1965 film by Martin Ritt, Paul Dehn, Guy Trosper The Spy Who Came in from the Cold (Q1197022) From Wikidata Jump to: navigation, search. Buy The Spy Who Came in From the Cold: Read 332 Movies & TV Reviews - Amazon.com Oscar nominee Richard Burton* is the burnt-out British agent who refuses to 'come in from the cold' to take a desk job -- but instead launches into the most dangerous. Synopsis, awards and cast information for The Spy Who Came in From the Cold (1965) - Martin Ritt on AllMovie - Based. Spy Who Came In from the Cold, The (1. The Film Perhaps the most surprising thing about The Spy Who Came in from the Cold is the deep concentration on character psychologies, rather than sweeping action spectacle or lengthy suspense montages – pretty much the hallmark of mid- sixties spy films. When paired against the James Bond or Harry Palmer films, Spy is quite clearly their antithesis; its focus isn’t on megalomaniacs itching to test a new death ray or conquer a country using private funds, but of two ideological worlds deeply invested in a discrete war using the same tactics of information gathering and extraction, except one party happens to be a bit more . It’s tribute to the filmmakers for crafting the film without clich. IMDb > The Spy Who Came in from the Cold (1965) Watch It at Amazon Buy it at Amazon More at IMDb Pro Discuss in Boards Update Data Quicklinks Top Links trailers and videos full cast and crew trivia official sites memorable quotes Overview main details. The Spy Who Came in from the Cold is a 1965 British Cold War spy film directed by Martin Ritt and starring Richard Burton, Claire Bloom, and Oskar Werner. Based on the 1963 novel of the same name by John le Carr Watch full movie The Spy Who Came in from the Cold, streaming The Spy Who Came in from the Cold film, streaming film The Spy Who Came in from the Cold, watch movie The Spy Who Came in from the Cold now, The Spy Who Came in from the Cold film, The. Fiedler (Oskar Werner). There’s no denying the two actors played well off each other, and director Martin Ritt knew part of the story’s power came from the topics the characters were avoiding to discuss due to mutual distrust, as well as shuttered emotions, so there’s added dramatic value in watching two great actors underplay their roles, and yet transmit a wealth of psychological sparring tactics through facial and dialogue subtleties. A high point is a simple scene where Fiedler interrogates Alec during a beach walk, and one can feel the game at play as Leamas lards a few truths in his confessions to ensure the deception remains active and successful. Outside of the situation, both characters could probably forge a friendship, but the only evolution during the film is of respect for the other’s tactical skills; when one of them loses the game, the victor has no sadness because it’s redundant, if not pointless in the miserable world of espionage. The romantic liaison between Alec and Nan begins out of loneliness and friendship, and their bond is solidified when she’s put in harm’s way in the final act during the trial where Fiedler attempts to prove his superior, Mundt (Peter van Eych), is a British double- agent. Most of the film was shot in desolate, dreary locations in Ireland and Holland, and Oswald Morris’ black & white cinematography – which is neither in a glossy nor in a sprawling . The cars are ugly, the clothes wrinkled, and it’s only when Alec and Fiedler take walks in natural surroundings does the film take on a restive tone. Sol Kaplan’s monothematic score is fairly sparse, and conveys emotion through a solo sax, whereas the rest of a small orchestra plays increasingly dissonant cues to show how deep Alec must descend in the East German spy world. Spy is also a dialogue heavy film, and the adaptation by Guy Trosper (Birdman of Alcatraz) and Paul Dehn (Goldfinger) is literate, dryly witty, and positions words in a dance- like rhythm – a suitable style for the spies who play games with their colleagues as well as rivals. There are some very powerful scenes that come from sharp dialogue and soft performances. When Alec slams Fiedler’s queries with insults on a hilltop, Burton is very reserved because Alec’s words are viciously sharp, and it’s a rare film where Burton isn’t indulging in verbal belches or screeching emotive delivery, or grandly theatrical hand gestures. Werner also builds his character – who doesn’t appear until the film’s midsection – by energizing his dialogue with lovely nuances. Bloom’s character is really more functional to the plot; she’s integral to the downfall of an East German spy, and she exists to open up and humanize Leamas in a way a male colleague