THE TAILOR OF PANAMA

UK/Ireland, 2001, 109 minutes, Colour.
Pierce Brosnan, Geoffrey Rush, Jamie Lee Curtis, Brendan Gleeson, Catherine Mc Cormack.
Directed by John Boorman.

The name of John Le Carre has become almost synonymous with British espionage tales. For forty years he has written fictionalised accounts of the Iron Curtain cold war intrigues, spying in the Middle East and, now, the more recent focus of intelligence gathering, Latin America. Not that spying in this region of the world is new. The Tailor of Panama has overtones of Graham Greene novels, and more than a passing resemblance to Our Man in Havana. While spies were not necessarily gentlemanly in those days, there seemed to be some underlying presumptions of fair play. Nowadays some of them seem like narcissistic buccaneers. Or, at least, that is what Pierce Brosnan’s callow MI6, Andrew Osnard, turns out to be.

Osnard has had to be transferred from Spain in a hurry. His last chance is Panama. Using every suave trick of the trade as well as a menacingly polite manner in blackmail, he recruits Harry Pendel, the gentleman’s gentleman tailor to the politicians and the wealthy of Panama. While Brosnan draws on his James Bond style to portray, very effectively, a seductive rotter, Geoffrey Rush gives another persuasive performance as Cockney Harry trying to be the gentleman. Rush seems to take on each character so completely that it is difficult to recognise him from one role to another. Jamie Lee Curtis is Harry’s politically idealistic wife.

In past spy films, there were elements of farce in the obtuseness of what the MI6 head here refers to as ‘the planners and plodders’. But, generally, those films were grim affairs. In Panama, there is more farce than seriousness. In the aftermath of the Noriega regime and its corruption, there is still corruption. But there is democracy (and the film’s exteriors were all shot in Panama), electronic intelligence data-gathering and surveillance. And, according to Le Carre, the big brass in London or the Pentagon, still have strong yearnings for conspiracy theories – and hanker after the glory days of the cold war victories.

But, Harry Pendel has constructed a fiction for his life as a Saville Row tailor in Panama. He tells a good yarn. When pressurised by Andy Osnard to become a spy, he takes the fiction way out. He makes it all up. Which actually suits Osnard who wants to use a conspiracy to milk the authorities of millions of dollars in supporting an alleged silent opposition. What could go wrong? Well, a United States invasion of Panama, for instance.

This film shows us what a messy world we live in. While communications and media can stop the stealthy invasions of the past, they can still be a too rapid means of disseminating mis-information that can lead to wars and disasters. Thirteen Days recently reminded us of the need for some kind of integrity at the top of government. The Tailor of Panama shows us that despots can get into power if they are rich enough, that ordinary people can be destroyed by torture and by fear and that we are sometimes only an ignorant fanatic’s
decision away from disaster.

1. John Le Carre and his reputation? His study of espionage from the ‘60s to the turn of the century? Changing patterns: the Cold War, the Middle East, Central America?

2. The role of the UK? MI6? The James Bond image? The Le Carre and Graham Greene image? Politics, international collaboration, for example the CIA, interference in the running of other countries? Secrecy? Ambitions? Successes and errors?

3. The Panamanian settings, the city, the countryside, the canal? Authentic atmosphere? The musical score? The strength of the stars and their variety of screen images? Pierce Brosnan playing opposite James Bond style?

4. The title and its focus? The image of the tailor, Saville Row, the tailor to gentlemen? The tailor as servant, obsequious, flattering? The tailor as skilful, knowing materials, sizes and shapes? His capacity for understanding people? Confidant – an image of confessional? Gossip? The target for MI6 and espionage?

5. Andy and his reputation, Spain, recalled? Unscrupulous? Sexual predator? His being sent to Panama and his commission? The background of the Panama Canal, American administration, Panamanian ownership?

6. The background of the Noriega period? Marta and her torture? Miguel and his experience? Harry and his memories of the period? The American action in Panama and the taking of Noriega? The subsequent democracy? American relationships? British? The issue of Panama selling the canal or interests in the canal?

7. Harry as the tailor: Uncle Benny and his appearances and giving him advice? Harry’s reputation, manner of dealing with his clients? His office, his waiting-room, his clients not paying, his need for credit and reputation? The story of his imprisonment, the fraud and the burning down of the factory, learning tailoring skills in prison, Uncle Benny getting him to Panama and a new life? His learning conman skills? His marriage to Louisa, seeing her as a princess, not telling her the truth, the children, home life, taking them to school? Birthdays, picnics, getting the breakfast? The success of his new life?

8. Andy and his recruiting him, fitting for the suit, Andy telling him his life story? The issue of Ramon and the ownership of the farm (and the glimpses of its lack of success, water)? The promise of money? His using Louisa’s inheritance? The truth about Ramon and the ownership?

9. Harry and his taking Andy around, the hotel and the explanation of the politicians, the advisers, the wealthy families, the corruption? His introducing him to Miguel and telling him the story? Andy and his reaction to Marta? Interest in Louisa? The information about the canal? Harry and his fitting the President? Harry’s capacity for telling stories? Making up the story about possible people buying the canal? Using the information from the pornographic video to give him ideas for nationalities? The different rendezvous for meeting Andy? The seedy background, Louisa’s suspicions? The photographing of Louisa’s documents? The building up of the story of the silent opposition and Miguel?

10. Andy, his being a buccaneer, unscrupulous? His decision to take on Harry, blackmailing him? The various meeting places? Capitalising on Harry’s stories, trying to make them plausible? His going to the embassy, contact with the ambassador, with Francesca – the dinner, the proposition, the sexual relationship? His role in giving information, MI6 and believing the information? Harry being taped, the information going to UK, to the United States?

11. The United States and the Pentagon, their believing the information about the silent opposition? The officer from the period of Noriega and his gung-ho attitudes? The money available, the decisions, the invasion of Panama (mirroring 1989)?

12. Louisa and her realisation of the truth, the picnic and her learning Harry’s personality, going to him and confronting him? Giving information to the Panamanians?

13. Marta and Miguel having to get away, the society spies, the unearthing of Harry’s double-dealings? His going to Miguel and Miguel’s suicide? Pursuing Andy? Andy and his blackmailing the ambassador and getting away with the money? The airport?

14. Harry going home, the invasion called off, the reconciliation with Louisa? Andy and his giving the money to the ambassador, taking the rest – on the plane?

15. A picture of espionage in the ‘90s? American gung-ho attitudes? British ambitions? The cynical and unscrupulous personalities? Using pawns? The dangers of war from this kind of espionage activity?