THE DOUBLE MAN
UK, 1967, 105 minutes, Colour.
Yul Brynner, Britt Ekland, Clive Revill, Anton Diffring, Moira Lister, Lloyd Nolan.
Directed by Franklin J. Schaffner.
A very entertaining example of the espionage melodramas that were so popular in the sixties. The popularity of James Bond in the early sixties meant a lot of imitations as well as spoofs. However, there are a number of more serious films, made by serious directors, which were very critical of the glamorising of the spy. The main example of this is the version of John le Carre's The Spy Who Came In From the Cold. Other film examples were The Naked Runner, directed by Sidney J. Furie, The Deadly Affair by Sidney Lumet, The Kremlin
Letter by John Huston.
The Double Man has the touch of glamour but is still critical of the world of espionage. The Austrian snow and ski
background is most attractive, the plan of trapping C.I.A. Agent played by Yul Brynner with his impersonation is quite effective. Britt Ekland is an attractive heroine - acted better in these days than she often did in later films. Clive Revill is very good in support and Moira Lister adds a touch of humour. Direction is by Franklin Schaffner who
had made such films as The Stripper and The Best Man and who was to go on to success with The Planet of the Apes, his Oscar-winning Patton, Nicholas and Alexandra and Papillon.
It is interesting to note that The Double Man theme is very strong in his film version of Ira Levin's The Boys from Brazil with the cloning of young Hitlers.
1. The popularity of espionage films in the sixties - with the glamorous and the critical? How does this film fit into these conventions and the spy genre? The Bond glamorisation and yet the truth about C.I.A. and other organizations and their activities? Spy heroics, disillusionment? How do these films seem in later decades?
2. The importance of the Austrian locations, the snow and the ski resorts? The glamour of skiing, its dangers? The impact of the skiing sequences especially Robert's death? The Iron Curtain background and the continuation of the Cold War - without bombs but with the use of people?
3. Panavision photography, colour, the rousing score? The tone of the credits? Yul Brynner and his portraying the double role?
4. How well did the film arouse audience curiosity, participation? in the plan for Dan Slater? The Army disapproval, the Intelligence and setting out a trap for substituting an agent in Washington? The screenplay and its detailing, step by step the manoeuvres to trap Dan Slater? Audience interest, repugnance? The death of Robert Slater as the first step and the subjective falling down the cliff? audience response to this death and the critique of the word, espionage?
6. Yul Brynner's style as Dan Slater? Seeing him at work, his character and dedication to his work, a hard approach to life? His relationship with his son and its distance, his wife's death? The impact of the telegram, his immediate going to Austria, his arrival at the end of the funeral and his non-emotive grief?
7. His suspicions of the skiing instructor, his suspicions of Frank and his wife? His approach to his son's death with the espionage mentality, suspicions, his criticisms of Frank and his resentment of Frank's telling the truth especially about his relationship with his son? the contrast with Frank's care for his son? Frank's being a former spy but opting out and trying to make a new life? The importance of his comments as they drove in the van to the farm and Frank's judgment about the world of espionage? The critique of this world? The irony that Robert should be aided by his false father? The final impact of the experience on Dan Slater? How would he be in the future?
7. The film's filling in the background of Washington? information, orders, the chiefs in Washington and their files, information, contacts and communication? Miller and his cover and his going to rescue Dan?
8. Dan's moving away in the train, the discovery of the jacket and its impact, his return and confrontation of Frank, his relentless pursuit of the truth and following the steps pre-ordained by his enemies? The discussion with the ticket men, his finding Gina and pursuing her on the slopes, his encounter with his enemy who gave him the information? the continued interrogation of Frank? (The film preparing for the climax by showing the cable car, the mountain, the ski run etc.)
9. The encounter with Mrs Carrington and her contribution of British and ironic humour? Gina and her place in Mrs Carrington's resort, the party? the leads', the information about the farmhouse?
10. Dan going into the trap, Frank's warnings and discussion about espionage, his fear and going away? The fight, the substitution and the repercussions - especially for Frank, brutalising of Gina?
11. Did the audience suspect Frank? His behaviour especially in his panic? his apology to Gina? his finally coming to the rescue and his having to make the decision to shoot the double man? Gina and her seeing the masked man at the cable car, her trying to confront the truth? The final confrontation of all at the top of the cable car? the choices to be made?
12. Audience interest in the presentation of the two men and Yul Brynner's style? the false aplomb of the double man and his coping with the situations? Dan Slater and his escape through the crowd? the melodramatics of the death of the agents, the fights, the final suspense in the choice?
13. The mastermind of the plan and his disappearing and the happy ending for Dan Slater and for Gina?
14. How interesting a picture of international espionage and its activities, mentality? The types involved? Human issues? International security, human life? A critique of this world?
