The Assassination of Trotsky (1972 film)

The Assassination of Trotsky is a 1972 movie, starring Richard Burton and, as the title suggests, it documents the events which surrounded the murder of the famous Russian revolutionary in Mexico in 1940. Also in the cast are Alain Delon and Romy Schneider.

I approached this film with some trepidation, as it has a reputation of being a poor piece of work. However, my recent interest in left-wing politics prompted me to give it a watch. The fact that it is done in something resembling a European art cinema style was also an attraction. It has a quintessentially early 1970s flavour about it, to my eyes anyway!

It has to be said that Richard Burton is always worth watching, and that voice of his invariably adds extra gravitas, gravitas which in this instance the work itself does not entirely deserve. I was relieved that he did not attempt a Russian accent, and he plays the role in quite a straightforward manner, eschewing exaggerations and outlandish affectations. Overall though I found this movie to be somewhat bland and muddled. The dialogue lacks guile, and too many scenes simply stumble along with no apparent purpose. 

On the positive side, the production values are reasonably good, but paradoxically it also feels rough around the edges in places. This might have something to do with the lack of focus in some scenes, and also the questionable standard of some of the supporting acting. 

I found faults in the film, but these pale into significance when compared with my reaction to the truly horrible bull-fighting sequence which is included.  What possessed them to have this in there is not clear - maybe it was an attempt at some kind of symbolism?

One of the scenes which I did enjoy was the Mexican May Day parade, although this looked a little like footage of a genuine event.

So, even the charisma of Burton, Delon and Schneider can't save this one.  It is worth a watch, though, for the sight of Burton at work, and for students of history and politics. 

The Spy Who Came In From The Cold (movie)

Last night, I had the good fortune to watch The Spy Who Came In From The Cold, the 1965 film adaptation of John le Carre's novel, starring Richard Burton and Claire Bloom.

The opening sequences of the movie accurately set the scene.  Bleak, gloomy and austere, capturing the atmosphere surrounding the seedy world of espionage. It was a masterstroke to make this film in black and white. Monochrome is invariably more evocative than colour.

The plot of The Spy Who Came In From The Cold is quite elaborate, and the movie does a fine job of striking a balance between overt explication and leaving some aspects to be worked out by the viewer.

Richard Burton delivers a fine performance as the brooding, careworn and cynical Alec Leamas. The quality of the acting throughout is quite exceptional. Particularly worthy of praise is the contribution of Oskar Werner as Fiedler.

Other films in the "spy thriller" genre may have sought to glamorise espionage, but The Spy Who Came In From The Cold is quite unflinching in its depiction as a sleazy, ruthless and unforgiving world.  The court room scene towards the scene is particularly stark and compelling.

Overall, this is a well-constructed and riveting film, and well worth checking out. It may persuade me to devote some attention to John le Carre's novels.

The Wild Geese

After viewing The Bridge On The River Kwai (see my previous blog post), I decided to revisit another movie, this time The Wild Geese, the 1978 tale of a gang of mercenaries hired to rescue an African politician.

It probably says much about the changes in my outlook that I now view The Wild Geese in a totally different light from when I previously saw it. Back then I viewed it as an entertaining, if admittedly rather overblown war film. The passages relating to the moral and political aspects I simply regarded as a hindrance, getting in the way of the "action".


Even during my recent viewing, the reasoning behind the mercenaries' mission still appeared slightly blurred. I think it may have been something to do with copper mining concessions....

The film features a veritable Who's-Who of British actors of that era. Many of them appear to be on "cruise control", although as ever Richard Burton's presence and charisma rise above the mediocrity.

Ultimately I think that The Wild Geese was intended to be an exciting and entertaining romp, and does not ask the viewer to focus on moral issues. The points at which the corny dialogue turns to discussion about imperialism, race and exploitation tend to stick out like a sore thumb.

Elements of the storyline are implausible and cartoonish, particularly the sequences in "gangland" during the recruitment of the mercenaries.

The Wild Geese is very much a product "of its time". Suffice to say that it does not warrant as in-depth a blog post as The Bridge On The River Kwai!