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Harry Palmer
(Michael Caine) is a secret agent in 1960s London. His criminal
past makes him a doubtful candidate for such a career, but
the ongoing cold war must have thinned the pool of qualified
candidates. His skeptical boss gives him a new assignment.
Scientists have been disappearing left and right. They eventually
reappear, but their minds have been wiped clean of scientific
knowledge, making them useless.
Comparisons
between Harry Palmer and James Bond are inevitable. The most
obvious similarities can be discovered by looking at the credits.
The producer, editor, and composer worked on both The Ipcress
File and several of the early Bond films. The Harry Palmer
character is more down to earth and vulnerable than James
Bond, so it is easier for blokes like myself to identify with
him. The story is also more conventional, without all the
gadgets and outlandish elements that characterize Bond pics.
Not that I don't like the Bond films, but the point is that
The Ipcress File definitely stands on its own two legs instead
of trying to be a cheap imitation of Bond. The Bond films
are of a different world, while Harry Palmer is someone who
I imagine an ex-spy would write about if he wanted to dramatize
a true story.
The camera
placement was all over the place. While this might sound distracting,
I was so engrossed in the story during my first viewing that
I did not even notice all the strange angles and outlandish
perspectives. The 2.35:1 framing makes this film eye candy
for anyone who enjoys a lavish visual experience.
The ending
leaves a lot to be desired. Without giving too much away,
the term "Ipcress File" is a reference to brainwashing mumbo
jumbo. If there is one thing I have learned about movies over
the years, it is that brainwashing mumbo jumbo should never
be used as the payoff of a movie. Even with this detriment
I still thought the movie was very entertaining and well worth
my time.
Video: How Does The Disc Look?
As with
many films from this period, the color is lacking, most likely
due to fading rather than a stylistic choice to only show
dull colors. There is also a slight graininess indicative
of a worn source. But all in all the image is very clean without
distracting blemishes. Some jagged edges on the chrome of
a car early on in the film caught my attention, but later
car appearances had no such problem. Black level is strong,
but the image is a bit soft despite 16x9 enhancement. Despite
these aforementioned negatives, I am sure most of you will
still be satisfied with the picture.
Audio: How Does the Disc Sound?
The mono
sound is adequate. The John Barry score is in keeping with
his Bond themes, and you might find yourself humming it after
the movie is over. The sound is somewhat thin without sounding
harsh. Bass is in short supply, but it is not really needed.
The thick British accents occasionally make the dialogue difficult
to understand, and the disc's lack of subtitles or captioning
do not help matters.
Supplements: What Goodies Are There? From minute
one of the screen-specific audio commentary track by
the film's director Sidney J. Furie and editor Peter Hunt
(who would later direct the Bond film On Her Majesty's Secret
Service) it is clear that the making of The Ipcress File was
more interesting than one would think. Furie did not see eye
to eye with producer Harry Saltzman. The director's unconventional
style did not set well at all with Saltzman, who seemingly
did not appreciate the originality or distinctiveness Furie
was bringing to the table. Saltzman's preference for bland
direction is readily apparent by looking at the Bond films
he produced. There are many comments made by Furie about Saltzman,
but the most enlightening is when Furie says he "probably
told [Saltzman] to go fuck himself." Furie should try
to be more forthcoming, don't you think?
The theatrical
trailer is letterboxed at the correct ratio and is in
surprisingly good condition. It is misleading, though, since
it portrays the film as dominated by action, which it most
certainly is not. The still gallery is nicely done,
although it is not something you look at more than once.
Not to be
forgotten are the several minutes of John Barry's score that
play during a couple of the menu screens and during the still
gallery. It probably is not the entire score, but it is a
good sampling for those that enjoy the work of Barry.
Once again,
however, Anchor Bay has failed to provide any subtitle options,
or even English Closed Captioning. Tsk tsk!
Parting Thoughts
Bond and
Michael Caine fans should invest in this stylish spy caper.
Anchor Bay has done another solid job on this disc, with an
acceptable image and entertaining supplements.
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