The Ipcress File (1965)

*. Success leads to imitation and parody. In the case of the Cold War spy story in the wake of Bondmania though there was an alternative path, which was correction. Why not make espionage less glamorous, more realistic, grubby, even mundane? Why not add in some darkness and moral ambiguity? Thus was born Bond redux. That Harry Saltzman, who produced the early Bond films, would also produce The Ipcress File was perfectly apt. He would profit from both the disease and its cure.
*. Enter Len Deighton and his tetralogy of spy novels, three of which were made into movies with Michael Caine as the British spy Harry Palmer (a nom de scène; in the books he’s unnamed).
*. I can’t remember who it was that said bad books make good movies, but when considering the spy genre it does have the ring of truth. The thing is, Ian Fleming was a terrible writer. Deighton is much better: funny, clever, intelligent, and even at times a bit adventurous. He uses words like “azoic” and “horrisonous” just for kicks. I’d rather go back and read him than all but one or two of the Bond novels any day. But, for better or for worse, Bond became the franchise hero while Deighton’s protagonist is largely unknown. After a run of successful novels (four) and movies (three) in the 1960s Palmer made one more appearance in the mid ’70s (Spy Story) and a couple of TV movies (not written by Deighton) in the mid ’90s.

*. I think I know what some of the problem was. Deighton wasn’t that great at movie writing. The action scenes in his books don’t play like movie scenarios, and indeed at times they can be hard to follow. The film version of The Ipcress File is a very free adaptation of the book, getting rid of all of the stuff in the South Pacific where the Americans are testing a neutron bomb. Perhaps that seemed too Bondish. What they’ve added, however, are lots of great movie touches. That opening scene of the kidnapping where the different man appears in the train carriage is totally new. There’s nothing like it in the book.
*. Alas, the one thing they couldn’t really change, because it’s so central it gives us the title, is the brainwashing stuff. Too bad. I was trying to think of movies that have done a good job dealing with brainwashing or hypnosis. Of course there’s the tour de force of The Manchurian Candidate, but aside from that I couldn’t come up with anything. I think because all of the action takes place in someone’s head and it’s almost impossible to present this credibly. In this film they take the approach that would go on to become very familiar — the man strapped into a chair while lights and pictures play all around him, a la The Sorcerers, A Clockwork Orange, The Parallax View (there seems to have been some anxiety underlying all this about what television was doing to us) — but even with Michael Caine doing his best, I still wasn’t buying any of it.

*. Michael Caine has been with us for so long, and he’s so familiar, not least for being in so many crumby parts, that it’s easy to forget how good he can be. He’s in top form here as the almost-too-smart-for-his-own-good Palmer. And he’s backed up with some capable supporting players too. Nigel Green is particularly well cast as the eccentric Dalby, complete with Imperial moustache, while Guy Doleman fits the bill as the dour Ross.

*. The atmosphere is a wonderful mix of a conservative (brollies and bowlers) but low-rent London that seems far from swinging. Indeed, it’s a city that’s nearly indistinguishable from the Berlin of next year’s The Quiller Memorandum. Then it’s shaken up with trendy direction from Sidney J. Furie. The compositions are all weird angles (high and low), Dutch tilts, and foregrounds obstructing half or more of the frame. If you’re going to discover a body, why not reveal it by shooting down through a light fixture? Or hide half of Dalby’s face behind a furious red lampshade? This is nutty stuff, but it’s quite a lot of fun. They don’t make movies like this anymore.

*. Caine says the studio wanted the scene of Palmer cooking to be cut because it made him look like a “fag” (their word). In fact Deighton, who wrote two books on cookery as well as a regular newspaper “cookstrip” (recipes with illustrations), quite enjoyed cooking. And those are his hands seen in close-up doing the meal prep. I wonder if Caine knew how to cook. Apparently he didn’t know how to drive.
*. Fun stuff, but it winds up on a low note. There isn’t much of a payoff at all, and since they’ve already revealed what’s going on there’s no real suspense. Up until the final act though it’s good work. Not as entertaining as one of the early Bond vehicles, but fine in its own way.

10 thoughts on “The Ipcress File (1965)

  1. tensecondsfromnow

    Furie’s search for silly camera angles eventually ruined his direction, but not too badly indulged here. Nice short hair from Caine indicating a good performance. Nice to hear about Deighton’s language, not familiar with either of these words!

    1. Alex Good

      I like it when an author slips in a word I don’t know every now and then (if he does it too much I think he’s showing off).

      Would a bald Caine indicate a career performance?

      1. tensecondsfromnow

        It’s not clear if Caine’s hair causes the good or bad acting, or is just a side effect. You’d have to match 100 hairstyles to 100 performances, and grade them in terms of length, colour, curliness, it’s a lifetime’s work for a thesis student….

    1. Alex Good

      I guess this was before ambulances had to become tanks capable of blasting through heavy traffic and carrying all the equipment they need. Weren’t there a lot of dinky cars in England at the time? I only visited once in the mid-’70s and I remember being struck by how tiny the cars were. My friends who travel more say it’s still a noticeable difference on the roads.

      1. fragglerocking

        Yes our cars do seem more dinky than the US, though we have a plethora of gas guzzling SUV’s driven by yummy Mummys, usually with one kid in them. I myself have the dinkiest car available, a Fiat 500 😀

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