Word: ipcress
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Dates: during 1970-1979
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...bearings in a maze of intrigue and counterintrigue, Archer joins a Resistance conspiracy to spirit the King out of the country and the atomic secrets into American hands. Things do not work out that simply. No Len Deighton plot ever does. In his unraveling, the au thor of The Ipcress File and Funeral in Berlin produces a series of memorable set pieces. In one celebrating German-Soviet Friendship Week (Hitler had decided not to invade the Soviet Union), there is an at tempt to disinter the bones of Marx from his Highgate resting place for reburial in Mother Russia...
Despite all its economic attractions, life in Ireland remains lonely and provincial, virtually bereft of the intellectual stimulation that goads most novelists and playwrights. Thus British Novelist Len Deighton (The Ipcress File; Billion Dollar Brain) maintains a residence in Ireland solely for tax purposes but spends most of his time in Portugal...
...movies, going to the bathroom (for years he suffered from constipation) and toying with his food (he would often spend two hours nibbling on a single piece of chicken). One poignant entry in the log came on Nov. 9, 1971, at 1:10 a.m. while Hughes was watching The Ipcress File, a 1960s flick about brainwashing. An aide noted that Hughes could not stand to watch the torture scene in reel three, probably because he was too tortured himself...
...various locations round the U.S., British Columbia and France, although it is impossible to tell exactly where. To establish each new locale, Director Furie (The Ipcress File, Lady Sings the Blues) takes a closeup of a regional license plate, as if he were a cop keeping tab on the traffic. From Washington, D.C., to Washington State, about the only things that change are the colors and the numbers on the licenses. Hit! tries very hard to be a tough action picture, but it is just a little too addled-maybe from all that commuting...
...wonder is that a few emerge unscathed. Director Sidney Furie (The Leather Boys, The Ipcress File) uses film gimcracks that have become pure convention: oblique camera angles, elliptical scene shifts, blinding lights to denote oppressive authority. Still, he maintains an even pace that helps tone down the film's giddy aspirations. As Petrocelli, Newcomer Barry Newman must cope with the staggering improbability of the lawyer's very presence in the town. But he approaches the role with cheerful pugnacity instead of that air of insufferable concern that overlays most screen lawyers. The master craftsman in this melange, though...