Bardlerx Strictly average movie

BroadcastChic Excellent, a Must See

FrogGlace In other words,this film is a surreal ride.

SeeQuant Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

ma-cortes The film has suspense , tension , emotion , mystery and specially in its final a little bit of violence . Following the death of his son , in the Austrian Alps , ¨The Key Man¨ , a high ranking officer in the CIA called Dan Slater (Yul Brynner) , has to face off the most daring plot ever concocted by the secret agents of two worlds : East and West , during the Cold War . In Austria he decides to investigate and step by step finds out that the death of his son was no a skiing accident . A retired , prior undercover operative , Frank Wheatley (Clive Revill) , whom he had hoped would watch out for his son helps Dan seeks out the real killers . By the way , Dan meets socialite Gina (Britt Ekland , though Ulla Jacobsson was offered first this role) , the companion of rich and mature Mrs. Carrington (Moira Lister) , who puts him on the alright trails o perhaps fake clues . Eventually , rare inconsistencies begin appearing leading Dan to conclude that Russian secret service led by Col. Berthold (Anton Diffring) attempting a mysterious kidnapping . Suspenseful movie packs thrills , intrigue , frantic action , twists and turns . This complex piece of espionage is notable for its snow-capped scenery and its thrilling intrigue from start to finish . Interesting as well as amusing screenplay from Alfred Hayes and Frank Tarloff based on Henry Maxfield's novel titled "Legacy of a Spy". However , the movie's script was similar to the then recently released Spy with my face (1965) and its TV counter-part The agent of T.I.A. : The Double Affair (1964) . Although the picture has various ingredients for entertainment , the screenplay is also complex , including inexplicable incidents , the plot has gaps , in spite of it results to be pretty fun . Nice acting by Yul Brynner as cold and emotion-less agent , a top-notch performance who steals the show and gorgeous Britt Ekland's first major movie role . Support cast is pretty good such as Lloyd Nolan as Major Edwards who assigns him the dangerous mission , Clive Revill as undercover agent , Moira Lister as wealthy Mistress and Brandon Brady as Russian agent . Special mention for Anton Diffring in his ordinary German face and cool , clipped diction , as he replaced an actor who dropped out ; here Anton plays magnificently a Russian operative who attempts to substitute starring with a double of its own in order to obtain a mole in the highest echelons of the CIA agency . Diffring was a character actor who worked continuously in movies due to his aristocratic style , making him ideal for typecasting in British and later American films as Nazis and other vile , despicable roles , what was ironic about his typecasting as a Nazi is that he fled Nazi Germany in 1939 .Lively and enjoyable musical score by Ernie Freeman , including catching sounds throughout . Colorful cinematography by Dennis Coop , shot on location in wonderful outdoors as the mountain range vista seen in the film is the Tyrolean Alps situated in the state of Tyrol in western Austria . Good aerial scenes and spectacular snowy landscapes carried out by the late aerial cameraman John Jordan who died whilst working on Catch 22 (1970) . It was released before the snow-laden James Bond movie On her Majesty's secret service (1969), Jordan worked on both these spy movies . Lavishly produced by Hal E Chester , he was a juvenile actor , then a producer of low-budget movies in Hollywood, before he moved in 1955 to Britain, where he set up his own production company to take advantage of the lower costs of filming ; over the next 15 years he turned out a wide range of pictures, which often featured American stars such as Mickey Rooney, Dana Andrews, Paul Newman and Yul Brynner . The picture was well directed by Franklin J. Schaffner . He made excellent motion pictures such as "The Planet of the Apes", "Patton, " "Papillon" , ¨"Nicholas and Alexandra" , after the flop of his film titled " Islands in the Stream ", in which went on to coincide with the actor of "Patton" , George C. Scott , he decided to embark on a project more commercial and successful as "The Boys From Brazil" ; however , ¨Sphinx¨ ,¨Lionheart¨, ¨Si Giorgio¨ were other box office failures . Rating : Better than average , worthwhile watching .

