La lettre du Kremlin

I saw the original release (uncut) and was not disturbed by George Sanders in drag. It seems to me that this one point raised by almost all of the movie anthologies indicates that none have seen the film but only copied one person's comment. The story is clever espionage, keeps you guessing, and keeps your interest. I do not want to say anything else about the story for it will spoil it for those who have not seen it. The performances are all strong and the graphic portrayal may have been too much for the critics. If you want to sense the power and fear of espionage, this is the film to see. There is no holding back. Even the great one, "The Spy Who Came in From the Cold", does not push the cruelty of the spy game as far as this one does. I wish we could get some interest going so that this film will be released on video. I would like to revisit this unique spy film.

The Museum of Modern Art in NYC is having a "Huston family" festival and they showed this film last night. Big crowd to see this film that was a flop when originally released. I had been wanting to see it for some time out of curiosity: George Sanders appears in drag as a San Francisco gay bar pianist, and Barbara Parkins has a role, three years after "Valley of the Dolls." (I love Parkins not just for the "Valley" connection. I think she's talented and beautiful and I love her voice.) I thoroughly enjoyed the movie. So much better than the stuff Hollywood cranks out today, although sometimes just as difficult to follow. There's lots of verbal exposition in the movie, and at one point I think it's even implied that the Orson Welles character is a homosexual.

The sexual politics of the film are outdated, perhaps. But, then, the political correctness of today is even more numbing.

The movie pops up on the Fox Movie Channel occasionally. Be sure to see it in letterbox.

By the way, Pauline Kael hated the movie. Funny, bitchy review in her book "Deeper Into Movies." But just because Pauline hated it, doesn't mean you will. She complains about the sound, but I didn't notice a problem. She also complains about the look of the film, but I think the verite style was intentional.

One tiny thing I thought I noticed, the old lady who is the mother of the Russian thief Barbara Parkins lives with seems to have too nice a manicure! I could be wrong. The moment flew by.

When this film was released it used what I thought was a new technique to convey a foreign language spoken by the characters. The film is part suspense, part thriller. Far better than any James Bond flick and by far better than the Spy Who Came in from the Cold. It keeps moving with twists to keep the viewer on his/her seat edge wondering who is who and who can be trusted. Why this hasn't been released on video is a complete mystery to me. All this time I've been thinking that every print must have been destroyed in one of the many studio archive fires a few years back.

Just how seriously John Huston took any of this is hard to say but "The Kremlin Letter" is still one of his most entertaining pictures. A shaggy dog story with a plot that is virtually impossible to follow, it's possibly his daftest picture since "Beat the Devil". An all-star cast play various spies, both Russian and American, and they would all seem to be after the letter of the title; that much is clear...or is it! Huston himself wrote it, together with Gladys Hill, from a novel by Noel Behn though like "Beat the Devil" you feel as if they're making it up as they go along, which is all part of the fairly nasty fun. The superb cast act with the straightest of faces, (there's a great cameo from Orson Welles while Max Von Sydow and Bibi Andersson as usual walk away with it). Sold at the time as a serious antidote to the Bond movies the film wasn't a success but is now seen as a cult classic.

Loosely adapted from the novel by Noel Behn, based upon his experiences in the Army Counter-Intelligence Corps, this is a complex, some might say convoluted, chilling and low key espionage drama which fared badly at the box office due no doubt to its being far too grim for those who had spent the 1960's lapping up James Bond movies and their numerous spin-offs.

Despite a few individually powerful scenes and excellent performances all round, notably those of Richard Boone, Orson Welles, Max von Sydow and Bibi Andersson, the film lacks, for this viewer at any rate, the elusive, magic alchemy by which everything comes together.

Director John Huston was drawn to the story by its depravity, finding it 'shocking, immoral, vicious and cynical.' He was absolutely right of course but he failed to realise that there is only so much of that sort of thing the average filmgoer can take in the space of two hours.