Notre agent à La Havane

This afternoon I chanced upon this terrific film on Channel 4.I had seen it years ago as a child,and couldn't understand why my father kept referring to the brilliant " Our Man in Havana" Now I know what he meant.Alec Guinness hit the perfect note in the part,as he invariably did.Havana is rendered almost tangible by director Carol Reed, a difficult feat to achieve.The rest of the cast shine too.Ernie Kovacs makes a human being out of his police-thug character.The script seems almost improvised,so fresh , pointed and witty.Compare this movie to the bulk of today's garbage,and prepare to feel very let-down by what you can see at your local Multiplex.This strange and sharp movie has re-affirmed my intention to spend some time in Havana.Buena Vista Social Club first whetted my curiosity.This movie is timeless and a great 2 hrs of entertainment/art.Enjoy! And look at Maureen O ' Hara, is she not quite splendid? !

Comedy and espionage make uneasy bedfellows in this Alec Guinness vehicle. Viewers should expect more of a morality play than a gleeful farce.

Guinness frequently played characters leading double lives. Here we see his character Wormold tripped up by one that may cost him his life. Wormold is a vacuum cleaner salesman in Havana who is approached by a fellow named Hawthorne (Noel Coward), alias Agent 59200, who wants Wormold to serve the British Secret Service "for $150 a month and expenses" as his subagent, 59200/5, collecting secret information regarding pre-Castro Cuba.

Encouragement for this comes not only indirectly from his love for his spendthrift daughter Milly (Jo Morrow) but more directly from his best friend, a castoff German doctor named Hasselbacker (Burl Ives), whose advice forms the heart of the message from screenwriter Graham Greene, adapting his own novel:

"That sort of information is always easy to give. If it is secret enough, you alone know it. All you need is a little imagination...As long as you invent, you do no harm. And they don't deserve the truth."

The joke, which is also the story's tragedy, is Wormold invents too well, convincing not only his London paymasters but the opposition of his fiction's veracity. Director Carol Reed famously made a spy film, "The Third Man," which blended tragedy and comedy in equal measure. This time, the comedy is more front-and-center, but efforts at creating a light tone conflict with the more serious message and various characters' fates. "Our Man In Havana" struggles at times with what kind of film it wants to be.

Perhaps Guinness's own difficulty with his part contributes to this confusion. He reportedly found Reed's instruction ("Don't act!") unhelpful. Ives is especially heavy for the film's most delicate part, making it oppressively sad; I wish that Reed's collaborator Orson Welles could have taken this part and invested it with some of his trademark cunning and craft.

Much of "Our Man In Havana" does work, and well. Oswald Morris's cinematography employs actual Havana locations to great effect, using unusually angled shots of the crumbling, sun-drenched city. You feel the tension of Wormold's world in every scene. Ernie Kovacs, a hero of early TV comedy, gets a lot out of a thanklessly straight part, the menacing but sensitive Segura, who lusts for Milly and explains his position with real sensitivity even though he never loses the cruelty of the character.

"Do you play checkers, Mr. Wormold?" he asks.

"Not very well," answers Wormold.

"In checkers, one must move more carefully than you have tonight."

Wormold isn't kidding; he only knows enough to lose. In a world this topsy-turvy, it proves the right approach.

Coward does much to serve the comedy, which would be almost entirely absent without him. His recruitment of Wormold, which is played like a seedy homosexual liaison in bars and men's rooms, is a riot when one knows not only Coward's own legendary proclivities but his friendship with that master of spy fiction, Ian Fleming. Some of the film is even set in Fleming's own Jamaican stomping grounds; one can imagine the creator of James Bond must have enjoyed this send-up of his work before it was a gleam in Albert Broccoli's eye.

"Our Man In Havana" plays with your mind and conscience for an hour and a half. It capably establishes a dark mood with cheerful undertones though it would have worked better vice versa, which was my takeaway from reading the novel. Anyway, it's intelligent, entertaining, and worth a look.

Filmed on the eve of Castro's revolution in Cuba, this movie is noteworthy simply as a timepiece to Havana in the late 50s and as one of the last great British comedies from the Ealing Studios era. Guinness is perfect as Wormold the bumbling vacuum cleaner salesman turned spy who's invented intelligence reports become only too real.

The casting of Burl Ives and Ernie Kovacs (as German doctor and Cuban police chief respectively) are inspired genius. The glaring exception is Jo Morrow as Wormold's daughter Millie who has been turned into an `American' for the movie and just comes off as annoying, thus undermining Wormolds motivation for his actions. Thus lies the films fundamental flaw. As a book, `Our Man in Havana' is believable. The movie adds an undercurrent of absurdity (aided by Noel Cowards foppish asides and Ralph Richardson's incompetent blundering), without drifting into full comedic genre, which works well but for a few moments of slapstick and the throwaway ending. But there is more than enough here to appreciate. Carol Reed recalls his Third Man/Orson Welles street shadows during the final chase sequence, the music beautifully evokes a vintage Cuba and the cinematic setting oozes the paranoia and drama of the script. As an adaptation of the novel it remains satisfying and is perhaps one of the better adaptations of a Greene novel. All told this movie stands repeated viewing and I urge anyone to track it down.

Our Man in Havana (1959)

A lovely movie, funny and trenchant in its own way, and a precursor to Dr. Strangelove with its wry criticism of the Cold War and government ineptness. In this case, it isn't the atom bomb at hand, but the spread of communism into the colonies--though, to be fair, I don't think the word communism ever comes up.

Anyway, the simple trick of a recently hired agent trying to save his minor reputation by inventing things right and left, and having the upper levels not see through it, is hilarious. Yes it's implausible as shown, but the idea isn't so far fetched, and Alec Guiness, the protagonist, pulls it off with droll, steady humor and cleverness.

Cuba, of course, was in upheaval, and the truth of the revolution in the hills became a dramatic revolution shortly before filming took place. For political reasons, a note declares at the start that the film is set before Castro's takeover, so the corruption shown would be attributed to the overthrown government. A terrific background is given at the TCM site here (www.tcm.com/thismonth/article/?cid=143178).

The writing, by Graham Greene, is first rate, and keeps the farce in perfect balance, even with some of the secondary actors (Burl Ives, Noel Coward) hamming it up slightly. The director is the legendary Carol Reed (The Third Man) and between Guiness and him (and Greene), the movie has a British tilt--indeed, it was filmed mostly in Havana with followup work in Shepparton Studios, London. It's completely fun, well filmed, and if at times frivolous, maybe that's just a tonic for the times, and the real life drama of 1959 Cuba.

This is one of Alec Guiness's best performances. The whole film is understated and takes into account the arid wit of the novel. Graham Greene usually buries humor in dark text that deals with one man's coming to grips with some moral or religious crisis. In Our Man in Havana Greene sets aside his usual level of introspection-made-manifest and dwells upon the absurdity of a small man with a small life that is drawn into circumstances that quite outdistance his usual worldly sphere of experience and expectation. A vacuum cleaner salesman is drawn into a vortex of espionage and intrigue. He has to create from whole cloth scenarios to satisfy his spy-master contacts. Due to his agility at fabrication he becomes regarded as an indispensable operative and ultimately draws upon a well of heretofore untapped personal resources in order to save the day. Guiness, alternating between bewilderment and resolve paints a lovable portrait of a man pinned between a bedrock sense of duty and a stomach-emptying realization of being completely out of his depth. It's a sin and a shame that this film is not available in any format in any country.