Showing posts with label remakes. Show all posts
Showing posts with label remakes. Show all posts

Mar 12, 2021

Tradecraft: Paramount Remakes THE PRESIDENT'S ANALYST with Trevor Noah

Theodore J. Flicker's 1967 James Coburn satire The President's Analyst is one of my very favorite spy movies. (It's also Coburn's best spy movie... Sorry, Derek Flint.) When describing it to people, I always say that the comedy holds up surprisingly well today... sadly. America is still facing many of the same social  issues Flicker sent up over fifty years ago (from institutional racism to monolithic Big Tech), and it's easy to imagine a remake. Now, Paramount is imagining one... with The Daily Show host Trevor Noah on board to produce and potentially star. According to The Hollywood Reporter, former Obama White House staffer Pat Cunnane will write the script. The premise, about a psychotherapist burdened with all of the President's top secret stresses, will obviously be familiar ground for him! According to his publisher, Cunnane served as "President Barack Obama’s senior writer and deputy director of messaging at the White House, where he worked for six years in many roles."

Per the trade, "Details for the new take are being kept under the couch but it is described as a re-examining the 1967 satire through the lens of the contemporary political landscape." You really wouldn't have to change too much. I do hope the new film retains the original's almost Pink Panther-esque slapstick tone though. It's not too often you see slapstick and satire married together, but Flicker's film did it perfectly. Severn Darden and Godfrey Cambridge co-starred in the original.

Apr 14, 2020

Tradecraft: U.S. Remake of French Series THE BUREAU in the Works

Deadline reports that an English language version of the international hit French spy series The Bureau (Le Bureau des Légendes) is in the works. Per the trade, Paris-based Federation Entertainment, the production company behind the series, "said that negations are underway for remakes of The Bureau in both the U.S. and South Korea." The original French version airs in America on cable network Sundance, and has found great success in markets all over the world. It stars Mathieu Kassovitz (Haywire, Munich), and Bond villain Mathieu Amalric (Quantum of Solace) came aboard in the fourth season.

Oct 13, 2019

John le Carré Teases New Smiley TV Series, Potentially Starring Jared Harris

In a great profile in Saturday's New York Times promoting his new novel Agent Running in the Field, author John le Carré  reveals that his sons' production company, The Ink Factory, are plotting an epic new TV series about his most famous character, spymaster George Smiley. "According to le Carré," asserts the article's author, Tobias Grey, "The Ink Factory now plans to do new television adaptations of all the novels featuring Cold War spy George Smiley - this time in chronological order. 'That means that if you actually go back to the first big conspiracies in The Spy Who Came In From the Cold, you've got to consider how Smiley ages and how young he was at that time,' le Carré says. That would mean finding an actor who can play younger than the Smiley incarnated by Gary Oldman in the film version of Tinker, Tailor, Soldier, Spy. Le Carré says that his sons are interested in casting the British actor Jared Harris, whose performance they all admired in the recent TV mini-series Chernobyl." Harris (The Man From U.N.C.L.E., Allied), interestingly, was originally cast in Tomas Alfredson's 2011 le Carré  adaptation Tinker Tailor Soldier Spy as Circus (MI6) chief Percy Alleline, but had to drop out due to scheduling conflicts with Sherlock Holmes: A Game of Shadows, in which he played Professor Moriarty. Toby Jones took on the Alleline role, and embodied the character perfectly. Besides Oldman, Smiley has been played in the past by Denholm Elliott, James Mason, Rupert Davies, and, most memorably, Alec Guinness in two famous BBC miniseries.

A new miniseries version of The Spy Who Came In From the Cold was first announced back in 2016 as a follow-up to the hugely successful le Carré miniseries The Night Manager. Le Carré worked with the producers and writer to crack their take on the material, and that work led him to write a whole new sequel to the book, A Legacy of Spies, but did not yield a series. Instead, The Little Drummer Girl (2018) proved to be the next le Carré miniseries, but work continued on The Spy Who Came In From the Cold. Now, apparently, that project has grown in scope and morphed into this one. I've long craved a long-form TV series about le Carré's Circus, devoting a season to each book and dropping in the short stories from The Secret Pilgrim at the appropriate historical moments and, most crucially, finally giving us a television version of the (to date unfilmed) middle book in the Karla trilogy, The Honourable Schoolboy. This sounds like it could turn out to be exactly that! (Though hopefully they'll begin at the real beginning with Call For the Dead, and not The Spy Who Came In From the Cold.) It's a most tantalizing prospect!

