Wonderful film, both deep and entertaining. I particularly loved Leamas, whose cynical character is so well-portrayed and psychologically profound. His entire character just radiates nihilism, yet finds purpose in the eternal waiting, the game one plays as a spy. This film made me look into the psyche of a spy like no film did before. Highly recommended work of art.
THE SPY WHO CAME IN FROM THE COLD is a very different espionage-thriller. It's also depicting spy differently. It isn't like James Bond who seems to know well about his mission & could have fun with some girls. The spy in this movie is a man who didn't have any choices. He didn't know what's gonna happen to him later. This movie succeed to describe the reality of espionage. Thanks to Martin Ritt's solid direction...
Una película de espionaje adulta y sobria que revela como las ideologías pueden convertir a los seres humanos en fichas descartables. Burton, y la mayoría del elenco, se marcan una actuación sobresaliente. La fotografía en blanco y negro es notable y elegante. El final es de una crueldad y amargura impresionantes.
Faithful to Le Carré's novel in both content and tone, the disgust at the hypocrisy/amoralism of cold war politics is brilliantly conveyed through the outstanding visual depiction of mid 60s London and Burton's electric and controlled performance. There are issues with pace and some of the writing but it remains one of the very best cold war thrillers with a distinctly sombre atmosphere and an acute sense of rage.
Certainly confussing and hard to follow for most parts. A Le Carré spy novel requires a certain pace and patience to develop and assimilate the complexities of its intricate and misty plot, something that film is not often prepared to offer kindly. On the other hand Richard Burton carries the intrigue and conspicuous drama effortlessly in a classy and sober performance, the highlight of this film.
Richard Burton is once again effortlessly excellent, this time playing a spy caught up in the usual mix of gamesmanship and treachery that fans know to expect from author John Le Carre. The support cast is full of great players, the tension builds nicely throughout, and the third act is impressively grim and cynical. Superb stuff.
So, the black & white photography is stunning, the performances are riveting, and the last 25 minutes are genuinely gripping. But so much of at least the first 70 minutes of the film felt like treading water, rather than careful character building. And so, as much as I was actually really looking forward to watching the film despite my lack of enthusiasm for the genre, I was rather disappointed.
Look at Burton's eyes - they don't move. The chap is a universe of charisma and tension confined to the skin of a man. A once on a generation talent and I think this might be one of his best, most nuanced performances. The story is a great spy thriller. The atmosphere is built from the opening scene and this has made me go watch Tinker, Tailor with Alec Guinness.
When remembering this is around the James Bond era it really exposes the concept of the Spy being the person in control. In fact they are the pawns, chewed up and spat out for the use of a political cause. Very nice movie, not overplayed, some nice shots and an interesting addition to a usually hammed up subject.
Unlike the ridiculous Tinker, Tailor film of 2011, this production still has the stink of the Cold War upon it and performances to suit. London is fantastically dank and Burton once again reprises his existential hatred of all things human. Why? "So the moronic masses can sleep safely in their flea-bitten beds".