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Ipcress File, The
Quick Links [video] [audio] [extras] [overall] Sardonic spy Harry Palmer (Michael Caine) finds himself immersed in a scheme to brain-wash top scientists… Based on Len Deighton’s novel, The Ipcress File is best viewed as an anti-James Bond spy thriller. This is especially ironic when one considers that it was produced by Harry Saltzman, one of the producers behind the 007 cash cow – indeed, it was Saltzman who really pushed for the Bond films in the first place, and the success of Ipcress saw to it that he would have two successful spy thrillers franchises on his hands. Alas, while it was pretty much all over the map for 007 in terms of quality, it was pretty much downhill for Palmer after this initial installment, with neither Funeral in Berlin (directed by Goldfinger’s Guy Hamilton) or The Billion Dollar Brain (an atypical outing for Ken Russell, more at home in less formulaic surroundings) recapturing its pleasing mixture of humor, suspense, gritty realism and political paranoia. Director Sidney J. Furie – already a veteran of low budget British horrors like Dr. Blood’s Coffin and later responsible for such fiascos as Superman IV: The Quest for Peace – does his damndest to avoid the clichés epitomized by the Bond pictures. The one fight sequence, for example, is photographed in a clinical, artsy manner through a telephone call box and the depiction of Palmer couldn’t be further removed from 007. A sequence with Palmer visiting what initially appears to be a Q type figure turns out to be another example of legal red tape and bureaucracy that dogs him throughout the film – far from spending his time wooing sexy double agents and fighting criminal masterminds, Palmer spends much of his time sitting behind a desk filling out triplicate copies of mind-numbing paperwork. If Bond represents the fantasy version of what it is like to be a spy, then Palmer represents the far less attractive reality. Furie is to be commended for sticking to his guns with this approach, resisting the urge to go over the top and utilizing a visual style that – though occasionally appearing somewhat affected – maintains a quality of being off-kilter. Much of the film is photographed at canted angles, favoring extreme low and high angle shots that dwarf Palmer in his surroundings or in relation to his superiors in the government food chain. The impression is of a man who, for all his cocky self-confidence, is very much at the mercy of forces he cannot control. The casting is right on the money. Michael Caine had already made an impression with his supporting role in Zulu, but it was the double punch of this film and Alfie that turned him into an international superstar. Caine epitomized the kind of working class performer who gained popularity in England during the 1960s, being a stark contrast to the upper crust theatrical types that were embraced before him, and this role enabled him to really show off his personality. He plays Palmer (interestingly, the character has no name in the book; Caine and Saltzman christened the character with the dullest name they could think of, highlighting that this was not meant to be a glamorous man of mystery like Bond) as a sardonic type with a massive problem with authority figures. His softer side comes through at certain points, as well, and he is often shown to be vulnerable and capable of making mistakes. The entire concept is to shown him as a believable human being, and Caine is to be commended for pulling this off with such apparent ease. The supporting cast is dotted with familiar faces. Nigel Green (Countess Dracula, The Skull), an imposing character actor who had just co-starred with Caine in Zulu, steals every scene he is in as Caine’s officious superior. Green, one of the most legitimately powerful screen presences in the history of British cinema, manages to find the sly humor in his character without losing sight of the more complex facets of the role. It’s a part that a lesser actor would have walked through, but Green makes it his own. Guy Doleman (The Deadly Bees, Thunderball) is similarly impressive as another of Palmer’s stuffy superiors; like Green, he is wonderfully effective playing the officious aspect while managing to incorporate elements of dry humor. The interplay between these three actors is an absolute joy to watch, enlivening sections of the narrative that could have become dull and repetitive in the hands of lesser performers. Stylishly shot in Techniscope by Otto Heller (Peeping Tom) and graced with an outstanding score by John Barry (best known for his 007 soundtracks), The Ipcress File is every bit as stylish as the best of the Bond films without succumbing to cartoonish excess. The production design by Ken Adam (responsible for some of the most elaborate Bond sets, he also has such production design marvels as Dr. Strangelove to his credit) is suitably realistic throughout – even the settings that could have leant themselves to colorful exaggeration are downplayed in order to keep with the realistic approach. Coupled with Furie’s unusual approach to the imagery, the first rate technical credits make for a visually arresting picture. A first rate gritty spy picture, The Ipcress File is the perfect antidote for spy thriller fans who feel the Bond films get too over the top for their own good.
Anchor Bay's 2-disc special edition of The Ipcress File is most welcome. Those who’ve only seen the panned and scanned TV prints are in for a real treat. Furie and Heller make excellent use of the 2.35 format, shooting through objects in such a way as to emphasize the voyeuristic nature of the material, and this presentation is essential in restoring the film to its original aspect ratio. The 2.35/16x9 (???) transfer looks nice, though the material is a little rough and grainy in spots; the latter is no doubt due to the cheap Techniscope process, but the presence of some nicks and scratches on the material would indicate that the source print wasn’t entirely pristine. Detail is reasonably sharp, however, and colors seem appropriately rendered.
The mono English soundtrack is clean and clear – dialogue is easy to discern, and Barry’s score has ample presence.Extras are spread over the two discs. Disc one includes a commentary with director Furie and editor Peter Hunt (who later directed the best of the Bond films, One Her Majesty’s Secret Service) and a theatrical trailer. The commentary is entertaining and informative – Furie recalls his rocky relationship with Salztman (who did not invite him back to direct the sequels) and various anecdotes about the cast, while the elderly Hunt shows great recall about all manner of details about the production, sometimes reminding the director of details he had forgotten. The track tends to amble a bit, but there isn’t much dead space and the stories are interesting to listen to. Disc two includes new interviews with Caine and Ken Adam, a vintage interview with Caine circa 1969, a comedy sketch spoofing the film, and the usual talent bios and still gallery. Both Caine interviews are fun to watch, with the venerable actor proving to be an affable and interesting subject, and Adam is every bit as compelling an interviewee. The sketch is a nice addition, too.A classic of its kind, The Ipcress File gets a fine release from Anchor Bay.
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