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The Spy Who Came in From the Cold

Richard Burton (Actor), Oskar Werner (Actor), Martin Ritt (Director) Rated:
NR
Format: DVD
4.6 4.6 out of 5 stars 1,491 ratings
IMDb7.5/10.0
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Genre Action & Adventure
Format Closed-captioned, Color, Dolby, DVD, Anamorphic, Subtitled, Widescreen
Contributor Bernard Lee, Paul Dehn, Guy Trosper, Sam Wanamaker, Beatrix Lehmann, Richard Burton, Oskar Werner, Claire Bloom, Martin Ritt, Peter van Eyck, John le Carr, Rupert Davies, Robert Hardy, George Voskovec, Cyril Cusack, Michael Hordern See more
Language English, French
Runtime 1 hour and 52 minutes
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4.6 out of 5 stars
1,491 global ratings

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Top reviews from the United States

  • Robert
    5.0 out of 5 stars Well written and captivating.
    Reviewed in the United States on November 9, 2024
    Verified Purchase
    Continues the line of this author. From my other historical readings is accurate as could be expected from a book of fiction. Addicted to this author.
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  • Joanna D.
    5.0 out of 5 stars A classic Cold War film
    Reviewed in the United States on October 31, 2023
    Verified Purchase
    This was a big hit of a film when it came out in 1965. I was a schoolkid, but the Cold War, the Berlin Wall and the terror of the people in East Berlin was BIG NEWS, as big as any of the war-torn stories of today.

    John Le Carre is my favorite author of spy books, and often the films don't match the brilliant writing but in several films they really do catch the flavor of the times and the author's intent. "The Spy Who Came In From The Cold" is a terrorizing novel that builds suspense masterfully. In a way, this film is less suspenseful but the drama of the shock finale is so well handled, and the actors so good that the film is a real masterpiece. It couldn't have been cast any better, with Richard Burton as the burnt-out British agent, Claire Bloom as the innocent idealist Communist party activist librarian and Oskar Werner as Fiedler.

    I was surprised how this film stuck with me after viewing it; I know the book well but still the tight directing and excellent acting made this suspenseful story come alive.
    5 people found this helpful
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  • Photoscribe
    5.0 out of 5 stars What the world of MI6 is REALLY like!
    Reviewed in the United States on August 13, 2004
    Verified Purchase
    I saw this movie when it came out, and was immediately struck by how raw and realistic it was. To this day, I have been impressed by every one of Richard Burton's B&W movies. For some reason he shines in them like a beacon, while he slums through the more glamorous, and ultimately less successful color movies he's been in.These movies include: "Look Back In Anger", "Night of the Iguana", "Spy", "Who's Afraid of Virginia Woolf", "My Cousin Rachel" and "The Bramble Bush". "Iguana", "Rachel" and "Bush" weren't as impressive as the others, but for some reason, Burton still commands the camera better in them in monochrome than he would have in color. Go figure.

    The man was VASTLY underrated as an actor...well, maybe not underrated, but under-CONGRATULATED, since he never won an Oscar for any of his incredible, intense performances! He and Peter O'Toole were the crown PRINCES of intense! O'Toole, also, never won an Oscar, except for the Life Achievement Award he won just recently.

    "Spy" was one of those landmark movies of the sixties that broke with type and showed the moviegoing public what life was REALLY like in a certain type of world. "Blow-Up" was another movie like this, showing how strange the world of fashion photographers could be. The psychiatric dramas "David & Lisa" and "Lilith" showed the world of adolescent and adult psychology in a true-to-life fashion, and "Spy" showed how dreary, deadly, grey and angst-ridden espionage could be, going against the glamourous, over-the-top image the Bond and Flint films and all their imitators had projected.

