On the Offence with Sean Connery

 DATELINE: Endeavour Predecessor!

Back in 1972, Sean Connery did not want to play James Bond: to arrange for him to do another film on 007 romp, Connery insisted he be allowed to play a disturbed police detective based on a dark and depressing play called The Offence.

The movie showed off Connery as a powerful actor, but was a box-office fizzle. Audiences were not ready to see James Bond in a dubious psychologically damaged role. The film remains topical and fascinating: it deals with a police sergeant detective in London who cracks up while investigating another hideous child molester case (shades of Jeffrey Epstein).

With its disturbing lead character finally at wit’s end, his response is police brutality and murder that is ripped out of the headlines of 2020 without the racial angle. It’s directed by Sydney Lumet, no less.

The film mirrors Endeavour, the PBS series, set at the same time of early 1970s, now dealing with police like Fred Thursday at the end of their rope, having to face brutality and violence day-after-day. Endeavouris accurate for the feeling and style of police work in those days.

One may have sympathy for these benighted knights of crime, but they have lost the ability to make good decisions.

Trevor Howard shows up to match Connery in an interrogation scene as the chief constable of Scotland Yard. Their acting in tandem is remarkable, but the film is depressing and unpleasant as it details the reasons why the police sergeant kills a child molester while he is in police custody.

If this is to be recommended for its relevance, it is to be watched with a barf bag handy. You will likely be unhappy to see Connery’s license to kill, in this role, is not for espionage fun. This is a dark, stark, cruel movie.

 

 

LeCarre’s Deadly Affair

DATELINE:  Cold War Spies

Serpentine dinner

When Sydney Lumet could not use the original name of George Smiley for his spy from the famous book, he came up with Dobbs. However, the man playing Dobbs was the always-brilliant James Mason. He was Smiley in any other name in The Deadly Affair.

As a spy mystery, this movie is the epitome of sophisticated and intelligent drama in the 1960s, down to the Astrid Gilberto theme song.

Few movies would feature a background scene of Macbeth as put on by the Royal Shakespeare Theatre as part of the plot. There you’d find a quite young Georgy Girl, Lynn Redgrave, before she teamed up with Mason again in her breakthrough role.

Harry Andrews and Kenneth Haigh provide solid support as allies to Mason’s disgruntled, cold spy who learns a man he interviewed pleasantly as a routine security check was not happy and committed suicide shortly thereafter. He is suspicious, rightfully.

Simone Signoret is right off the boat of Ship of Fools, and Maximilian Schell out of Judgment at Nuremberg. You have here something special in the litany of suspects.

John Dimech, one of the young stars of Lawrence of Arabia, made a small appearance here as a waiter at the Serpentine Restaurant. It was a swan song to a promising movie career.

Back then, this was the antidote to James Bond special effects and glamour. It is full of sound and fury signifying ennui.

The script has a couple of glorious hoots among the angst of the characters. It is, after all, vintage John LeCarre and a dandy spy mystery.