Product details
|
The problems, meanwhile, emanate from the story line that brings these opposites together. Le Carré's novels are absorbing but typically internal odysseys that seldom offer the level of straightforward action or simple arcs of plot that the big screen thrives on. For The Russia House, written as glasnost eclipsed the cold war's overt rivalries, Le Carré means to measure how old adversaries must calibrate their battle to a more subtle, subdued match of wits. Barley himself becomes enmeshed in the mystery of the manuscript because British intelligence chooses to use him as cat's paw rather than become directly involved. Such subtlety may be a more realistic take on the spy games of the recent past but it makes for an often tedious, talky alternative to taut heroics that Connery codified in his most celebrated early espionage role.
If the suspense thus suffers, we're still left with an affecting love story, as well as some convincing sniping between British and US intelligence operatives, beautifully cast with James Fox, Roy Scheider and John Mahoney. Veteran playwright Tom Stoppard brings considerable style to the dialogue, without solving the problem of giving us more than those verbal exchanges to sustain dramatic interest. --Sam Sutherland
Tags Customers Associate with This Product(What's this?)Click on a tag to find related items, discussions, and people.
|
Sean Connery and Michelle Pfeiffer are Barley and Katya in the screen adaptation of John le Carré's novel of the same title. Barney is the world-weary and alcoholic London publisher to whom a book manuscript is smuggled by the Russian Katya, a woman Barley claims most emphatically not to know. Since the document is actually a survey of the status of Soviet defense weaponry, the British Secret Service, which intercepted the manuscript, views Barley's disclaimer as tepid at best. After intense questioning, and a call upon his loyalty to Queen and Empire, Barley is persuaded to return to Moscow to meet Katya, and determine her source of information. The latter turns out to be Dante, a well-respected physicist embedded in the Soviet defense establishment, who is known to British intelligence and is also Katya's boyfriend. Finally realizing the identity and potential value of the contact, MI6 approaches the CIA with a proposal for a continuing joint operation using Barley as the field agent. The moneyed Americans, of course, insist on playing the dominant mission controller, relegating the Brits to the role of interested observer.
A criticism of this film was that it's too boring. Not so, if one accepts and understands that le Carré's plots are not action oriented by design. Rather, they revolve around character evolution and relatively subtle confrontations that are more intellectual and psychological than physical. Le Carré's books are, admittedly, an acquired taste, and not for the shallow-minded. The filmed version of THE RUSSIA HOUSE is true to its literary roots. There are here no feats of 007-like derring-do confounding the evildoers on missions impossible. The storyline unfolds at a comparatively sedate, realistic pace.
The casting was perfect. Veterans Connery and Pfeiffer are magnificent together. The latter's portrayal of a Slavic damsel-in-distress is especially convincing. James Fox as the urbane, gentlemanly MI6 controller serves as the perfect foil to the abrasive, take-no-prisoners (stereotypically Yank) attitude of his CIA counterpart, played by Roy Scheider. Klaus Brandauer as Dante is appropriately enigmatic. The location cinematography is visually sumptuous.
After awhile, one gets weary of the steady diet of action spy thrillers that rampage across the silver screen. As a change of gait, THE RUSSIA HOUSE is supremely satisfying, especially the bittersweet ending. I loved it.
|
This product's forum
Active discussions in related forums
Search Customer Discussions
|
Related forums
|
|