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    The Spy Who Came in from the Cold (1965) [The Criterion Collection #452] [Re-UP]

    Posted By: Someonelse
    The Spy Who Came in from the Cold (1965) [The Criterion Collection #452] [Re-UP]

    The Spy Who Came in from the Cold (1965)
    2xDVD9 | ISO+MDS | NTSC 16:9 | 01:52:16 | 7,22 Gb + 7,57 Gb
    Audio: English AC3 2.0 @ 192 Kbps | Subtitles: English | Cover + Booklet
    Genre: Drama | The Criterion Collection #452

    Director: Martin Ritt
    Stars: Richard Burton, Oskar Werner, Claire Bloom

    John le Carré’s acclaimed best-selling novel about a cold-war spy on one final, dangerous mission is every bit as precise and ruthless on-screen in this adaptation directed by Martin Ritt. Richard Burton delivers one of his career-defining performances as Alec Leamas, whose hesitant but deeply felt relationship with a beautiful librarian (Claire Bloom) puts what he hopes will be his last assignment, in East Germany, in jeopardy. The Spy Who Came in from the Cold is a hard-edged and finally tragic thriller, suffused with the political and social consciousness that defined Ritt’s career.


    Gripping grit, with a perfect performance from Burton, before Liz and alcohol robbed him of his center.

    Spying is a grim, desperate business that is at once boring and exciting, with dirty work behind the scenes and hardly any derring-do. This superb adaptation of John Le Carre's novel artfully conveys that sense. Audiences must have preferred the more glamorous spies like James Bond because this film, which was one of the best ever made on the subject, failed to gather much interest at the box office. Produced and directed by Martin Ritt in Ireland and England, with some second-unit lensing in Europe, the film stars Richard Burton as a burnt-out case, a man who is looking forward to getting out of the spy game and retiring from British Intelligence. Just before he is to leave, Burton is called back to London and put on the carpet. It seems that several of his sub-agents have been caught by Van Eyck, who is Burton's counterpart on the East Berlin side.

    The Spy Who Came in from the Cold (1965) [The Criterion Collection #452] [Re-UP]

    Van Eyck is a former Nazi who has taken over as chief of operations for the Communists, and his handiwork is putting a crimp in the British operations. Since it is well known that Burton is tired of what he's doing, Burton's boss, Cusack, gives him his final assignment. He is to masquerade as a drunk who wants to defect to the East Germans. If it works and Burton gets inside the Communist operations, he can find out if there is a "mole" in their own organization as well as get the goods on what's happening inside the East German operation.

    The Spy Who Came in from the Cold (1965) [The Criterion Collection #452] [Re-UP]

    There are no gimmicks, no fast cars that turn into airplanes, no weapons that fire lasers, just a tense battle of wits shot in stark black and white. The title refers to the time when an outside spy has to "come in from the cold" and take a sedentary job as another spy's control or even some menial desk assignment until the mandatory age limit forces retirement. Only Graham Greene has come close to Le Carre in detailing the emotional drudgery of the espionage world.
    The Spy Who Came in from the Cold (1965) [The Criterion Collection #452] [Re-UP]

    This brilliant film features a stellar performance by Richard Burton and a sharp screenplay, an adaptation of a novel by John Le Carre. In contrast to the James Bond films, then at the early height of their popularity, The Spy Who Came In From the Cold takes a more realistic, cynical attitude toward espionage, portraying it as an unglamorous profession conducted by jaded individuals, more pawns than players in the game of political intrigue. That's not to say there isn't room here for a deviously twisted multi-layered plot and some sticky situations. It's a lot of fun watching Burton wind through all the deceptions.

