THE LITTLE DRUMMER GIRL

US, 1984, 130 minutes, Colour.
Diane Keaton, David Suchet, Yorgo Voyagis, Sami Frey, Klaus Kinski.
Directed by George Roy Hill.

The Little Drummer Girl is based on a novel by John le Carre. It was directed by George Roy Hill, one of his final films after a career which included such films as Hawaii, Butch Cassidy and the Sundance Kid and his Oscar-winning film The Sting.

The film reflects the atmosphere of the relationships between Israel and Palestine in the 70s and 80s - and is interesting to look at in the hindsight of the clashes of the late 90s and the early 21st century. The focus is on Diane Keaton as an actress recruited by Israeli intelligence to go through training in a Palestinian terrorist group. It is hard to believe that the intelligence would choose such an actress. However, she goes through the training and infiltrates the group. The cast includes Klaus Kinski as the director of Israeli intelligence and David Suchet.

There was some criticism of the film at the time that there was far too much dialogue rather than action, a characteristic, perhaps, of many of John le Carre's novels which combine reflection on espionage and its significance for individuals and society.

Diane Keaton gives a characteristically interesting performance in the central role. She has good support from Klaus Kinski as the head of Israeli Intelligence. There are many excellent supporting roles including Sami Frey as the head of the Arab terrorists and by Michael Cristofer (Pulitzer Prize-winning author of The Shadow Box) as the man in charge of a terrorist training camp in Lebanon.

Other film version of Le Carre novels include The Spy Who Came In From The Cold, The Looking Glass War. The Smiley books were made into British miniseries with Alec Guinness.

An interesting and arresting story of '80s international terrorism.

1. An entertaining drama? Real? credible? The dramatising of '80s terrorism? Israeli-Arab? tensions?

2. The work of John Le Carre, his background and experience? The international flavour of the film? International terrorism and methods? Strategies and psychology? The '80s and the spread of terrorism? Terrorism computerised, and made a form of theatre and cover-up? How authentic did the film seem?

3. George Roy Hill and literate cinema? The quality of the adaptation of the novel, capturing its essence, fidelity to characters and situations? To motivation? The film's respect for the author? Its capitalising on the popularity of the novel?

4. The strength of the international cast? The film as a Diane Keaton vehicle? The credible supporting cast?

5. Plot interest - as a terrorist thriller, a character study, a study of violence and manipulation? A film of detection? A film of war in peacetime.

6. The background of Middle East tension? The film's sympathies, understanding? Audience stances - for Israelis, for Arabs? As regards terrorism? The screenplay's pros and cons of Israeli- Arab situations? Joseph's history of the war? The background of the P.L.O., of the Zionists? Abuses on both sides? The hopes for peace? Israeli Secret Service and its waging of war against Arab terrorists? Arabs and their traditional place in the land, the Palestinians? Protest and terror? The use of Lebanon for terrorist training? The background, visually presented, of the wars in Lebanon? Israel and the land? Treatment of the Arabs? International stances and consequences?

7. The opening with the German city, the peaceful daily routine, the terrorists and the explosion? Terrorism in Germany? Germany's attitude towards Israel and the Arabs? memories of the Holocaust? The staging of the terrorist act. the peaceful situation, the girl with the suitcase. the music from the car, the school bus? Her cover? The effect of this act and audience sympathies? The two terrorists hugging each other during the explosion? The consequent police interrogation? The Israeli officials and their intensity? The reconstruction of the bomb and the discovery of Kahlil's signature?

8. The transition to Michel and his speech in England, his being disguised, the issues of Palestinians, the comments? The Lady Chairperson? Charlie and her response? British groups and sympathies? Israeli scouts present? The focus on Charlie and her acting. her performing as Saint Joan? Her identifying Joseph as Michel because of the coat etc.? Her reaction to his presence? Kurtz and his posing as an entrepreneur, using her agent to book her for the TV commercial? The plausibility of the scenario and Charlie's walking into it?

