de janeiro de 1967 (Reino Unido)
    • País de origem
      • Reino Unido
    • Idiomas
      • Inglês
      • Alemão
    • Também conhecido como
      • The Quiller Memorandum
    • Locações de filme
      • Europa-Center, Charlottenburg, Berlim, Alemanha
    • Empresas de produção
      • The Rank Organisation
      • Ivan Foxwell Productions
      • National General Productions
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      • 1 h 44 min(104 min)
    • Cor
      • Color
    • Proporção
      • 2.35 : 1

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