blanche-2 Yul Brynner is "The Double Man" in this 1967 spy film also starring Britt Ekland, Clive Revill, Moira Lister, and Lloyd Nolan.Brynner is Dan Slater, a CIA agent who travels to Austria after the death of his teenage son in a skiing accident. It's been written off as an accident, but Slater isn't convinced. He asks a former undercover agent (Clive Revill) for help, but ends up doing most of the investigating himself and soon realizes that this was no accident. But to what end? Slater stays in Austria hoping to figure out what the plan is, and who has initiated it and why. He eventually meets Gina (Ekland) after several attempts at meeting her on the slopes. Gina had seen his son on the lift.The plot is soon revealed, leading to a dangerous confrontation.Pretty good, with an excellent performance by Brynner as a cold, hard man who shows no emotion and perhaps feels none. Also, the scenery is gorgeous, as is Britt Ekland, at the height of her beauty here.Someone here mentioned that the glossy spoofs are better remembered today, and perhaps that poster is correct. However, I don't think there's too much remarkable here. It's a serviceable film with a very intrusive music score.See it for Brynner's performance.

Robert J. Maxwell Yul Brynner is a CIA agent who hasn't seen his son in two years, so when the son is killed at a small Austrian ski resort, Brynner is driven by guilt to find his murderer and uncover the motive.Revenge gives Brynner an opportunity to glower his way through the entire film. His face seems carved of wood. If he changed his expression in the slightest, I missed it.He's been with The Company so long that he's paranoid as well as angry. He thinks something is up, something to do with his job at the CIA, and he's determined to unravel the mystery that may exist only inside his head. He belts Britt Ekland around when she's trying to help him, and he tears half her dress off. The former is a bad idea. Oh, he's ignoble. He never says hello or thanks anyone.I don't know exactly how much of this absurd plot I should give away. Maybe a hint. The Soviet Union has tricked him into coming to Austria for his son's funeral. They intend to kill Brynner and plant an exact substitute in his place. It gets twisted until the end, which is hopeful but still a little fuzzy. We hope for the best.Okay, so Brynner has the plasticity of a cigar store Indian, but at least with Britt Ekland you get that face, so full of good bone structure, the enormous blue doll's eyes, and the plump round lips providing a soupçon of sensuality. Well, more than a soupçon. In the context of her diminutive frame that overgenerous mouth looks like it could suck you up through a soda straw.The problem is that the entire movie seems awfully dumb. Ernie Freeman has overorchestrated it until it seems there's hardly a second without throbbing violins or pounding drums. And this William Wilson notion of substituting an exact duplicate is silly.Casting is no help. The ligneous Brynner aside, the chief heavy is Anton Differing, who works for the Commies here, although he's clearly meant to be a German and, in fact, alludes to having "lost two wars." He's been a Nazi in more movies than I can remember. And his Number One, George Mikell, was Sessler, the Gestapo sadist, in "The Guns of Navarone." Hollywood never has trouble switching the identity of the villains around. It's either the Nazis or the Russians. Makes no difference. We hate both of them.Nice features include beautiful shots of the Austrian Alps during the Easter festival, a reasonably perceptive portrayal by Clive Reville of a man torn between duty and self containment, and the scene in which Britt Ekland has her dress torn half off.

Marco Trevisiol Passable spy thriller that's a disappointment considering the talent on display. While it isn't a dud, there's nothing particularly outstanding about it and it emerges as a fairly routine and forgettable film.There are some enjoyable aspects to the film however. I admired Yul Brynner for delivering a lead character that was so uncompromising, cold and ruthless – while he was hardly an admirable hero he was believable and convincing and therefore more interesting as a character. I'm sure if this film were made today the character would've had some more 'likable' elements inserted into him during the film.The weakest aspect is Ernie Freeman's dreadful score – cornball and overdone, regularly undermining the potential suspense in key scenes.For mine, while the film itself isn't particularly noteworthy, in a broader context it has a curious interest. Despite being made by a major studio, having a major star and a director who delivered many top-notch films in this period (especially a certain ape film made the same year), it didn't make much impact at the time and is totally forgotten today, even for a film made four decades ago. Why is this? I actually think it would be much more remembered if it had been filmed as a flashy, goofy spy film that is now considered to be representative of late 1960s film style and culture – the likes of which were spoofed in the Austin Powers films. For example, while imo 'In Like Flint' is a dreadful film, clearly inferior to TDM, because of its glossy and spoofy style I can see how its much more remembered and referenced today.Of course, TDM could've still been remembered on the basis of sheer quality but apart from Brynner's performance, it just doesn't have enough of it.