Read my George Smiley Primer here.

Sep 11, 2019

Expanded Score CD for Danny Elfman's MISSION: IMPOSSIBLE (1996) Out this Week from La-La Land

Years in the making, La-La Land Records finally made the announcement today that Mission: Impossible fans have been craving: an expanded score CD featuring Danny Elfman's amazing music from the first Tom Cruise Mission movie! The 2-disc limited edition soundtrack to the 1996 Brian De Palma film (review here) will contain the original score album assembly, mastered by Patricia Sullivan, on Disc 1, while Disc 2 (per the label) "showcases the remastered film score, expanding the original album release by more than twenty minutes. Produced by Dan Goldwasser and Neil S. Bulk and remastered by Mike Matessino, this powerhouse 2-CD set is limited to 3000 units and features exclusive liner notes by writer Jeff Bond. The sleek art direction is by Dan Goldwasser." It should be noted that, like the original score album, this release will not contain the version of Lalo Schifrin's "Mission: Impossible Theme" by U2's Adam Clayton and Larry Mullen, which was originally included on the entirely different album Mission: Impossible - Music from and Inspired by the Motion Picture (remember those annoying "From and Inspired by" albums so popular in the late Nineties?), and also issued as a single. Elfman's music, however, frequently incorporates Shifrin's theme, too, as well as his distinctive cue "The Plot" from the Sixties TV show. Missing from the track list for the new release are the three Elfman tracks originally included on that "From and Inspired by" album, but my guess is that that those tracks contain music already inclued in other tracks on the original score album. (Can anyone confirm or refute that?) Last year, Mondo released Elfman's Mission: Impossible score on vinyl, but that release contained no extra music.

Strictly limited to 3000 units, La-La Land's Mission: Impossible - Limited Edition soundtrack retails for $29.98. It's available to order now, and starts shipping later this week on September 13.

Here's the full track listing from the La-La Land website:

DISC 1 ORIGINAL POINT MUSIC SCORE ALBUM
1. Sleeping Beauty(†) 2:33
2. Theme From Mission: Impossible(§) 1:07
    Composed by Lalo Schifrin, arr. Danny Elfman
3. Red Handed(§) 4:23
4. Big Trouble 5:37
5. Love Theme? 2:24
6. Mole Hunt 3:05
7. The Disc(†) 1:58
8. Max Found 1:05
9. Looking for “Job”(†) 4:40
10. Betrayal 2:59
11. The Heist(†) 5:49
12. Uh-Oh! 1:31
13. Biblical Revelation 1:37
14. Phone Home 2:28
15. Train Time(§)(†) 4:15
16. Ménage à Trois 2:57
17. Zoom A 1:54
18. Zoom B(§) 2:58
TOTAL DISC TIME: 53:20

DISC 2 FILM SCORE
1. Sleeping Beauty**(†) (Film Version) 3:03
2. Theme From Mission: Impossible(§) 1:07
    Composed by Lalo Schifrin, arr. Danny Elfman
3. Red Handed** (†/§) (Film Version) 6:21
4. Big Trouble** (Film Version) 7:01
5. Lonely March* 0:54
6. Mole Hunt** (Film Version)/Escape* 3:35
7. Looking For “Job”(†) 4:44
8. Max Returns*/Max At Last* 1:30
9. Max Found 1:05
10. The Disc(†) 1:59
11. Disavowed*/Worse Than You Think** (†) 2:48
12. Langley*(§) 1:01
13. The Heist** (†) (Film Version) 5:05
14. Uh-Oh! 1:31
15. Biblical Revelation 1:36
16. Phone Home 2:28
17. Betrayal** (Film Version) 3:01
18. Love Theme? 2:24
19. Train Time** (Film Version)/Is He?* 5:33
20. Ménage à Trois 2:57
21. Zoom A** (Film Version)/Zoom B**(§) (Film Version) 5:21

ADDITIONAL MUSIC
22. Red Handed**(†) (Alternate Ending) 1:46
23. Disavowed* (Alternate)/Worse Than You Think*(†) (Alternate) 2:59
24. Zoom A** (Alternate)/Zoom B**(§) (Alternate) 5:19
TOTAL DISC TIME: 75:15