    In the film, Burton plays a character named Alec Leames, an upper-middle-aged agent working for British Intelligence in the midst of the Cold War. The film opens with him, in fact, overseeing the defection of an East German at Checkpoint Charlie, perhaps THE major symbol of the Cold War. From there, it follows him in further dealings with East Germany trying to track down a double agent. He falls into a relationship with a pert but naive little communist played by Claire Bloom, gets approached by smarmy types trying to get him to defect to the OTHER side, with him masquerading AS a possible defector for BI, under the auspices of Cyril Cusack, an actor who has played some of the most condescending elitist types in movies. His characters are almost always in powerful middle management positions and always, ALWAYS have pedantic attitudes. His character, though he actually ISN'T the legendary George Smiley, was nonetheless the obvious prototype for Sir Alec Guinness' portrayal of Smiley in the BBC/PBS series based on Le Carre's novels. The Smiley character is actually a minor entity in this film, played by a rather nerdy actor.

    Oskar Werner, who, along with Cusack, was very hot in "important" movies at the time, plays an East German investigator, prosecutor and negotiator. Cusack, in fact, starred with him in the Truffaut sci-fi classic "Fahrenheit 451" as well. Burton, Bloom, Cusack, Werner and Michael Holdern (Lillian Helman's long-lost twin brother)....This cast couldn't have gotten any classier if it had tried!

    The B&W cinematography, the casting, Burton's performance, the relentlessly grey and doleful feel of the film, Martin Ritt's expert direction, (the man was a VERY reliable "good movie" director,) all add the dramatic touches that make this film the absolute BEST film about espionage in my experience! Claire Bloom's character, Nan, offsets and emphasizes the dreary feel of the movie with her own naiveté and altruism.

    Why this film didn't sweep the '66 Academy Awards, I'll never know, but rest assured, it was the best dramatic offering in theaters that year. A complex, disturbing, important and incredible film that should, in retrospect, be honored for the work of art it was.

    Highly recommended!
    16 people found this helpful
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  • Barbaea White
    4.0 out of 5 stars well done
    Reviewed in the United States on September 20, 2024
    Verified Purchase
    well done and quite interesting
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  • Lawrence C. Neilson
    5.0 out of 5 stars In From the Cold, to Ovations
    Reviewed in the United States on March 11, 2012
    Verified Purchase
    This is the best espionage film ever made.

    Le Carre has been responsible for other excellent ones, but none of his, nor anyone else's, has the pithy power of this.

    Soon after the construction of the Berlin Wall, Alec Leamas (Richard Burton) plays the part of a dissolute, jaded, ripe-for-turning spy, and is dutifully recruited by East German Intelligence. He has been given information that will discredit Hans Dieter Mundt, the head of that organization. What Leamas doesn't know is that the English woman with whom he has been intimate has unwittingly been involved in events that will discredit his brief.

    He is debriefed by Fiedler (played brilliantly by Oskar Werner), who is Mundt's second in command, and is Jewish. He is sophisticated, yet solicitous as to Leamas' comfort; he is meticulous, yet allows Leamas latitude, and they form a bond. Mundt, a sadistic former Nazi, breezes through the trial that could cost him his life. Without giving away the whole story, suffice it to say that his sangfroid is well founded.

    In the climactic scene, as the first screen incarnation of George Smiley waits on the Western side of the Berlin wall, Leamas finally does come in from the cold (the phrase, in actual usage, meant, 'to leave the field work of covert operations'). As they drove towards their departure from East Berlin, Leamas' lover, aghast, had asked a question, followed by, " Fiedler was your friend! " Leamas replies with a great line in film history: " How big does a cause have to be until you kill your friends? What about your party? There's a few million souls down that road, too. "

    The theme of the state vs. the individual is central to most good films in this genre, and Le Carre expresses it best in Leamas' recollection: driving, he had seen a station wagon full of kids bracketed by 'two great lorries (trucks)', with expected red consequence.

    The book, which launched Le Carre's career, is quite short, and the film shares its forceful brevity. The Cold War may be decades past, but this emotional examination of commitment and deceit remains resonant.

