A Morte Não Manda Aviso

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.

Languid, some might say ponderous mid-60's British-made cold-war drama (it could scarcely be called a thriller, more "The Spy Who Came In From The Cold" than, say "Thunderball") that for all its longueurs, does have some redeeming features. These include another superior soundtrack by John Barry, if perhaps a little too much son-of "The Ipcress File", some fine real-life (West) Berlin exteriors, particularly of the Olympic Stadium with its evocation of 1936 and all that and Harold Pinter's typically rhythmic, if at times inscrutable screenplay. George Segal, plays the edgy American-abroad new CI5 recruit (looking unnervingly at times like a young George W Bush!) before he started doing "genial" and reminds us that his previous part was in the heavyweight "Who's Afraid of Virginia Woolf". Try as he might though, he can't quite carry the lead here, lacking as he does the magnetism of Connery or the cynicism of Caine. Alec Guinness gets to play a Smiley prototype but brings too much Noel Coward to the table. Max Van Sydow is better as the neo-Nazi leader, veiled by the veneer of respectability as he cracks his knuckles and swings a golf club all the time he's injecting Segal with massive doses of truth serum, while Senta Berger is pleasant, but slight, as the pretty young teacher who apparently leads our man initially to the "other side", but whose escape at the end from capture and certain death at the hands of the "baddies" might lead one to suspect her true proclivities. The movie wants to be more Le Carre than Fleming (the nods to the latter fall flat with a couple of fairly underpowered car-chases and a very unconvincing fight scene when Segal first tries to escape his captors) but fails to make up in suspense what it obviously lacks in thrills. I also expected just a little more from the interrogation scenes from the man who wrote "The Birthday Party". Watchable and intriguing as it occasionally is, enigmatic is perhaps the most apposite adjective you could use to describe the "action" within. In conclusion, having recently watched "Quiller's" almost exact contemporary "The Ipcress File", I have to say that I preferred the latter's more pointed narrative, down-home grittiness and star acting to the similar fare offered here.

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).

Other viewers have said it all: it is a good movie and more interestingly it is a different kind of spy movie. It is credible. The shooting on location in Berlin makes it that much more thrilling.

Good acting. Fantastic last 30 minutes where I have rarely felt so tense so the suspense was intense: great chase in the streets of Berlin but in a different way from James Bond...

Definitely worth seeing. You won't be disappointed.

Final note: there is no stupid romance to spoil the film. The ending in itself contributes to the film's value (you will see).

My vote: 8 / 10.

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!