L'Espion

This is a very poor film but a very interesting story. Montgomery Clift looks worn and torn in this intelligent thriller that was to be his last film at only 45. Hardy Kruger makes an equally interesting character but more convincing for his vitality. They both find themselves pawns in a political game, both are involuntarily recruited, and they both have some difficulty winding their way out of it. Towards the end of the film it gets finally exciting like a real thriller, but you have to wait long for it. Fortunately a beautiful young lady also gets involved, and she is let alone by the bullies.

The main asset of the film is actually the delightful music by Serge Gainsbourg, which every time it tunes in gives some relief to a rather bleak and sordid story. It is in character very much like "Funeral in Berlin" of almost the same year but more sophisticated and interesting, while the Harry Palmer case is much more attractive as a film. Much of the flaws of the film are due to very poor direction - the directior has difficulties in bringing his actors to life. You must not be that formal and stiff, callous and expressionless in a film that involves great nervous strain, a love affair, brainwash ordeals and an escape for your life. Although the story is good and of great interest, the director fails to bring it sufficiently alive on screen to make it engaging.

This movie is one of those that you never heard of, but you should have. It pulls you in through excellent direction and authentic dialect and location shooting. This movie could very well be a documentary of a real cold war scenario. Those who are interested in espionage and intrigue should enjoy this movie. Get the popcorn ready and sit back for the duration.

The Defector is an exciting Cold War film. It reminds me of Gregory Peck's The Chairman. Unfortunately this film is out of print. It seems that any films that deal with the Cold War are curiously going out of print or disappearing. If you get a chance see The Defector.

I really enjoyed this gem. I gave it a go despite the mixed reviews, in part because I was interested in Clift's performance. I'm glad I did. I've reached a certain point in life: I cannot finish watching movies I feel are mediocre, and even those movies I decide to watch often put me to sleep. This movie is well beyond mediocre, and I was wide awake for all of it.

The Defector has the feel of other cold-war spy flicks of the era: dry, dark, and pessimistic (words that also describe Clift's performance). It's filmed in color but feels as though it should have been b/w: gray is better suited to these movies. Of course, there are touches of warmth and beauty, including a love affair and the self-sacrifice of good people to a higher cause. I thought the ending interesting: I won't give it away but keep an eye out for what I believe to be a telling glance between Roddy McDowell and another man. I almost missed it....

Montgomery Clift was entering the final months of his life when he shot this film and it's kind of depressing to see how fragile he looks. In medium shots he doesn't look too bad, but when the camera gets in close you can see the gauntness, the way the skin looks parchment-thin across his cheeks. His fingers are orange from nicotine and, even without knowing that he was trying to use this film as an audition for the Brando role in Reflections in a Golden Eye, you can sense a trace of desperation in his eyes. His career was hanging by a thread and he knew it.

The film tells a dour, jaundiced cold war espionage tale in a way that was quite fashionable in its day. It does well in capturing the austere mood of a communist bloc country and the location photography is interesting, but the story is very slow and there really isn't much to it until the final couple of reels. The scene which encapsulates the entire film consists of Clift and Hardy Kruger talking at a table and Clift's contribution to the conversation is mostly to repeatedly ask for his passport. The contrast (and conflict) of their respective countries' ideologies could (and has) make for an interesting subtext for a film, but its treatment is too dour here. There are nice touches, and an expectation on the part of the filmmakers of a degree of attention and intelligence on the part of their audience, but it never really succeeds in its objectives.