The Spy Who Came in from the Cold (1966)
Country: GB
Technical: bw 112m
Director: Martin Ritt
Cast: Richard Burton, Claire Bloom, Oskar Werner, Peter van Eyck, Sam Wanamaker, Cyril Cusack
Synopsis:
A British spy is set up to be recruited as a defector, but the elaborate scheme to incriminate his opposite number backfires when he forms a tentative relationship with a young librarian.
Review:
First-rate espionage drama, an antidote to James Bond and a natural extension of the kitchen sink New Wave in Britain, encompassing all the bitterness of the 1960s with none of the flashiness. Burton was rarely better on screen than this, and Ritt perfectly captures Le Carré's looking glass world, greatly helped by Oswald Morris's black and white cinematography and Sol Kaplan's plangent score.
Country: GB
Technical: bw 112m
Director: Martin Ritt
Cast: Richard Burton, Claire Bloom, Oskar Werner, Peter van Eyck, Sam Wanamaker, Cyril Cusack
Synopsis:
A British spy is set up to be recruited as a defector, but the elaborate scheme to incriminate his opposite number backfires when he forms a tentative relationship with a young librarian.
Review:
First-rate espionage drama, an antidote to James Bond and a natural extension of the kitchen sink New Wave in Britain, encompassing all the bitterness of the 1960s with none of the flashiness. Burton was rarely better on screen than this, and Ritt perfectly captures Le Carré's looking glass world, greatly helped by Oswald Morris's black and white cinematography and Sol Kaplan's plangent score.
Country: GB
Technical: bw 112m
Director: Martin Ritt
Cast: Richard Burton, Claire Bloom, Oskar Werner, Peter van Eyck, Sam Wanamaker, Cyril Cusack
Synopsis:
A British spy is set up to be recruited as a defector, but the elaborate scheme to incriminate his opposite number backfires when he forms a tentative relationship with a young librarian.
Review:
First-rate espionage drama, an antidote to James Bond and a natural extension of the kitchen sink New Wave in Britain, encompassing all the bitterness of the 1960s with none of the flashiness. Burton was rarely better on screen than this, and Ritt perfectly captures Le Carré's looking glass world, greatly helped by Oswald Morris's black and white cinematography and Sol Kaplan's plangent score.