    The Spy Who Came in from the Cold (1965) [The Criterion Collection #452] [Re-UP]

    The ending has stirred up a lot of discussion and conflicting opinions. It may disappoint some, but could it have ended any differently? At first, the actions of Alec Leamas (Burton's character) seem to lack logic. Upon reflection, however, perhaps these actions – and their consequences – are symbolic of what the film has been gearing up for all along.
    The Spy Who Came in from the Cold (1965) [The Criterion Collection #452] [Re-UP]

    Based on the bestselling novel The Spy Who Came in from the Cold by John Le Carre. It's a tense Cold War thriller of espionage and double-crosses that's brilliantly plotted and scripted by Paul Dehn and Guy Troper. Richard Burton gives one of his best ever brooding performances and the entire talented cast matches his first-rate performance. Nominated for a Best Actor Oscar, Burton lost to Lee Marvin in Cat Ballou. Along with Peter O'Toole, he was nominated for the most Best Actor awards (seven) without winning. Director Martin Ritt ("Hud"/Hombre"/ The Outrage") can't dish out his usual liberal message and is left only with a pessimistic message about the spy game on both sides of the curtain that won't be too pleasing to anybody from patriot to dissident. In a masterful semi-documentary style narrative, avoiding a James Bond look or any gimmickry, Ritt helms one of the better spy dramas. It's brilliantly shot in a noirish black and white monochrome by Oswald Morris.

    The Spy Who Came in from the Cold (1965) [The Criterion Collection #452] [Re-UP]

    Alec Leamas (Richard Burton) is a German speaking burnt-out British MI6 master secret agent stationed in Berlin who is offered a desk job when he's told by his boss at Control (Cyril Cusack) to “come in from the cold” and retire, but refuses that assignment and is offered instead one last dangerous one to defect to East Germany and get even with his counterpart in East Germany. Following the interception of several British sub-agents, Control stages an elaborate plan to convince the Communist spies in East Germany that an embittered, disillusioned, impoverished and alcoholic Alec is ready to defect. The man without any friends is hooked up by his agency with a job as a library assistant in London and meets the other assistant, the naive idealistic young member of the British Communist Party named Nan Perry (Claire Bloom), and becomes romantically involved with her. When Alec punches out a grocer over a tab he's imprisoned and when released Communist agents Ashe and Carlton offer him money to spill the beans on what he knows about Control if he takes a two-week trip to Holland. There he's forced to go behind the Iron Curtain in East Germany where he's grilled by the second in command, Fielder (Oskar Werner), a brilliant Jew dedicated to the party who is eager to frame his ex-Nazi boss, Alec's East German counterpart Hans-Dieter Mundt (Peter Van Eyck), as a double agent. Alec provides Fielder with enough information to show that Mundt was being paid off by the Brits. But at a secret tribunal Nan is called as a surprise witness, and Alec realizes he was duped by his agency and that the real purpose of the plot was to eliminate the nosy Fiedler and keep Mundt in power, who is really a double agent.

    The Spy Who Came in from the Cold (1965) [The Criterion Collection #452] [Re-UP]

    What is smashing is the film's lack of moralizing about what's right or wrong and any showing of sentimentality. It instead reveals the secret downbeat dark and seedy work of the agents, all seemingly banal sorts, and the film's shabby look filters down from the characters to the dreary landscapes–all of which lend a convincing air to the charged story.
    Dennis Schwartz: "Ozus' World Movie Reviews"
    The Spy Who Came in from the Cold (1965) [The Criterion Collection #452] [Re-UP]
    The Spy Who Came in from the Cold (1965) [The Criterion Collection #452] [Re-UP]

    SPECIAL EDITION DOUBLE-DISC SET:
    DISC ONE:
    - New, restored high-definition digital transfer
    - The Film
    - Theatrical trailer (1:28)

    DISC TWO:
    - Selected-scene commentary featuring director of photography Oswald Morris (39:02)
    - Interview with author John le Carré (39:22)
    - Interview with Richard Burton (33:37)
    - "The Secret Center: John le Carré" documentary (59:12)
    - "Audio conversation between director Martin Ritt and film historian Patrick McGilligan" featurette (39:02)
    - "Set designs" gallery
    - 16-page liner notes booklet featuring a new essay by critic Michael Sragow

    All Thanks goes to violator99.

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