O Documento Holcroft

All of the elements for a great thriller are there. An outstanding director, John Frankenheimer, An excellent source author, Robert Ludlum and a great leading man for thrillers, Michael Caine. What went wrong? The biggest problem I had with this film was the cinematography. The film was grainy and the sub-titles were very hard to read when the actors were speaking German. There were plenty of the usual Ludlum plot twists and misdirections, but somehow the feel of this film was not up to the usual standards of Frankenheimer or Caine. A lot of it is just too kinky for most people, but an accurate portrayal of Berlin during the cold war years. It would have faired better had it been released ten years earlier rather than later. It does deserve an E for effort.

The movie's opening title card read "Berlin 1945" , these opening scenes, set during the end of World War II, were shot in black-and-white, unlike the rest of the movie which was filmed in color ; the black-and-white opener reflected newsreels of the era . The picture is set approximately exactly forty years after the end of the Second World War. It's second after the film's opener read "New York 1985". There , the son named Noel Holcroft (Michael Caine replaced James Caan ; Caan walked off the production the day before filming started) of a German General becomes part of a mysterious conspiracy to gain hidden Nazi funds . As the amount of secret money in Noel Holcroft's inheritance was US $4 billion . Under the terms of the covenant Noel have to locate the sons (Anthony Andrews , Victoria Tennat , Mario Adorf) of his father's two associates so they can jointly activate their fathers' account. As the movie's MacGuffin was a World War II era large heavy metal case, embossed with Nazi insignia, and containing the The Holcroft Covenant . Noel efforts attempting to release the hidden fund that his father humanly set up to relieve the future sufferings of Holocausto survivors .

This exciting picture packs noisy action , confuse intrigue , thrills , plot twists and enjoyable outdoors from London , Zurich, Berlin , N.Y . among others ; being appropriately photographed by Gerry Fisher . Interesting and nail-biting screenplay written by the notorious George Axelrod and Edward Anhalt ; however resulting to be confusing and slow-moving . The film was made and released about seven years after its source novel of the same name by Robert Ludlum had been first published in 1978. This is second ever feature film adaptation of a Robert Ludlum novel and the third Ludlum adaption overall for any filmed production, as Clave: omega had debuted in theaters in 1983 whilst Rhinemann exchange (1977) had been made for television in 1977. The picture was the second of three 1980s features based on Ludlum novels, the decade ended with a tele-movie titled The Bourne Identity . This was one of a number of action-thrillers of the 1980s which featured a neo-Nazi story twist element ; others included Alistair MacLean's Bear Island (1979) and River of death (1989).

The cast is frankly excellent such as Michael Caine as Holcroft , and other heirs as Anthony Andrews playing Jonathan Tennyson and Victoria Tennant as his sister Helden Tennyson . Agreeable as well as experimented support cast such as the veteran as Lilli Palmer as Althene Holcroft , Mario Adorf as Erich Kessler and Bernard Hepton as Commander Leighton . Furthermore , second and final of two movies that actor Richard Münch made with director John Frankenheimer , as the first film had been The Train (1964) . And first of three movies that actor Michael Lonsdale made with director John Frankenheimer , the later films were Ronin (1998) and Riviera (1987).

Holcroft Covenant was middlingly directed by John Frankenheimer . At the beginning he worked for TV and turned to the cinema industry with The Young Stranger (1957) . Disappointed his with first feature film experience he came back to his successful television career directing a total of 152 live television shows in the 50s . He took another opportunity to change to the big screen , collaborating with Burt Lancaster in The Young Savages (1961) and Birdman of Alcatraz (62) ending up becoming a successful director well-known by his skills with actors and expressing on movies his views on important social deeds and philosophical events and film-making some classics as ¨The Manchurian candidate¨, ¨Seven days of May¨ and ¨The Train¨ and , in addition , ¨Grand Prix¨ including great car races . Holcroft covenant rating : Mediocre film and sometime embarrassing .

