A critical sequence takes place early in "The Ipcress File", one of the best spy movies of the 1960's. Michael Caine as Harry Palmer, a sergeant in army intelligence, gets out of bed, goes to the kitchen and makes his morning cup of coffee. The camera follows him as he grinds the beans, spoons out the coffee, and finally adds boiling water. Later in the film he makes an omelette, expertly breaking the eggs with one hand while chatting to a female colleague.
These are important scenes in "The Ipcress File"; they establish the character's point of difference. Spy films proliferated in the 60's, inspired by the Cold War and the success of the James Bond films. Each new entry in the genre presented a bit of business that would help it stand out from the crowd. Bond may have had his Aston Martin and his debonair style but Harry Palmer had his horn-rimmed glasses and his domestic virtues.
Harry Palmer is good at what he does but invariably rubs his superiors the wrong way. He is posted to British Counter-Intelligence to track down Dr. Radcliffe, a scientist who has been kidnapped by an international group of criminals who will try to sell him to the highest bidder – East or West.
Palmer is under the command of Major Dalby played by Nigel Green, but finds his previous boss, the snobbish Colonel Ross, played by Guy Dolman, still hovering on the scene. Double agents and brainwashing were two of the favourite plot devices of movies from the period, and "The Ipcress File" ticks both items on the checklist.
When the missing scientist is returned, it is discovered that he has been brainwashed. The claims for the effectiveness of brainwashing in movies have become more preposterous over time. Although the techniques on view in "The Ipcress File" are not the most far-fetched, they are nonetheless the least convincing aspects of the film. They consist of a high-pitched noise and cheap disco effects projected onto the subject strapped to a chair inside a metal container.
Michael Caine plays Palmer with that same air of insolence that he brought to nearly all his roles in the first half of his career. The film also strips away any glamour espionage may have had. The operatives spend a great deal of time filling out forms – L101's and Motor Pool Requisitions. "Mostly it's just legwork", explains Jock, a colleague Palmer befriends played by Gordon Jackson.
A noticeable feature of the film is the camera work. After nearly 50 years, this appears as eccentric rather than chic. Many scenes are shot with the view obscured by what appears to be the nearest piece of furniture. Other scenes are shot at gravity defying angles. Although these effects now seem quaint and overly self-conscious, "The Ipcress File" is still a sharply told tale.
It seemed that no British spy movie of the period was complete without a John Barry score. Barry was very experimental during the 60's, and produced one brilliant score after another including this one for "The Ipcress File" with effective use of the cimbalom in the main theme.
Even if "The Ipcress File" doesn't qualify for classic status, Caine is still a good reason to watch this film, he gave it a unique edge back then that still makes it easy to watch today.
These are important scenes in "The Ipcress File"; they establish the character's point of difference. Spy films proliferated in the 60's, inspired by the Cold War and the success of the James Bond films. Each new entry in the genre presented a bit of business that would help it stand out from the crowd. Bond may have had his Aston Martin and his debonair style but Harry Palmer had his horn-rimmed glasses and his domestic virtues.
Harry Palmer is good at what he does but invariably rubs his superiors the wrong way. He is posted to British Counter-Intelligence to track down Dr. Radcliffe, a scientist who has been kidnapped by an international group of criminals who will try to sell him to the highest bidder – East or West.
Palmer is under the command of Major Dalby played by Nigel Green, but finds his previous boss, the snobbish Colonel Ross, played by Guy Dolman, still hovering on the scene. Double agents and brainwashing were two of the favourite plot devices of movies from the period, and "The Ipcress File" ticks both items on the checklist.
When the missing scientist is returned, it is discovered that he has been brainwashed. The claims for the effectiveness of brainwashing in movies have become more preposterous over time. Although the techniques on view in "The Ipcress File" are not the most far-fetched, they are nonetheless the least convincing aspects of the film. They consist of a high-pitched noise and cheap disco effects projected onto the subject strapped to a chair inside a metal container.
Michael Caine plays Palmer with that same air of insolence that he brought to nearly all his roles in the first half of his career. The film also strips away any glamour espionage may have had. The operatives spend a great deal of time filling out forms – L101's and Motor Pool Requisitions. "Mostly it's just legwork", explains Jock, a colleague Palmer befriends played by Gordon Jackson.
A noticeable feature of the film is the camera work. After nearly 50 years, this appears as eccentric rather than chic. Many scenes are shot with the view obscured by what appears to be the nearest piece of furniture. Other scenes are shot at gravity defying angles. Although these effects now seem quaint and overly self-conscious, "The Ipcress File" is still a sharply told tale.
It seemed that no British spy movie of the period was complete without a John Barry score. Barry was very experimental during the 60's, and produced one brilliant score after another including this one for "The Ipcress File" with effective use of the cimbalom in the main theme.
Even if "The Ipcress File" doesn't qualify for classic status, Caine is still a good reason to watch this film, he gave it a unique edge back then that still makes it easy to watch today.