    While Ian Fleming, too, was in the British Secret Service, this story has no car chases, no exploding potentates, no salacious pandering, no travelogue. Unlike a Bond confection, this is a series of scenes in a series of dreary rooms and forbidding exteriors, piled one atop another, a Jenga Babel, until they, like one of Smiley's operations, are exquisitely unbearable.

    The black and white medium seems especially appropriate for this mutual shading into greys. If thought-provoking dialog and unblinking, spartan photography are your cup of tea, see this wonderful masterpiece that never seems to get cold.
    8 people found this helpful
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  • Jack Ladde
    5.0 out of 5 stars Classic.
    Reviewed in the United Kingdom on October 14, 2024
    Verified Purchase
    This has always been one of my favourite novels, and so it was gratifying to see such a great film version.
    In my opinion, this is Richard Burton at his best. Forget the 007 image of spies, this is the gritty reality, and the story captures that cold war paranoia and tension that has been lost to the mists of time. A fantastic film to be enjoyed many times. Can't say enough good things about it.
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  • barbara ito
    5.0 out of 5 stars Dvd la spia che venne dal freddo
    Reviewed in Italy on July 25, 2024
    Verified Purchase
    consegnato veloce, tutto perfetto grazie infinite
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  • Prof A.
    5.0 out of 5 stars A magia do preto e branco
    Reviewed in Spain on October 17, 2022
    Verified Purchase
    Vi pela primeira vez esta obra-prima de Martin Ritt no fim dos anos 60 do século XX e guardei desse primeiro visionamento duas recordações.
    Guardei a recordação de um Richard Burton a construir uma personagem capaz de vencer as ficções conspirativas dos serviços de espionagem e contra-espionagem dum lado e doutro da cortina de ferro e o uso que fazem das vidas simples de seres humanos comuns. Escolhendo morrer para ficar do lado da mulher que o tinha apoiado e que acabara de ser morta pelas costas quando escalavam os dois o muro de Berlim, a personagem criada por Burton diante das câmaras constrói o sentido central de «vir do frio» no filme: não o ter sido afastado dos serviços secretos, mas o sair do vazio gelado de emoções e sentidos humanos para a realidade humana dos sentidos que dão sentido à vida humana. A morte foi o preço que a personagem de Burton teve de pagar para sair do frio.
    A segunda recordação que guardei do filme de Ritt foi a magia do preto e branco. Três filmes me fizeram amar o preto e branco e perceber que o cinema, como o conhecemos no séc. XX e nos nossos dias, deve a sua grandeza ao preto e branco: Citizen Kane, de Welles; High Noon, de Zinnemann; e The Spy Who Came In from the Cold, de Ritt. A televisão que vemos na sala tem de ser a cores; o cinema que vemos numa sala às escuras deve a sua magia ao preto e branco.
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  • gvgv37
    5.0 out of 5 stars Bon film qui mériterai d' être mieux reconnu
    Reviewed in France on August 5, 2019
    Verified Purchase
    Très bon film restituant bien le climat de guerre froide des annees 50 -65 .scénario tortueux. Trés bien interprété ( richard burton , claire bloom , oskar werner ) . Réalisé par Martin RItt , un réalisateur ayant du metier .
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  • Snidley
    5.0 out of 5 stars A hardnose Spy Movie.
    Reviewed in Canada on May 1, 2015
    Verified Purchase
    Richard Burton plays the part of Leamas very convincingly. Leamas pretends to be a disgruntled, drunk, British spy ready to sell out the British to the Communists for a price but Leamas isn't told the entire story; he is left in the dark and doesn't know until the very end of the movie, that he had set up the wrong man. He feels disgust for himself (before he thought he was doing a bit of good) and when at the very end, when his girlfriend Liz falls to her death, he can no longer live with himself and he proved that he wasn't the horrible man, the lowlife he said he was to Liz in the car, the petty, small, cowardly spy willing to do anything to survive. He stayed with Liz.
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