Word: ritt
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Dates: during 1960-1969
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...Working with Lewis John Carlino's spare script, Director Martin Ritt has fashioned a film like grappa, with a raw kick and a bitter aftertaste. Seldom has a movie so resembled its characters. Like them, it has a primitive volatility, churning from glee to fury in the space of a second. Like them, it has aspects of a legend that has outlived its time. Like them, it strains for respectability-and never makes it. For all its sober posture, the film is hooked on its participants. It stays too long at the graphic garroting; it details too lovingly...
...monotone, he grunts his unrelenting hatred of the world. Caucasian by birth but raised by Indians-possibly the cigar-store kind, judging by the immobility of his features -he has suffered at the hands of both. One white man who has certainly made him suffer is Martin Ritt, the film's director...
...place of Ian Fleming, we have John le Carre, and outgrowths thereof. The drab, coarse, hand-to-mouth existence led by unshaven forty-pounds-a-month British counter-intelligence persons appears to have awakened yet another romantic streak in the masses. The first of the new breed was Martin Ritt's deliberately ugly adaptation of Spy Who Came in from the Cold; there followed The Ipcress File (which might be termed a transitional product), and now The Deadly A flair, The Quiller Memorandum, and Funeral in Berlin...
...CAME IN FROM THE COLD. A grainy, gritty double exposure of the spy racket on both sides of the Berlin Wall. Richard Burton is brilliant as a Western burned-out case; Oskar Werner is his pre-eminent prey from the East. Martin Ritt (Hud) is responsible for the superb direction...
...CAME IN FROM THE COLD. A grainy, gritty double exposure of the spy racket on both sides of the Berlin Wall. Richard Burton is brilliant as a Western burned-out case; Oskar Werner is his preeminent prey from the East. Martin Ritt (Hud) is responsible for the near-perfect direction...