TOTAL ALBUM TIME: 128:35

* previously unreleased
** contains previously unreleased material
§ contains “Theme From Mission: Impossible” by Lalo Schifrin
† contains “The Plot” by Lalo Schifrin

Jun 30, 2019

Trailer: CHARLIE'S ANGELS (2019)

The latest incarnation of Charlie's Angels is a new feature film directed by Elizabeth Banks and starring Kristin Stewart (American Ultra), Ella Balinska (Hunted), and, after seeing her in Guy Ritchie's Aladdin, my pick for Modesty Blaise should any studio ever wake up and realize the world is running out of heroes, Naomi Scott. And, after McG's two movies in the early 2000s (especially the second one) dabbled in espionage, this version seems to dive full into spy territory. And it looks pretty awesome! Charlie's Angels, which co-stars Banks (Catch Me If You Can), Patrick Stewart (Smiley's People), and Sam Claflin (Any Human Heart) opens November 15. Check out the trailer!

Dec 7, 2018

Trailer: KIM POSSIBLE Live-Action Movie



Today, Disney Channel dropped the slightly underwhelming first full trailer for their upcoming live action Kim Possible movie, and announced a premiere date. It will premiere Friday, Feb. 15 at 8 ET/PT on Disney Channel and DisneyNOW. And, thanks to Deadline, we finally know a little bit more about the plot. This won't be a continuation of the cult animated show, nor will it take place within the series' continuity. Rather, it will be a full reboot, and an origin story for Kim. (It was never explained on the show how she came to be a teenage superspy beyond having inherited good genes from her brain surgeon mom and rocket scientist dad.)

While the series concluded with Kim's high school graduation, the live-action Kim Possible will pick up just as Kim and sidekick Ron Stoppable are first starting Middleton High School, and (in a page out of the Buffy playbook), the ultra-capable young woman finds navigating the classrooms and social hierarchy of high school much more difficult than saving the world. Kim will compete with her rival and frenemy Bonnie Rockwaller not for a spot on the cheerleading squad, as she did on the TV show, but the school's soccer team. And Ron will acquire his pet naked mole rat, Rufus, over the course of the telefilm. The pair will be joined on their mission by a new friend, Athena, who quickly surpasses Kim as the trio, along with gadget maker and tech expert Wade, take on the villainous Dr. Drakken and his henchwoman Shego. (Do you think the hitherto unknown Athena will turn out to be a double agent?)

I really wish this were being done as a big budget, theatrical film. The actors look fine in this trailer, but without the spacious, Ken Adam-inspired sets, and lit like a 90s TV pilot with way too much blue, it just doesn't look like Kim Possible. Here's hoping they prove me wrong! It is, after all, co-written by series creators Bob Schooley and Mark McCorkle (along with The Duff's Josh Cagan).

Sadie Stanley stars as Kim Possible; Sean Giambrone (The Goldbergs) plays Ron. Todd Stashwick (12 Monkeys) and Taylor Ortega (Succession) co-star as Dr. Drakken and Shego; Ciara Wilson (OMG!) as newcomer Athena; Alyson Hannigan (Buffy the Vampire Slayer) as Kim’s mom; Issac Ryan Brown (Raven’s Home) as Wade; and Erika Tham (Make It Pop) as Bonnie. Patton Oswalt reprises his voice role from the animated series as villain Professor Dementor, and original Kim Possible voice Christy Carlson Romano has a cameo.

Aug 16, 2018

Teaser: Disney's New KIM POSSIBLE Live Action Remake

© Disney Channel
Disney Channel has released a first teaser trailer for their upcoming live action reimagining of the groundbreaking early 21st Century animated spy send-up Kim Possible.

Original series creators Mark McCorkle and Bob Schooley penned the script for the remake, along with Josh Cagan. Newcomer Sadie Stanley has the unenviable task of bringing a beloved animated character to life as Kim Possible while Sean Giambrone takes on the role of loyal sidekick Ron Stoppable. Alyson Hannigan, Todd Stashwick, Taylor Ortega, Ciara Wilson, Erika Tham, Issac Ryan Brown, and Connie Ray also star. Last week it was announced that two voice actors from the original cast would also be joining the telefilm. Patton Oswalt will reprise his series role as the villainous Professor Dementor (sort of a poor man's Dr. Drakken, despite Oswalt's considerable talent), and the voice of Kim, Christy Carlson Romano, will have a cameo.

