THE SECRET AGENT (JOSEPH CONRAD’S THE SECRET AGENT)
UK, 1996, 95 minutes, Colour.
Bob Hoskins, Patricia Arquette, Gerard Depardieu, Robin Williams, Christian Vale, Jim Broadbent, Julian Wadham, Eddie Izzard.
Directed by Christopher Hampton.
Playwright, Christopher Hampton, was the author of Dangerous Liaisons and moved to film direction with Carrington. Now he has adapted Conrad's study of terrorists in 1880s London, a dark story, darkly told and with few concessions to audiences who want mere entertainment.
Conrad is famous for his Heart of Darkness (the source for Apocalypse Now). The Secret Agent is a microcosm of the heart of darkness. Alfred Hitchcock made a version, called Saboteur in the mid-30s. Now Bob Hoskins is the agent, a committed little man, used by international powers beyond his capacities. Patricia Arquette is very good as his wife, concerned about her mentally slow brother. Their tragedy is uncompromising.
Uncredited but strongly present on screen as the framing character is a sinister Robin Williams as the complete anarchist (`I have no future, but I am a force'). A strong supporting cast, including Gerard Depardieu, have brief roles. This is a grimmer London than that of Dickens, a London that will produce Jack the Ripper, the underside of Empire and of Victorian England. Fine, serious film-making.
1. A version of a Joseph Conrad novel? Anarchists in London? Psychology, suspense, international politics?
2. Hitchcock and his version, Sabotage? Comparisons of the two films?
3. The work of Conrad, a literary classic, the Pole writing in English? His perspective on English politics, anarchists, the 19th century?
4. The re-creation of Victorian London, dark, seemingly sinister? The streets, dirt? The shop, the home? The cafes? The political centres? The Russian embassy? The contrast with Greenwich and the open green fields and the park? The musical score?
5. Anarchists in the 19th century, taking refuge in London? Revolutions in the 19th century? Russians, dissidents? Their meeting in London? The discussions at the meeting, the types that were present – and Stephen listening in? His fears?
6. The character of Verloc, Bill Hoskins as the little man, put upon? His relationship with Winnie, the intensity of his love for her, the sexual relationship? His looking after Stephen? The shop? With the anarchists? His being summoned to the Russian embassy, the lecture from the ambassador, the demands that he give information? The revelation that he had been a spy for twelve years? His preventing assassinations? His going to the British authorities, the discussions? His being a double agent? The visit of Inspector Heat? His decision to create a diversion, the advice of the Russians? His contacting the professor for the explosives? His taking Stephen into the country? His giving Stephen the bomb, the explosion and his having to escape? The return home, Winnie finding out, her despising of him? His desperation, telling her (while eating the meat because he was hungry)? Her reaction and killing him? The little man, the loser?
7. Winnie, her marriage to Verloc, her wanting a father for Stephen? Her mother, the opening of the film and her mother moving away? Her love for Stephen, care for him? Her allowing the subversives to meet in the shop? The relationship with Verloc, the sexuality? The news of Stephen’s death, the presence of Inspector Heat? Her overhearing Heat and Verloc? Her anger, grief? Her killing Verloc? Her friendship with the dissident, going for his help, getting on the train, on the boat, her disappearance, the newspaper on the first suicide?
8. Gerard Depardieu as the dissident, his presence at the meetings, his looking at Stephen’s drawings and praising them, his devotion to Winnie, her going to him for help, his getting the ticket, on the train, jumping off? Meeting the professor in the café? Reading the headline about Winnie’s death?
9. The professor, his ominous walking through the crowds during the opening credits? Robin Williams in this role? Explosives? Anarchy, yet control? His clients? Giving the material to Verloc? Telling Inspector Heat? His presence with the dissident at the end? The international terrorist?
10. Stephen, age, not quite right in the head? Upset about death? Listening in to the discussions, his fears, his drawings and the dissident admiring them? His being sad with his mother going away, Winnie and Stephen taking their mother, coming home in rain? His devotion to Verloc, going away with him? His carrying of the bomb, his death – and his head in the tree?
11. Inspector Heat, Scotland Yard, his investigations, the bombings, suspicions? Discussing with the professor and getting the name? Going to the shop, his waiting for Verloc? Winnie’s anxiety? Verloc’s return, the discussions?
12. The official, Heat’s discussion with him, their plans? The official and his going to Verloc, Verloc as a double agent?
13. The Russian ambassador, new, throwing his weight around, his impositions on Verloc?
14. Christopher Hampton as playwright, film director – the nature of the screenplay, the non-linear presentation of the events and the effect? Hearing about them and then seeing them in flashback? How dramatically effective? The film as a film of gloom, death and loss? Reflective of Conrad’s novel? For the period?
