• This is the third film in the Harry Palmer character series (played by Michael Caine) starting with The Ipcress File in 1965, then Funeral in Berlin in 1966. From the novels of Len Deighton and often compared with the James Bond series. This is Ken Russell’s second film as director and although he reported didn’t want to do it—he infuses many of the scenes and set pieces with high visual panache

I’m thrilled I found this image- it is just a little throwaway transition scene in the film– but anyone with two functioning eyes can see Ken Russell’s talent for imagery

  • Caine’s trademark glasses worked into the creative opening credit titles
  • Shot in Finland in the winter- lots of fur coats, hats, snowshoes and ice
  • Gorgeous greens in the Markee hotel
  • During the opening they show Caine’s Palmer’s apartment—he’s a private eye and the camera lingers on the picture of Bogart and this does play like a detective film for the first hour
  • Russell puts many of the scenes in front of murals and shoots dialogue from a wide shot- very nicely done

Russell puts many of the scenes in front of murals and shoots dialogue from a wide shot- very nicely done

  • The film is heavily flawed, and the narrative doesn’t come off like the first two films (the first one is a masterpiece)—it gets a little loose and slapsticky with the action and Karl Malden’s character’s cousin in the film
  • Malden proves quickly again he can act with anybody (this is the guy who went up against Brando in Streetcar and On the Waterfront). Ed Begley doesn’t come off quite as well in a juicy role. He plays a radical right-wing Texan terrorist. One of Russell’s best scenes is when he puts a fire right behind Begley and matches the energy of the political rant with his camera in a dizzying montage

One of Russell’s best scenes is when he puts a fire right behind Begley and matches the energy of the political rant with his camera in a dizzying montage

  • A nice tracking shot left to right as the characters arrive In Texas at 63 minutes
  • It is most reminiscent of Thunderball in the Bond series—big and fun—not overly intelligent with a big caricature villain and a massive set piece evil headquarters

It is most reminiscent of Thunderball in the Bond series—big and fun—not overly intelligent with a big caricature villain and a massive set piece evil headquarters (here)

  • The Nazi imagery in the finale- powerful

The Nazi imagery in the finale- powerful — this is Ken Russell’s influence

  • Recommend but not near the top 10 of 1967- closer to the fringe