Classic Movies on Sky Arts - Series 3 Episode 1 - The Story of The Ipcress File

 

A new series of Classic Movies introduced and written by Ian Nathan. With the presenters from the previous series. Ian is at the Royal Albert Hall (that features in the film) to tell us that 1965's The Ipcress File is "one of the greatest spy movies ever made". Michael Caine, in his breakthrough role, is Harry Palmer. The producer Harry Saltzman like him in Zulu . Other actors had been considered but as Neil Norman says, he is "so appropriate for the role".

But this was the "perfect antidote to Bond". The producer and director Sidney J Furie went out of their way to make everything different. It is shot in near monochrome that Neil Norman says is "gritty". The book on which the film is based was published in 1952. Written by Len Deighton who was hired to write the first draft of the screenplay. We hear all about his background, going to school at Marylebone Grammar. Ian Nathan tells us he based the main character on a "dull kid at school" called ... Harry Palmer. Deighton gave him this anti-authoritarian personality, just out of military prison. A type of personality straight out of American gumshoes with  Stephen Armstrong describing his "no respect for authority". But he looks after himself with Christian Newland describing him "making his own elaborate meal".

Neil Norman explains the plot that involves the "classic double agent". It's about the abduction of scientists with Stephen Armstrong saying it's about "traitors, brainwashing and spies". Ian talks about all the "mistrust in the (secret) service". Palmer's boss is Major Dolby plated by Nigel Green.  Shot in 1964, the city locations are all so familiar to me, living in West London at the exact same time in the sixties: Shepherd's Bush, Kensington Gore but not the city centre. We hear about how the film was made, Ken Adam's sets and the cinematography. A punch up in a telephone box is filmed through the window. Neil Norman says that this is "almost avant-garde film making" with the director making all these inventive shots. 

Neil Norman talks about the final act, "when a spy gets on a train there is always danger". The brainwashing clip is still disturbing today. The music is by John Barry, the score is deliberately almost off key. Christina says this gave the film it's "very distinct sound". Stephen Armstrong summed up the film as "a piece of history" with Ian adding that it was "masterful". I saw it at least twice when it was released in 1965. I need to see it again.