L’AFFAIRE FAREWELL

France, 2009, 113 minutes, Colour.
Emir Kustirica, Guillaume Canet, Alexandra Maria Lara, Niels Arestrup, Fred Ward, David Soul, Willem Dafoe, Diane Kruger.
Directed by Christian Carion.

Christian Carion made the moving film about World War I in the trenches and the brief respite of a ceasefire for Christmas in his Joyeux Noel (Merry Christmas). He now comes forward in time to take up another interesting period that is due for consideration and clearer hindsight interpretations: the last years of Leonid Brezhnev’s Russia, its decline and paving the way for Gorbachev and Pestroika and the collapse of the Soviet empire.

And one of the characters involved in this screenplay is Ronald Reagan as president, some interesting insights which means that Oliver Stone who has made movies about Kennedy, Nixon and the two Bushes could turn his gaze on Reagan the politician. (Here he is played by Fred Ward.)

However, the film’s attention goes to a high-placed member of the KGB (played by Serb director, Emir Kusturica) who becomes dissatisfied with the administration and the stagnation in Russia and passes on documents to the French via an employee of a company at its office in Moscow (Guillaume Canet). The material then goes to French president, Francois Mitterand, and is communicated to President Reagan and his administration. Since this all happened under thirty years ago, it makes for interesting viewing and assessment of what was happening between the two power giants at the time.

The film shows the detail of the KGB officer and his meetings with his contact and how the material was transferred to France (the technology was photocopier and camera).

There is also some background of counter-espionage in the KGB as well as the response of the CIA (with Willem Dafoe as director). There are betrayals and counter-betrayals and the sacrificing of individuals for the ‘greater good’.

This is not an exciting spy drama although the escape of the Frenchman and his family in split second timing across the Russian-Finnish? border has its moments. Rather, this is a study of the times, the personalities, the role of ideology and pragmatism. The latter has always been the determinant of what happens in the world.

The film provides some eye-openers for what goes on behind the diplomatic scenes.

1. Based on a true story? The Soviet perspective? The French perspective? American perspective? Espionage and its contribution to the fall of the Soviet Empire?

2. Locations: Russia, Moscow, France, Paris, United States, Washington DC? The scenic aspects of Moscow? A sense of realism? The musical score?

3. Audience memories and knowledge of the period, of the Soviets, of the 1980s, of the Reagan era? The changes of the 80s?

4. Espionage and counter espionage, in Russia, in the United States, throughout Europe? Spies and their information? Communicating them to enemy powers? Russian knowledge of western information – and using it?

5. Information, moles? The Russian giving the information to the French? And then to the Americans? The effect? The information about counter spying? The range of arrests at the end of the film, scientists, the jogger, office workers? Russian patriots and the disillusionment with Communism and how it played out in Soviet society? Wanting a collapse of this kind of Soviet union? Their being idealistic?

6. Gregoriev, his work in the United States, his position in Moscow? His age, experience, loyalties, disillusionment with the Soviet practice, his wife and son, pride in his son, relationship with his wife, his relationship with his mistress and her work in the office? The son knowing about the relationship? His wife knowing?

7. His decision, his method, choosing Pierre, appears status, the meetings, the family circus, in the car, his appearance, giving the documents? His collecting the documents? Pierre and his job? Jacques as his boss? Their discussions? His continuing to work to transmit the documents? His talk with the French Minister? The role of President Mitterrand?

8. Continuing his supply of documents, the development of his method, rendezvous round the city, the meetings? The asking for western gifts, the record of Queen for his son? Poetry for himself?

9. His wife, supportive of her husband, knowing the truth? His son, study, his son disillusioned with his father, the later meeting in prison?

10. Pierre and his continuing with the job, cautious, behaviour in Russia and Moscow? His wife happy, his little boy? The warnings, his lying to his wife, her wanting, her fears, the job in New York, the warning on the mirror? The decision to leave?

11. The porter at the French, the ministers, the Pres, his advisers? The job in New York, the communication with the Americans? With President Reagan?

12. The United States, Reagan and his easy style, watching the television, his advisers, confidential talk? His suspicion of Mitterand’s Communist ministers? Life in the White House? The meeting with Mitterand? The information, speculating on the consequences? The decision to act on the information?

13. The CIA, opinions, visits to Europe, Pierre seeing the official, wanting to rescue Gregoriev? The information, the irony that Gregoriev’s interrogator was a mole? He is moving to the US? The US deciding to sacrifice Gregoriev? Offering Pierre the job in New York?

14. The documents, the nickname Farewell, getting the camera? Tensions in his office, the delivery of the photos, in Pierre’s pockets…?

15. Gregoriev, his concern, his arrest, interrogation, torture, the officials and Gregoriev refusing to answer?

16. The irony of the interrogation, the interrogator and his espionage, information to the Americans, getting the warning to Pierre on the mirror, his going to the Americans?

17. The danger, the officials, Pierre and his family, driving to Finland, at the checkpoint, their being let go?

18. The CIA tribute to Gregoriev, to Pierre, the New York job, but unable to save his friend?

19. The aftermath? Politics between US and the Soviet union in the 1980s, espionage, the reality, the dangers, competitive? The role of Gorbachev and is reaction to the situation?

20. Audiences watching this kind of film and wondering about the realities and contemporary realities?