The Holcroft Covenant takes its cue from a bestseller by the prolific Robert Ludlum. I've read the book and it's pretty good, with lots of globe trotting adventures and some startling twists and turns. It also takes upwards of 600 pages to tell its complex tale. The film version misses out most of the events from the book, yet tries in vain to remain faithful to the key plot points.... however, any film which tries to tell a 600 page story in less than two hours is doomed before it even begins. There's no surprise that this film is a muddled, intractable, poorly developed misfire. The story involves an inheritance in Nazi money which falls into the hands of several German descendants in the 1980s. The money is supposed to be a sort of compensation payment for the suffering and misery caused by WWII, but some of the inheritors are evil people and intend to use the money for nefarious purposes. Michael Caine plays one of the inheritors, Noel Holcroft (hence the title), and he sets out to ensure that it is used for good causes, but he finds that various others will kill to keep him from getting his hands on his rightful share.

The film is a terrible mess, and it's only too apparent that those involved were in it for the money. Every single performance is lazy. Frankenheimer once made great movies like The Manchurian Cnadidate and The French Connection 2, but here he is guilty of directing a listless hodge-podge that bears no trace of originality or flair. Caine has made too many bad movies, but this ranks amongst the very worst. No questions about it: this is a surefire low point for just about everyone involved.

The Holcroft Covenant have as far I know only received bad reviews... Knowing that, I nonetheless bought the film on DVD out of curiosity. I've a fondness for bad movies and I have an affection for the espionage genre.

The Holcroft Covenant is based on the novel by Robert Ludlum . I've read a couple of his novels and they can be, if one is in the right sort of mood, exciting.

The thing one has to remember is that Ludlum's novels is about conspiracies and complicated plots and not about characters. They are plot driven. And that more than often does not make for a compelling movie experience. Somehow that was not taken into account when the transition from novel to screenplay was made.

When you go to the movies you want to care about the people in it. That's basically a film's measure of success. And thus The Holcroft Covenant fails.

But John Frankenheimer is not the one to blame. Based on the material he was given, he made a fairly interesting movie which showcases his talent as an action director. At times excellent, but not overwrought like most of the action movies are today. But apart form the scenery and the action-sequences, the films weak point lies in its characters.

They are neither very believable nor interesting enough to hold your attention. Even the star of the movie Michael Caine, a seasoned heavyweight in the espionage genre, seems out of sync in this one.

If you don't expect too much , you'll be moderately entertained. But knowing that the film is made by veteran craftsmen like John Frankenheimer and George Axelrod, one tends to be a bit disappointed.

All in all I gave The Holcroft Covenant 6 out 10

Kind regards, paul

Michael Caine as a German-American? Gimme a break! This whole project is so desperately flawed that even Lilli Palmer cannot save it, though her performance as Caine's mother is the best in the film. You know something is wrong when you see the opening credits: there are just too many screenwriters, and even Edward Anhalt is in there. How many rewrites can a succession of people do to save a doomed script? Clearly not enough. This is an excellent yarn, taken from a Robert Ludlum book which must have been a gripping story. But what a mess they have made of it. John Frankenheimer was an excellent director who was what one could call 'uneven'. In other words, he did not always deliver an acceptable result, and here he fails. He tries and tries, but it is no use. Anthony Andrews gives a better than expected performance, manages to avoid being arch, and with his blonde appearance convinces us that he is a German with an Iron Cross for a heart. Victoria Tennant, such an under-valued actress, does a fine job. Michael Lonsdale is wholly convincing as a quietly dominant Swiss banker who never needs to raise his voice because money speaks for him. It all could have been so good, but when you decide to cast a London cockney as an American architect whose father was a Nazi general, well please ... Michael Caine has never been anything other than Michael Caine. You could call that being true to himself or you could call it lack of talent. Certainly when he is called upon in this film to cry, you know it is glycerine drops, and the idea of a barrow boy crying, come on. The trouble was that in the 1970s Michael Caine was the only 'bankable' British star, which certainly gave too much power to his agent, Dennis Sellinger. And I guess this carried over into the eighties. But by then he was a shadow of the chirpy cricket of the East End that rode the wave of the revolution in class consciousness right to the top. Talk about perfect timing, Caine became the icon of a social movement. But somebody forgot to tell him how to act. Later in life, Caine finally picked up the skills along the way, and dozens of movies were his RADA, so he ended up a good actor in the end. But this was 1985, when he was still hopeless at being anyone but the same Michael Caine we saw last time, and the time before, and the time before. And that is a bore. Yes, tis a pity.