Film Review: The Spy Who Came In from the Cold (1965)

When one thinks of the genre of spy fiction, the name that invariably comes to mind is John le Carré. This is not only due to the prolific number of best-selling novels he wrote during his long career but also because of the numerous feature films adapted from his works. The first of these adaptations was The Spy Who Came In from the Cold, a 1965 thriller directed by Martin Ritt. Based on le Carré’s eponymous 1963 novel, the film marked a significant departure from the glamorous, action-packed spy films of the era, instead offering a grim, morally ambiguous portrayal of Cold War espionage.

The novel, like much of le Carré’s early work, was deeply influenced by the realities of the Cold War, particularly the phenomenon of double agents. One such figure was Kim Philby, the infamous Soviet mole within MI6, whose betrayal ironically ended le Carré’s own career as a British intelligence operative in West Germany. This personal experience lent authenticity to le Carré’s writing, and The Spy Who Came In from the Cold reflects the author’s intimate understanding of the murky world of his former career.

The film’s plot begins in divided Berlin, where Alec Leamas (played by Richard Burton), the MI6 section chief in West Berlin, witnesses the death of one of his prime assets, a high-ranking member of the East German regime, during a failed attempt to defect to the West. This fiasco leads to Leamas being recalled to London, demoted to a desk job in the financial section, and descending into bitter alcoholism. However, his superior, Control (played by Cyril Cusack), has one final mission for him: to return “into the cold” and pose as a disgraced agent. The plan involves Leamas taking a low-paid job as a librarian, where he meets Nan Perry (played by Claire Bloom), a young idealistic member of the British Communist Party. After a drunken assault on a local grocer lands him in prison, Leamas is approached by members of a mysterious charity organisation, which is actually a front for the Stasi, the East German secret service (named as “Abteilung” in the film). They exploit his bitterness and financial struggles to lure him to the Netherlands, ostensibly to betray British assets. However, the Stasi’s true aim is much more ambitious, which leads to his being brought to East Germany. There he meets Fiedler (played by Oskar Werner), high ranking Stasi operative who interrogates Leamas hoping to confirm his suspicions that Hans-Dieter Mundt (Peter Van Eyck), the Stasi chief, is a double agent working for the British.

Released during a time when spy films were immensely popular, largely due to the success of the early James Bond franchise, The Spy Who Came In from the Cold stands in stark contrast to the escapist adventures of 007. Instead of exotic locations, glamorous women, and spectacular action sequences, Ritt’s film presents a dour, black-and-white arthouse drama shot entirely in the British Isles. The film’s pacing is deliberate, and its focus is on the unglamorous, bureaucratic nature of espionage, as well as the morally dubious choices that define it. This approach makes for a challenging viewing experience, particularly for audiences accustomed to the thrills of Bond films.

What sets The Spy Who Came In from the Cold apart from other spy films of the era is its refusal to present a clear moral alignment. Le Carré, drawing from his own experiences, portrays the Cold War as a conflict in which the West, despite its lofty ideals of peace, freedom, and democracy, is just as ruthless as its Communist adversaries. This theme is epitomised by the character of Nan Perry, an innocent idealist who pays the ultimate price for her beliefs. This moral ambiguity would become a hallmark of le Carré’s work and would influence not only subsequent adaptations of his novels but also the broader landscape of British spy fiction.

The film underscores this point through its characters, particularly the juxtaposition of Fiedler, a Jewish true believer in the Communist cause, and Mundt, a former Nazi who has seamlessly transitioned to serving the Soviet regime and, presumably, the West. This contrast is brought to life through sharp dialogue and the film’s overall tone, which is unrelentingly bleak. The ending, in particular, is both memorable and devastating, leaving no room for the kind of triumphant resolution typically found in spy films of the time.

Martin Ritt’s direction is solid, though modern audiences may find the first half of the film excessively slow. The pacing, however, serves to build tension, and the film is ultimately redeemed by its unexpected twist and the strong performances of its cast. Richard Burton, in particular, delivers a compelling portrayal of the world-weary Leamas, capturing the character’s bitterness, disillusionment, and reluctant sense of duty. Claire Bloom and Oskar Werner also shine in their respective roles, adding depth to the film’s exploration of idealism and betrayal.

Despite its unrelenting bleakness, The Spy Who Came In from the Cold was a commercial success, proving that audiences were willing to engage with a more nuanced and morally complex portrayal of espionage. The film’s success paved the way for further adaptations of le Carré’s novels, which continue to be made to this day.

RATING: 7/10 (+++)

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