9. The Israelis and their shadowing of the real Michel? Road blocks, arresting Michel, the interrogations. the padded cell, the hoax with the Israelis disguised as Red Cross officials, watching him through closed circuit television. his silence, not eating? Kurtz and his stances, sympathy for Michel? Breaking through Michel's barriers? The set-up, Michel's voice, handwriting? The staff for the false scenario. the writing of the love letters? Charlie's involvement? Looking at Michel and his naked humiliation? Michel being drugged, taken away, put in the car with the woman terrorist, his death? A victim of his own self-confidence? The pros and cons of the Israelis' treatment of Michel?

10. Charlie and her trip. the filming of the commercial in Greece, her going dancing with the acting lead, her discovery of Joseph watching the filming, going out with him, the dancing, the building up of a romance? Her presumptions and falling into the trap? Her realising that she was being recruited? Her falling in love with Joseph, the visit to the Parthenon, the car racing her off to the Israeli headquarters? Her reaction?

11. The interrogation of Charlie? Seeing it as an audition? The type of brainwashing techniques used? Psychological insight, working on her emotions? The interrogation about her background? Harsh questions but group sympathy? Her being tired. working through the night? Her story about herself. her parents. her school? Their being revealed as lies? Joseph's sympathy? The using of judgment about the time to involve her and allow her to go? Her real story? The end of the audition and her being ready to act the part? Perfect for the cause?

12. The briefing of the situation, Charlie's choices, the re-enactment of the actual scenes with Joseph ? and her continued love for him? The need for her participating in all the detail for later interrogation? The effect of the role she was to taking on, as performance, on her own life?

13. The picture of the Israeli group and their surveillance, the range and number of their contacts and observers in the streets. at the railway stations? Techniques. communications, the overview from headquarters? Charlie's driving the car, observation of her arrival, her going to the railway station. the American tourist chatting her up, the girl disguising herself at the station, taking the car? Her being executed along with Michel? The question of Joseph's protesting that Michel would not be executed? his later retraction?

14. Charlie’s return to England, her acting and having to cope, the tensions, the contact made by the Arabs, her giving the signal by the scarf? Her being tested by the Arabs about Michel? Her acting ability, drawing on her experience and living roles, her acting skills? Fears? Her being recruited? The meeting with Helga and the test? The transition to Beirut, looking at the city and its war scars, the effect? Her going to the P.L.O. camp? The Israeli spy on the hills nearby with the flock, his being taken and tortured. shot in front of her? Her stating her beliefs, being able to participate in the rigorous training, knowing how to assemble guns etc.? The change of perspective?

15. Her readiness to go to Geneva, the test. the task and her rehearsal, the meeting with the professor, taking the case? Meeting Helga and her assistant? The simplicity of her job? The chauffeur and his loud music, taking her to meet Kahlil? The irony of the chauffeur being Kahlil? The bomb and his sign? His asking for her trust?

16. The detail of the sabotage, the set-up in the hall, the establishing of the bomb, the returning of the suitcase? The Israelis and their covering the situation? Charlie's return, the sexual liaison with Kahlil, the bond because of her stories of Michel? Kahlil's trusting her? The precaution about the batteries in the radio? the tense night, Charlie keeping awake, Kahlil's sensing the silence, testing the radio? The bitterness of his reaction? Charlie's being rescued, Kahlil's being shot?

17. The Israelis with their cover-up of the sabotage, the news on the television, the explosion? The tracking of Charlie, the raid? The aftermath with the blood, Kahlil dead? Charlie having to cope with her experience? Going to Israel and recuperating? Her feeling dead, trying to act. the clashes about words? Joseph's appearance in the theatre? His giving up his work, coming to her, the street scene, love, a future?

18. Themes of acting and roles, real life, commitment, political theories and loyalties, the facts and the dangers? The live audience?

19. Israel and the stories of Arab terrorism? The P.L.O. and the validity of their stances? The Arabs and their suffering, revenge? The British and the Germans? Political realities, the law, justice, conspiracies, cover-ups?

20. The '80s and communications, resources for terrorism, explosives, training in terrorist camps, the use of computers?

21. A serious use of thriller conventions for entertainment and for message?