Many adult spy fans may be asking themselves, why does this matter? Why do I bother covering a Disney Channel kids' spy movie? In short, because the original series was brilliant. Kim Possible was one of the sharpest, smartest James Bond parodies ever. It often dealt with the myriad problems of being a Bond-type villain, from the overhead costs of maintaining elaborate underground or underwater bases, to the perfect real estate for said lairs, to the difficulty in finding good help. (Turns out that standard-issue henchmen are provided by an entrepreneur named Jack Hench who runs a large staffing agency.) And it did so even better than the Austin Powers movies ever did, calling out the genre's cliches and turning them over on themselves. At the same time, the love and reverence for the material they spoofed was evident everywhere, from the truly impressive Ken Adam-influenced designs to Adam Berry's music to the Bond-inspired title sequence of the original, animated Kim Possible movie, So the Drama.

In the original show, which was sort of Buffy the Vampire Slayer meets James Bond (with all the high such a comparison implies), Kim was an ordinary teenage girl dealing with ordinary teenage problems like crushes, dating, acne, social hierarchy, cheerleading, and homework... along with less average ones like supervillains, monkeys, ninjas, and monkey ninjas. Because in addition to being a regular full-time high school student, she was also a freelance superspy and crime fighter. (Her genes were in her favor, being the daughter of a rocket scientist and a brain surgeon.) With her best friend and sidekick, the clumsy but utterly loyal Ron Stoppable, his pet naked mole rat Rufus, and 10-year old Q-type gadget genius Wade, she took on the likes of the nefarious Dr. Drakken and his henchwoman Shego (who will both be in the live action movie), Lord Monkey Fist, Señor Senior, Sr. and Señor Senior, Jr--not to mention her cheerleading rival, Mean Girl Bonnie Rockwaller. The series never condescended to its young audience and featured razor-sharp scripts sure to entertain any adult spy fan with humorous send-ups of 007, Mission: Impossible, S.H.I.E.L.D., Alias, and countless more spy standards. Hopefully the live action version will maintain those loving references, and the witty and intelligent scripting fans came to expect. It's honestly hard to tell from this incredibly brief teaser, but this is our first (not entirely inspiring) look at the new, flesh and blood Kim Possible. The telefilm is expected to premiere early next year.

Tradecraft: Lee Daniels Developing TV Remake of 1973 Cult Classic THE SPOOK WHO SAT BY THE DOOR

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Deadline reports that Lee Daniels (Empire, Lee Daniels' The Butler) has optioned the rights to Sam Greenlee's revolutionary 1969 spy novel The Spook Who Sat By the Door with the intention of turning it into a TV series for Fox 21 Television Studios. The book was previously, brilliantly filmed as a feature by Ivan Dixon in 1973 (with music by Herbie Hancock). While some are quick to lump it in with the blaxpoitation wave of that era, The Spook Who Sat By the Door was really something much more than that. It's truly revolutionary cinema, and riper than ever for a remake in today's tense racial climate in America. The story follows Dan Freeman, the CIA's first black officer in an affirmative action hiring initiative. After rigorous training in all manner of weapons, unarmed combat, sabotage, and counterinsurgency, Freeman is made "top secret reproduction center section chief..." a task that involves running a photocopier. Fed up, he eventually returns to his hometown of Chicago where he uses his training to militarize a local black street gang and create genuine insurgency in the streets of Nixon's America, figuring the country can't fight wars on two fronts (overseas and at home) simultaneously. Based on the highly effective techniques used on the streets of Chicago, the Intelligence Community (still underestimating Freeman) assumes that it must be Russian agents fomenting discord. (The antihero's backstory and motivation were recently borrowed for the villain in this year's blockbuster Black Panther.) The original film, long suppressed, is a genuine classic deserving of rediscovery, and Daniels is a talented storyteller. I'm really looking forward to seeing what comes of this!

