Callan

An acceptable expansion of the pilot episode of the celebrated TV spy series,CALLAN benefits from Edward Woodward's memorable characterisation of an unglamourous,seedy and brutish secret agent David Callan,helped and hindered by his even seedier sidekick,smelly petty crook Lonely,superbly played by Russell Hunter.Although not quite as good as the TV series,this film version is still very watchable and efficiently directed by Don Sharp,with a few interesting frisson's added,most notably Callan's ferocious disposal of a gangster's hit-man(played by Dave Prowse,later to become Darth Vader's physical form.As with Star Wars,Prowse's Bristol accent is dubbed over here as well)and the gangster's subsequent use for virtual human experimentation,which Callan observes to his disgust and horror.The series was always interesting for Callan's frequent clashes with his superiors,made more strident because of his working-class background;his colleagues were invariably upper middle-class,public schoolboys,as typified by the vindictive bully Toby Meres,played here by Peter Egan.Egan is adequate in the role but lacks the extra toughness,wit and humour provided by Anthony Valentine in the TV series(Peter Bowles played Meres in the pilot),and his boss 'Hunter',played in this film version by Eric Porter; the best 'Hunter' of all in the TV series was probably William Squire.

Many UK TV shows had film versions produced in the 1970's,mostly sitcoms like ON THE BUSES,LOVE THY NEIGHBOUR,MAN ABOUT THE HOUSE,etc. These and others were mostly dismal but CALLAN works far better despite having to add more footage from the original TV pilot,and works as a taut,terse and respectable film version of an excellent TV original.

RATING:6 and a half out of 10.

The spy genre saw a (British-led) backlash in the mid-/late-1960s against the 'James Bond-led' type of upper class, super-human, perfect being spies and attention being paid in literature ("The spy who came in from the cold") and film (the Harry Palmer films) to a much more realistic portrayal of who spies were and what they actually did (often grubby little men working in atrocious conditions and for minimal recompense). In addition to literature and film, I can recall seeing the original "Callan" series on TV and of being very impressed by it. As portrayed by Woodward, Callan really was a working class thug (ex-army/ex-offender/borderline alcoholic and capable of great viciousness) doing the most unglamorous kinds of things in order to "take care" (with threats, blackmail, entrapment and, ultimately, 'termination') of people his superiors ordered him to. At the same time, Woodward gave the character a real human side who often displayed pity and empathy for his victims and who refused to turn into just the simple killing machine his masters wanted. I thought this film (which I had never seen before and found on some TV network being broadcast between 1.00 and 3.00 AM!) caught all of this very well. It was made at a time of great violence/almost seeming social melt-down (IRA bombing campaigns in Britain, the never-ending "Troubles" in Ireland, terrorism across much of Europe, the PLO terrorist attacks across the world. the Vietnam War staggering towards its bloody (and probably inevitable) end) and there are a number of places in the film where issues of direct relevance for today are also addressed (where to draw the line between 'enhanced interrogation' and outright torture, what are the limits of surveillance, how far can people 'follow orders' and still stay human?) An exciting film to watch but also one with a lot more to offer as well.

I thought the film was very good. I like others at first approached the film with a jaundiced view, specifically the totally different effect of the music. However once viewed several times ones' view changes and accepts the film / music / different "Hunter" etc. afresh. No one else could play Callan other than Edward Woodward, the effect of Eric Porter as the new "Hunter" also becomes part of the whole fabric. I have seen the film many times now and to change anything or to try to align it with the way Callan was presented for TV would be detrimental.Enjoy it as it stands without prejudice. One weak spot, the scene where Callan is located with Lonely in a pub by one of Mears' henchmen; you could never jam a kiosk door with a piece of folded up card!

I think that my parents used to watch the TV series "Callan", I can remember the title but would have been too young to have seen it at the time. I may or may not have watched some re-runs, I honestly don't know so I have treated the 1974 movie as my first Callan viewing. Brilliant actor Edward Woodward (who was so good in the 1973 classic "The Wicker Man") plays retired British secret agent Callan, lured back for an assassination job on a crooked German businessman. The two characters strike up quite a friendship with a mutual love of playing out historical battle scenes using model soldiers at the target's mansion, almost slightly surreal. Other interesting characters include a petty crook called Lonely on account that he doesn't wash so nobody wants to go near him (whoever thought of that name I salute you, brilliant!), a camp arms dealer known as The Greek and his henchman Arthur, played by the one and only David Prowse, a giant of a man probably best known for playing the physical part of Darth Vader. The movie packs in plenty of action - when Callan displays his martial arts skills the screen colour becomes tinted and goes into slow motion, pretty silly in my opinion, on the other hand there is a fantastic rural car chase, one of the movie's most memorable scenes. Woodward reminds me of Michael Caine, I could imagine him playing the part too. He also has a bit of Clint Eastwood's Dirty Harry Callahan, wise cracking on one hand, deadly serious on the other, in fact Callan's choice of weapon, a Magnum, is surely a nod to the American film. In addition to the plot, which isn't as straight forward for Callan as he'd hoped, we get a view of London in 1974, nice seeing the fashions, locations, old vehicles and a boozer (pub). One of my favourite lines has Lonely say "You're not going to shoot bears though are you Mr Callan?" after Callan, who bought the Magnum off Lonely, explains that it could blow a bear's head off. Callan is a tough cookie up against some very nasty people. It is violent at times but also amusing at others, I don't think that as a thriller that it was intended to be taken too seriously and is all the better for that.

This is a tight, intelligent thriller closely based on the fine novel Red File For Callan, from which the great 1960s-1970s Thames TV series developed. David Callan is a solitary, mentally unstable killer, who is given one last chance to return to "The Section", a shadowy British government security department. Callan hates to kill, but is qualified for little else, and has been forced by his old masters into a dull, mundane office job with a harassing boss. His test is to murder someone - a man whom it turns out he knows, an apparently harmless businessman with whom he shares an interest in military history and battle games. The film boasts a first-class performance from Edward Woodward as Callan, reprising his TV role with confidence. Russell Hunter is also extremely good as Lonely, a smelly petty crook whom Callan employs to buy him a gun. Sadly the film was made with little style, and the military band score is disappointingly out of kilter with Jack Trombey's fine, moody Callan TV theme.

The Callan character was an icon in British television history, and was extremely popular with viewers. This story got its first TV outing as A Magnum for Schneider (the book's original title) in a 50 minute slot on Armchair Theatre, a famous British TV drama anthology. (This unofficial pilot can now be seen on a very good DVD compilation of what early episodes are still unwiped, called "Callan: The Monochrome Years" (Network DVD, 2010).) There was also a recent BBC radio version. Callan was seen, like The Ipcress File, as an antidote to the invulnerable 007. Why there were no other Callan films made, since the creator James Mitchell wrote several filmable novels about the character, is a mystery.

Callan boasts one technical distinction: according to the Guinness Book of Movie Facts and Feats, this was the first film to be released with a Dolby encoded mono soundtrack. (A Clockwork Orange used Dolby noise reduction in its making some years before but used a conventional soundtrack on its release prints.) When I saw Callan on its release at a local cinema, I remember thinking the sound was uncommonly clear and the dialogue for once actually audible.