THE IPCRESS FILE covers familiar territory of a Cold War spy thriller; it contains an incomprehensible plot, a fair share of untrustworthy characters, and a subject (The Ipcress File) which is never satisfactorily explained. Suffice to say that Harry Palmer (Michael Caine) discovers the cause of all the trouble, but only after a considerable degree of suffering at the hands of a torturer (Frank Gatliff).
What makes Sidney J. Furie's film so memorable is its shooting-style (photography by Otto Heller). It makes use of the basic shot- reverse shot sequence, but every frame is partially obscured by an object, or person placed close to the camera; we seldom see the characters' faces in full profile. This strategy helps to create an atmosphere of menace, where nothing is quite as it seems, and every mission suggested to Harry by his two bosses Dalby (Nigel Green) and Ross (Guy Doleman) appears to have ulterior motives behind it that Palmer remains blissfully unaware of. Palmer himself retains his integrity throughout, even if he perceives himself as something of a rebel within the Secret Service.
THE IPCRESS FILE is a direct antithesis of the Bond canon of films, also popular at the time of release. It is set in a grimy, rain- sodden London full of gray buildings and dark interior; no exotic locations for this spy. The most colorful aspect of the mise-en- scene are the big old-fashioned Routemaster buses that drive up and down familiar streets - Piccadilly, Whitehall, Oxford Street. Palmer himself lives in a shabby apartment; his one concession to the so-called 'Swinging Sixties' spirit is an ability to cook, but no one, not least his colleague Jean (Sue Lloyd) seems especially interested.
The film inevitably incorporates some of the sexist attitudes of the time - for Palmer all women are "birds," and they do not become actively involved in any espionage activity. The film is a very masculinist piece, with legions of actors dressed in long coats, trilby hats and dark suits. Palmer himself has a good sartorial sense, but even he adopts the same uniform, especially when in pursuit of the enemy.
Michael Caine, in a pre-ALFIE role, shows all the cockiness characteristic of his youthful period, when he really believed he could challenge the status quo. Whether he succeeds or not is very much open to debate.
What makes Sidney J. Furie's film so memorable is its shooting-style (photography by Otto Heller). It makes use of the basic shot- reverse shot sequence, but every frame is partially obscured by an object, or person placed close to the camera; we seldom see the characters' faces in full profile. This strategy helps to create an atmosphere of menace, where nothing is quite as it seems, and every mission suggested to Harry by his two bosses Dalby (Nigel Green) and Ross (Guy Doleman) appears to have ulterior motives behind it that Palmer remains blissfully unaware of. Palmer himself retains his integrity throughout, even if he perceives himself as something of a rebel within the Secret Service.
THE IPCRESS FILE is a direct antithesis of the Bond canon of films, also popular at the time of release. It is set in a grimy, rain- sodden London full of gray buildings and dark interior; no exotic locations for this spy. The most colorful aspect of the mise-en- scene are the big old-fashioned Routemaster buses that drive up and down familiar streets - Piccadilly, Whitehall, Oxford Street. Palmer himself lives in a shabby apartment; his one concession to the so-called 'Swinging Sixties' spirit is an ability to cook, but no one, not least his colleague Jean (Sue Lloyd) seems especially interested.
The film inevitably incorporates some of the sexist attitudes of the time - for Palmer all women are "birds," and they do not become actively involved in any espionage activity. The film is a very masculinist piece, with legions of actors dressed in long coats, trilby hats and dark suits. Palmer himself has a good sartorial sense, but even he adopts the same uniform, especially when in pursuit of the enemy.
Michael Caine, in a pre-ALFIE role, shows all the cockiness characteristic of his youthful period, when he really believed he could challenge the status quo. Whether he succeeds or not is very much open to debate.