Jul 23, 2018

Movie Review: Mission: Impossible (1996)


NOTE: I had hoped to illustrate these movie reviews with lots of screen grabs, to make them match my TV season reviews, but my optical drive has failed me, so instead I'll make do with promotional material. Hopefully I'll have a chance to go back and add screen images in the future.

It took me about a decade to come around to accepting that Brian De Palma’s Mission: Impossible is actually quite a good spy movie. And twice that long to recognize that it’s even a pretty good Mission: Impossible movie. But when I first saw it in the theater my senior year of high school, I was just so incensed at the audacity of its major twist that I hated it for years. That twist (which I’m assuming is a spoiler to no one after 22 years) was making Jim Phelps, the hero of the TV show, the villain of the film. Granted, I had never even seen an episode of the classic 1966-73 series at that point, but I had seen and enjoyed episodes of the 1988-90 revival series, which also starred the great Peter Graves as team leader Jim Phelps. And I found the idea of making Phelps a traitor (even in the guise of a different actor) offensive and entirely unpalatable. And it still is, honestly, but as the subsequent film series has, over the years, both forged its own identity and simultaneously become more respectful of the TV series that spawned it (with direct references aplenty in 2011’s Ghost Protocol and 2015’s Rogue Nation), I’ve grown thicker skin as a fan. And the fact that in the film Phelps is played by the reptilian and generally charmless Jon Voight instead of the unflinchingly, endearingly earnest Graves definitely makes it easier to separate the two Phelpses. (I still wish, however, that one of the movies would include a cameo from a surviving star of the TV show reprising their role and explaining that somehow the Phelps who mentored Tom Cruise’s Ethan Hunt was not the same Phelps they knew and worked with. J.J. Abrams opened the door to such a possibility in 2009 when he suggested Graves himself might cameo in the next movie, but sadly the actor passed away before he had the chance to do that and rehabilitate his character.)

If one can manage to ignore the Phelps issue, however, Mission: Impossible is a highly entertaining movie, and a very rewarding one for spy fans. De Palma, who manages to be divisive even among his admirers (personally I find I tend to either love or hate his films), is, like Quentin Tarantino, a master of reappropriation. While he’s been accused of outright theft, I think that’s unfair. He takes scenes and situations he admires from classic films (and not little known ones, either; he blatantly borrows well-known imagery from the likes of Hitchcock, Antonioni, Kubrick, Coppola, and Eisenstein, among many others), and crafts them into something new, audacious, and often spectacular. He doesn’t just take imagery from these masters; he’s also studied their craft, and on a good day is right up there with Argento and Scorsese in his ability to construct epic cinematic setpieces worthy of Hitchcock. Mission: Impossible may owe its title, basic premise, and (most crucially) its theme music to its namesake television program, but the plot and central setpiece come from other spy and heist movies to which the director wishes to pay homage. And that makes it tremendous fun for fans of those genres. But despite the unforgiveable treatment of Jim Phelps, De Palma also pays homage to Bruce Gellar’s series.

The first act is pure Mission: Impossible, offering direct homage after direct homage to the show. The film begins with the tail end of an operation, and it’s clearly a classic Mission: Impossible con job incorporating several elements instantly familiar to fans of the show. Using a hotel room set of their own creation along with a life-like rubber mask and a staged death, the 1990s Impossible Missions Force (IMF) cons an enemy agent into revealing crucial intel. We then see them breaking down their set, an act that not only exposes the artifice of a good con, but also the artifice of cinema itself, recalling the final scene of Mario Bava’s classic horror movie Black Sabbath, in which the director keeps pulling back from a shot of Boris Karloff on horseback far enough to reveal that the actor is actually in a studio riding a fake horse, with crew members creating the illusion of movement through a forest. It may at first seem like a throwaway moment, but with this business, De Palma signals his intention to deconstruct the format of the series, as well as his commitment to cinematic sleight of hand. (A later scene reaffirms this with Cruise performing an actual magic trick for the other characters and the audience.)

Before that deconstruction comes, though, we’re treated to one more moment of pure, classic television Mission as the main titles unfold in a very familiar way to very familiar music. The TV series was somewhat unusual in cutting a new, unique opening credits montage for each episode, which teased actual scenes from the show you were about to watch with familiar graphics of a lit fuse burning down. De Palma crafts the same sort of opening for his film, showing bits and pieces of the movie to come set to composer Danny Elfman’s version of Lalo Schifrin’s iconic Mission: Impossible theme music.

