THE WHISTLEBLOWER
UK, 1986, 100 minutes, Colour.
Michael Caine, James Fox, Nigel Havers, John Gielgud, Barry Foster, Gordon Jackson.
Directed by Simon Langton.
The Whistleblower is an English espionage story based on a novel by John Hale with a screenplay by Julian Bond. Direction is by television director Simon Langton. The film is a vehicle for Michael Caine as a businessman who is caught up in English espionage because of the mysterious death of his son (played by Nigel Havers). In fact, the story is very much an Anthony Blunt espionage story, with John Gielgud giving an impersonation of Anthony Blunt. The excellent supporting cast includes Barry Foster as a smooth-talking agent as well as Gordon Jackson and James Fox.
In 1986-87, British television companies made telemovies about the famous British spies, Philby, Burgess and Mac Lean and, especially, a film called Blunt with Ian Richardson as Blunt and Anthony Hopkins as Guy Burgess.
1. An interesting thriller? British espionage? The comment on British intelligence since World War Two?
2. The British settings: London, the Foreign Office? The country cities? The world of Frank Jones? The contrast with the elaborate stage setting for the tracking down and unmasking of spies? The musical score?
3. The title and the focus on espionage, people giving information about moles and exposing double agents? Frank Jones and his disillusionment with his country and its Public Service, espionage agents? He and his son being whistleblowers?
4. The complexities of the plot? The relationship between Britain and the Soviet Union? The audience familiarity with the espionage situation since World War Two? The '80s and the unmasking of double agents? The role of the ordinary citizen in this kind of atmosphere?
5. The portrait of Frank Jones: his being an ordinary businessman? His background of the war, his running an office supply business? His relationship with his son Bob and his son's working in the Russian section of GCHQ? His visit to Cheltenham to see Cynthia? Frank listening to his son's misgivings about intelligence, its paranoia, manipulations, use of murder? His advising his son to stay with his career? The irony of their conversations being monitored? Cynthia and the death of Alan? Bob and his continued investigations? Frank and his concern? His wartime friend Charles? His telling him about Bob, Frank's being offered the wealthy government contract? The conversations between Bob and his father, the security leaks, the information about the deaths? Frank and his reaction to his son's death, the accidental fall? His looking at his son's untidy room, finding it too neat, the diary missing? His questioning Mark and Rose and their refusing to answer? His feeling that they were too callous? Bill Pickett contacting him, the Left-wing journalist, his information from Bob, Pickett's death? Bob's funeral, Frank and his confronting Mark his discovering that Greig was the contact? His taking Greig out, getting him drunk, getting the confession, finding the name of Sir Adrian Chapple? His audience with Lord Cynthia and the child going? The Public Service threats for secrecy? His going to Chapple, forcing to write the confession, the struggle with him and Chapple's death? Frank going into the crowds, the Remembrance Day ceremony (and the authentic film footage used)? Michael Caine persuasive as Frank Jones, his experience, career, relationship with his son, investigation?
6. The portrait of Bob: his relationship with his father, overshadowed by his father? His intelligence career? Friendship with Mark and Rose, boarding with them? His relationship with Cynthia and wanting to marry her? His inviting his father to meet her? His misgivings about his department? The importance of the moles and their unmasking, their deaths? His relationship with Allen and the complications with C912thia? The paranoia in the Department, people reporting suspicions? Himself under suspicion? His conversations being taped? His second discussion with his father? Giving more detail? His own investigations? The build-up to his death? His funeral? The impact of his life and death on his father and the investigation?
7. The film's build-up of the espionage situation: the highlighting of the various moles and their deaths, especially the death of the man under the wheels of the train? Audience response to these deaths? Audience interest in espionage and uncovering moles? The arrest of Dodgson? The irony of his being sprung from prison? The elaborate set-up, his thinking he was with the Russians, Bruce and Lord and their tricking him into revealing the name of Sir Adrian Chapple? His being returned to prison?
3. The glimpses of Sir Adrian Chapple, the solemn Gielgud presence and style? His place in British society? His being named? The final confrontation with Frank? His personal elegance, the writing of the confession, the gun and the struggle? Modelled on Sir Anthony Blunt?
9. Charles Greig and his past friendship with Frank Jones, his meeting Frank, their socialising together, Greig and his open manner? Frank telling him Bob's stories, the information? Greig and his contacts? Getting information from Frank? The revelation that he was the contact, the killer? Frank getting him drunk? Frank's skill and the build-up in controlling Greig? His confession, the name of Sir Anthony Chapple? The ugly portrait of the agent? The comparisons with Allen and his work, Mark and Rose and their loyalty to their department?
10. The sketch of Bill Pickett, out of sympathy with the powers-that-be, Left-wing, intrusive? His contacting Frank Jones? Bob and his information? Collaborating with Frank? The build-up and tension of the car pursuit? His death?
11. The portrait of various officials like Lord and Bruce? Their roles in their department? Surveillance, supervision, plans and counter plans?
12. MI5 and intelligence, personnel recruited, their backgrounds, their loyalties? The running of department? The checking of security? The pressure from the CIA and Britain's reputation? The pressure from the CIA to British Intelligence to kill agents?
13. How well did the film work as a British thriller? How well did it work as a commentary on espionage in recent decades?
