INTRODUCTION
Thank you very much, Alicia (Kozma), for that kind introduction.
Let me begin by commending you and the IU Cinema team for your outstanding efforts in building on the legacy of the founding director of the Cinema, John Vickers, by further enhancing its reputation as one of the nation's premier university cinemas and for your dedication to continually advance its innovative programming.
I would also like to once again thank the faculty and staff whose gifts in 2017 generously endowed a fund to establish the McRobbie’s Choice Film Series, a series I continue to greatly enjoy curating each semester.
I am delighted to be here this evening to say a few words about the films that are part of this semester’s series, “Duplicity, Deception, and Detail: The Cinematic World of John le Carré,” and introduce the first film in the series, The Spy Who Came in from the Cold.
THE CAREER OF RENOWNED BRITISH AUTHOR JOHN LE CARRÉ
The renowned British author John le Carré is no doubt well known to many people here. That of course was his literary pseudonym and he was born David John Moore Cornwell in 1931 in Poole, Dorset, England.
Before becoming a full-time author, he worked for both MI5 and MI6, the British intelligence agencies, during the 1950s and 1960s. The former is roughly the British equivalent of the counter-terrorism part of the FBI, and the latter the equivalent of the CIA.
His experiences in the intelligence community profoundly influenced his writings, providing a realistic and often morally complex portrayal of the world of espionage. Columnist Simon Jenkins wrote in the Guardian that, as a former spy, le Carré “was able to penetrate the balance between personal ambition, loyalty to colleagues, and duty to principle that afflicts any career.”1
Le Carré’s work is characterized by its intricate plots, rich character development, and a deep sense of moral ambiguity. His novels not only entertained readers but also offered a critical look at the complexities of international relations and human nature and the ethical dilemmas faced by those in the intelligence community.
In my view, le Carré’s books are superb. They are an incredible evocation of the Cold War era and, to some extent, its aftermath. Many believe le Carré should have won the Nobel Prize for Literature. But it is claimed two things probably made that impossible—his books were unfashionable in the world of high literature as they were too popular and he was regarded as being a mere “genre writer”, and at an early stage, he apparently had his agent tell the Nobel Foundation that he would decline it if offered.
Le Carré wrote prolifically until his death on December 12, 2020, leaving behind a thought-provoking and enduring literary legacy.
DUPLICITY, DECEPTION, AND DETAIL: THE CINEMATIC WORLD OF JOHN LE CARRÉ
The three film adaptations that comprise this semester’s series each capture a unique moment in the world of espionage. Tonight’s film immerses us in the tense heart of the Cold War maybe at its bleakest, while the second film reflects the shifting dynamics as the Cold War wanes. The third brings us into the 21st century with a contemporary tale of intrigue but with familiar characters from the intelligence world.
Next week, the cinema will screen The Russia House, a 1990 film directed by Australian director Fred Schepisi. Based on le Carré’s 1989 novel, the film stars Sean Connery and Michelle Pfeiffer. It was the first major American motion picture to be shot on location in the Soviet Union during a brief period of openness before its final collapse in 1991. The screenplay, written by Tom Stoppard, captures the intricate details of le Carré’s story, which revolves around a British publisher who becomes embroiled in espionage. The film’s unique setting and strong performances make it a standout adaptation of le Carré’s work. It is, in my opinion, one of Sean Connery’s best movies. Michelle Pfeiffer received a Golden Globe nomination for Best Actress.
Two weeks from tonight, the cinema will screen The Constant Gardener, a 2005 film directed by Fernando Meirelles and shot on location in Kenya. This adaptation of le Carré’s 2001 novel stars Ralph Fiennes and Rachel Weisz. The film was both a critical and commercial success, earning four Academy Award nominations and winning the Oscar for Best Supporting Actress for Weisz. Roger Ebert called it “one of the year’s best films,” writing that “Its closing scenes are as cynical about international politics and commerce as I can imagine. I would like to believe they are an exaggeration,” he wrote, ”but I fear they are not.”2
The true enthusiast of le Carré may wonder why I omitted the well-received recent remake of Tinker, Tailor, Soldier, Spy in this series. I confess that I am in the minority who thought it was grossly inferior to the utterly brilliant 1979 BBC television version in which Alec Guinness gave a stunning performance as le Carré’s most famous character, George Smiley. It is to me, some of the finest television ever made and I rewatch it regularly.
THE SPY WHO CAME IN FROM THE COLD
Tonight’s film, The Spy Who Came in from the Cold, was released in 1965. It is based on le Carré’s 1963 novel of the same name, which was a breakthrough success and established him as a master of the spy genre.
Starring the legendary British actor Richard Burton, Claire Bloom, and Oskar Werner, the film tells the story of British MI6 agent Alec Leamas, who undertakes a dangerous mission during the Cold War.
Prior to the film's release, espionage had become depicted on the big screen as a glamorous, adventurous, almost comic-book profession most influentially through the early Bond films Dr. No, From Russia with Love, and Goldfinger. In contrast, The Spy Who Came in from the Cold was notable for its stark, realistic, and chilling portrayal of espionage.
The film was directed by Martin Ritt, who had recently faced a series of investigations regarding his ties to communism. Though the House Un-American Activities Committee did not directly name him, the negative publicity from various allegations ultimately led to the director being barred from working in the television industry.
Ritt boldly chose to shoot the entire film in black and white, even as vibrant colors were becoming the trend in 1960s fashion, design, and cinema. The black-and-white footage makes the departure from the colorful spy fiction dominating the screen at the time even more distinct.
Le Carré favored Trevor Howard for the role of Leamas, but he was rejected for not being enough of a box office draw. American actor Burt Lancaster was also considered but was rejected for being unable to pull off a convincing British accent. Richard Burton, the eventual choice of the producers, butted heads with director Martin Ritt during the production. The atmosphere on set was also tense from the presence of Burton's wife, Elizabeth Taylor, given Burton and Bloom’s romantic history. Burton also demanded that le Carré rewrite his dialogue on the set, though the effect of his changes was limited.
The film was a critical and commercial success, earning four BAFTA Awards, including Best British Film and Best Actor for Richard Burton. Burton’s performance also garnered him an Academy Award nomination for Best Actor. The film’s cinematography, by Oswald Morris, and its art direction were also highly praised, contributing to its enduring legacy as a classic of the spy genre.
The Spy Who Came in from the Cold and other film and television adaptations of John le Carré’s novels have not only brought his intricate and morally complex stories to a wider audience but have also set high standards for the spy genre in cinema. The films in this series, brought to life by exceptional filmmakers and actors, collectively showcase the depth and versatility of le Carré’s great novels.
Now, please enjoy The Spy Who Came in from the Cold.
SOURCE NOTES
- Simon Jenkins, “John le Carré never won the Booker – but then he preferred it out in the cold,” The Guardian, December 14, 2020, Web, Accessed August 25, 2024, URL: https://www.theguardian.com/commentisfree/2020/dec/14/john-le-carre-booker-cold-literary-fashion-post-war-british.
- Roger Ebert, “’Gardener’ digs for answers,” September 1, 2005, Web, Accessed August 18, 2024, URL: https://www.rogerebert.com/reviews/the-constant-gardener-2005.