Following the titles we’re treated to yet another familiar trope from the TV show, as Jim Phelps (Voight) is issued his orders via a recording hidden in an innocuous everyday item. (In this case it’s a personalized in-flight film selection, proffered by the complicit stewardess.) The voice is not Bob Johnson’s, but many of the phrases are: “Good morning, Jim…” “Your mission, should you choose to accept it…” and “This tape will self-destruct in five seconds.” We know the drill! From there, however, De Palma and screenwriters David Koepp (Jack Ryan: Shadow Recruit), Steven Zaillian (Clear and Present Danger) and Robert Towne (who penned one of the greatest Man from U.N.C.L.E. episode "The Dove Affair" before going on to write such classics as Chinatown) serve up what the comfortably formulaic TV series never really gave us: an IMF mission gone horribly, deadly wrong.

The team (played in an act of calculated misdirection by recognizable actors who had been heavily played up in commercials and even “introduced” in a comic book promising fans their first look at the new IMF) is tasked with infiltrating a black tie embassy party in Prague, and securing a MacGuffin from a traitor named Golitsyn. (Yes, De Palma happily references real life spies as well as fictional ones.) It seems like a simple enough assignment for team members with familiar specialties, like electronics wiz Jack (Emilio Estevez), icy femme fatale Sarah (Kristin Scott Thomas, deliciously channeling Barbara Bain) and master of disguise “point man” Ethan Hunt (Tom Cruise), among others. And it goes smoothly enough at first, but then, shockingly, team members start dying in grisly ways. Jim calls abort, but Ethan desperately tries to salvage the mission, only to end up impotently watching as all of his colleagues are killed, one by one, before his eyes. This includes Jim, who appears to be shot at point blank range and then fall off a bridge, and Jim’s wife, the beautiful Claire (Emmanuel Beart), whose car explodes. De Palma has given fans exactly what they want, and then pulled the rug out from under them quite excitingly. And he just keeps on tugging that rug when, later on, Jim is revealed to be still alive, and the architect of his own team’s demise. (Claire has also survived.) It’s classic Mission: Impossible… thoroughly and brutally deconstructed.

This is the moment when De Palma starts referencing what must be his favorite spy movie, the Robert Redford classic 3 Days of the Condor (1975). Ethan makes it to a pay phone and scrambles a secure connection, reporting in to his Langley control Kittridge (the then-ubiquitous Henry Czerny, of Clear and Present Danger) that (in Redford’s exact words), “They’re all dead.” Just as Redford’s CIA superiors set up a meeting for him that erupts in violence, so does Kittridge for Ethan. Since Ethan appears to be the only survivor of the mission gone awry, Kittridge is convinced he is the mole they were looking for. And Ethan realizes the whole mission was actually a mole hunt. After a very effective escape sequence involving hundreds of gallons of water gushing out in a restaurant, Ethan finds himself on the run like Redford… or like so many of the heroes of De Palma’s favorite director, Alfred Hitchcock. From here on in, what we get is more or less a Hitchcockian man-on-the-run movie, as Ethan desperately struggles to prove his innocence and safeguard the MacGuffin (again, in true Hitchcockian form)—a list of active non-official cover agents, or “NOC list.”*

But even if the plot is pure Hitchcock (by way of Condor), De Palma’s most famous appropriation (and the defining scene of the film in most viewers’ minds) comes from Jules Dassin’s 1964 heist classic Topkapi (based on Eric Ambler’s novel The Light of Day, and also an influence on Geller) in the form of a tour de force heist of CIA headquarters involving Ethan memorably dangling from the ceiling into a pressure-sensitive, climate-controlled vault. To aid him in this impossible mission, Ethan ends up forming the basis of a new team by recruiting disavowed agents Luther Strickle (Ving Rhames, then riding high on his breakout Pulp Fiction performance) and Krieger (Jean Reno, fresh from his international star-making turns for Luc Besson in Nikita and Leon) to join himself and Claire. Luther is a computer hacker in the vein of the original series’ tech whiz Barney Collier (Greg Morris), and Krieger is an all-purpose tough guy who flies helicopters and likes knifing people. The role as scripted seems to call for more of a Peter Lupus-type strongman (Willy on the TV show), as Krieger’s main function on the CIA heist is to deploy the rope from which Ethan dangles and to haul him back up (indeed, Krieger was drawn as a hulking muscle man in the Marvel prequel comic… but then again artist Rob Liefeld didn’t know how to draw men any other way), but Reno was the flavor of the moment and more than capable of a convincingly evil turn when the script calls for it. While not part of the de facto team, Vanessa Redgrave (Blow-Up) also deserves mention for a scene-stealing turn as an arms dealer named Max with a fascination for paradoxes and a seeming affinity for Ethan… if not trust. And she’s aided by Necros from The Living Daylights, actor Andreas Wisniewski, who makes the most of a small part with a large presence.

