RUSSIAN ROULETTE
US, 1975, 90 minutes, Colour.
George Segal, Christina Raines, Denholm Elliott, Gordon Jackson, Richard Romanus, Louise Fletcher.
Directed by Lou Lombardo.
For good entertainment, a thriller is welcome. This short political adventure keeps interest and generates excitement. A complex plot involving plots by the CIA, KGB and the Royal Mounted (in cars) Police surrounds the Canadian visit of Kosygin. It is James Bond stuff, but made to look plausible by George Segal's aura of ordinariness. No mean feat, because most of the action, especially the spectacular roof-top and helicopter climax defies belief. Directed by Robert Altman's editor. Lou Lombardo, people like Gordon Jackson, Denholm Elliot, Christina Raines and Louise Fletcher appear and, with Segal, give the film more style and value than it probably had on paper.
1. How good a thriller was this? How successful in appeal, interest, entertainment? Its principal qualities as a thriller?
2. The significance of the title and the emphasis on roulette? Tone and themes? The original novel was called 'Kosygin Is Coming'.
3. The film's focus an Shaver? George Segal's performance and style? The type in the Mounted Police? The presentation of the modern Canadian Mounted Police? The background of his suspension and insulting his superiors? His being used as a pawn, the consequent violence making him a victim, his response to the challenge making him a hero? His encounters with Petapiece? Their discussions and manoeuvring? The invitation to unorthodox methods and his following them? What strengths of character emerged? Where? His weaknesses?
4. The film's detailed presentation of his involvement in the case? His tracking Henke? Tailing him? The involvement in the deaths and their effect on him?
5. The way in which he was captured by Ragulia? The significance of his escape and his enterprise? This leading to heroics? From reality to comic book heroics?
6. What kind of picture was presented of the Mounted Police? The Mounted Police and their traditions, coping with the modern world of politics, international espionage? The intricacies of the C.I.A. and the K.G.B. and their plots? The C.I.A. and the identities of their agents? The K.G.B. using Henke and blaming the C.I.A. for the assassination? The significance of a K.G.B. plot being worked out in Canada? The ugliness of this aspect of international politics?
7. How attractive a heroine was Bogna? Her relationship to Shaver? Sharing his work? Helping him with files? Encountering Hardison and his death? Sharing Shaver's imprisonment and the escape?
8. The presentation of the Mounted Police bosses? Their manoeuvrings and their ambitions? The risk of death,, e.g. Hardison? Petapiece and his alcoholic cover? The way that he was used? How strong a characterisation?
9. The contribution of Hardison and the meaning of his death?
10. The film's emphasis on Ragulia and his arrival? His outwitting Shaver., and in return being outwitted? The significance and presentation of his death on the bridge?
11. Audience response to the Russians. especially Vostik? His plan involving Henke? Henke used as a pawn?
12. The importance of the local detail of Canada, the mountains and the resorts, the houses and the forests. the bridges, cars and roads, buildings and helicopters?
13. The melodrama of Shaver's escape? With the car, enlisting the help of the old lady and her willingness? A sense of reality and unreality?
14. How well did the film build up for suspense with the motorcade? The shifting emphasis from the police to the motorcade to Shaver? The helicopter with Henke and the sense of menace? The plausibility of Shaver's heroism an the top of the building? How far-fetched? How exciting as the audience watched it?
15. The film's comment on espionage, the using of individuals and people? Power struggles and violence? officials saving face?
16. The blend of human interest and technical flair.