or rival simply couldn’t. Spy is a rare gem because it’s based on a book that startled even real spies for its psychological authenticity. Director Martin Ritt and the scriptwriters convey the book’s physical dimensions through a bleak, realist style, and that’s a chief reason why the movie has withstood the test of time and provides a sharp, unadorned snapshot of the Cold War at play. Extras. Criterion’s DVD sports a gorgeous transfer of the film, and most surprisingly, a mix with true stereo music tracks, and mildly ambient sound effects. Although Criterion didn’t create a commentary track, they’ve included some very complimentary interview materials. The newest extra is a 2. Q& A with John le Carr. In the end, Burton’s quite excellent as a man slowly disintegrating on camera, but Ritt’s persistence eventually strained the actor- director relationship. A broader perspective of le Carr. More importantly, though, are le Carr. There’s also a particularly detailed focus on the character of George Smiley, in terms of the character’s DNA, as well as his appearance in Spy, Tinker, Tailor, Soldier, Spy (1. Smiley’s People (1. A Murder of Quality (1. Smiley also appeared under the name change Charlie Dobbs in The Deadly Affair (1. Interviewed subjects include le Carr. Director Randall Wright globe- trotted from England to Switzerland, Germany, and Russia, and the locations add some vivid background imagery to le Carr. Portions of the Q& A do drag on – a segment on contemporary films (circa 1. MTV, and such is more conversational that factually notable – but it’s a rare opportunity to hear words from one of the few directors who stood up to Burton because it was necessary for the film’s artistic success. Cinematographer Oswald Morris is heard over several scene extracts, and he address the film’s style, filming what was his last black & white movie, the locations, sets, multi- camera setups for the concluding courtroom sequence, and working with director Ritt. Morris also reflects on filming techniques for difficult actors (Burton and co- star Claire Bloom had had a relationship a few years before during the making of Tony Richardson’s 1. Criterion’s included an episode of the somewhat pretentiously- titled series Acting in the 6. Burton sitting down for a rare Q& A with critic Kenneth Tynan in 1. The editing in this half- hour chat is choppy – Burton is seen lighting and puffing cigarettes prior to replies shot in close- up where he’s no longer smoking – and once in a while there are cutaways to phony footage of Tynan listening wide- eyed and intently to Burton’s replies. Burton also seems too composed, as though he’s been fed the questions in advance and rehearsed his answers, but there are some very intriguing moments which not only show Burton in a relaxed pose, but going through a bit of candid self- examination. Tynan coaxes him into quoting a pair of passages from stage performances – including Hamlet, which he reprised in 1. Burton discusses his working relationship with Elizabeth Taylor, being uncomfortable when doing . More intriguing are the actor’s views on his fifties period under contract to Twentieth Century- Fox, the role of the director as a kind of self- glorified stage manager, and early work in films such as Look Back in Anger, as well as his early stage roles, and an affinity for Christopher Marlowe’s play Doctor Faustus, which he co- directed in a film version in 1. From both le Carr? Challenging star roles were becoming scarcer due to the change of popular genres and actors, and perhaps there were fewer directors willing to handle Burton and his entourage. Cast & Crew Post- Script. Spy is an interesting crossing point for some of the talent involved with the film. Actor Sam Wanamaker, another blacklisted artist, would later appear with Werner in Voyage of the Damned (1. SS St. Louis that carried Jewish refugees from Germany in search of sanctuary from the Nazi regime. Werner effectively retired from films thereafter. Claire Bloom had previously appeared in Carol Reed’s postwar drama The Man Between (1. East German gangsters, and who falls in love with a scoundrel before a tense escape into West Berlin. Richard Burton appeared in Franco Zeffirelli’s The Taming of the Shrew (1. Paul Dehn, and Dehn would follow Spy with The Deadly Affair (1. Carr. More amusingly, Paramount, who produced Spy, released The Spy with a Cold Nose that same year, as well as the middle Harry Palmer film, Funeral in Berlin – projects that could be read as an attempt by the studio to distance itself from a box office dud, and realist Cold War dramas as a whole.
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