Like his “Odessa Steps” sequence copped from Battleship Potemkin in The Untouchables (a very high quality adaptation of a classic TV show), De Palma’s vault heist is an excellent example of how he masterfully reappropriates iconic scenes and makes them work in new contexts. The scene shows off Cruise’s trademark acumen for physical stuntwork (the dangle might not be from the heights of the Burj Khalifa or an airborne transport plane, but the acrobatics involved in remaining stiff as a board, parallel to the floor are very impressive—and clearly required abs of steel!) along with De Palma’s ability to craft ever-building suspense. Taking a page from another classic Dassin heist, in Rififi (1955), the whole enterprise must unfold in silence because alarms will go off if Ethan makes any sound. So the sequence plays out purely visually and generally free of dialogue.

After cleverly establishing the elaborate rules of the room via pre-lap voiceover as Cruise briefs his compatriots in advance, De Palma is able to ratchet up the tension with a close-up of a bead of sweat rolling down Ethan’s glasses from his forehead (will it hit the floor, setting off the alarms???) or a shot of a rat approaching Krieger as he lowers Ethan from the air vents above (will he sneeze again, setting off the alarms, or lose his grip on Ethan???). The director moves skillfully from wide shots establishing Ethan’s place in the space of this carefully controlled environment to close-ups of things like that bead of sweat or digital countdowns to create a nail-biting sequence. And true to the tenets of reappropriation rather than rip-off, everything taken from Dassin plays out within the context, once again, of a classic Geller IMF set-up. While the movie as a whole relies too heavily on a single protagonist for fans of the very much team-based series, the individual setpieces tend to highlight classic Mission: Impossible teamwork. Every member plays a role in the events at CIA headquarters, from Claire drugging the coffee of the man who’s meant to occupy the vault they’re invading, to Luther in the van looking at screens with moving green dots (as in Alien, these dots also signify suspense within the context of the scene) to Krieger struggling with Ethan’s weight on the other end of his rope. And upon executing their plan, they all make their getaway dressed as firefighters (recalling the show's first season episode "Memory") to the familiar strains of Lalo Schifrin’s original series cue “The Plot,” as reimagined by Danny Elfman. While utilizing generous bits of Schifrin throughout, Elfman’s terrific score also reinforces De Palma’s Hitchcock influence by channeling Bernard Herrman in equal measure. Furthermore, the timeless score helps the movie feel less dated today than its contemporary, GoldenEye, whose Eric Serra score places it as instantly and precisely in 1995 as the computer technology on display.

The only setpiece where De Palma really falters is in the final one, a chase atop the TGV train that involves a helicopter chasing the high-speed train into a tunnel. This sequence was heavily showcased in the film’s original advertising campaign, but even despite the great score it does feel a bit dated today thanks to the very sort of CGI the series now does its best to avoid (in favor of practical stunts), but which was such an irresistible new tool at the time that everyone was using it… even though the technology was still far from perfected. But unlike many of the subsequent movies in the film franchise, the action setpiece was not the film’s real climax. The complicated spy plot of betrayals and reversals plays out dramatically on board the train (such a classic genre setting!) prior to the wind tunnel flips and fighting. And, once again, it involves sleight of hand, both physically and in the filmmaking. De Palma relishes his reveals, and deploys them in his unfailingly cinematic style, with Cruise envisioning different scenarios that play out visually for the audience and in his head while verbally describing something entirely different for the benefit of his on-screen audience—a trick Christopher McQuarrie would revisit decades later in the series.

In Mission: Impossible, Brian De Palma crafted a pretty terrific spy film that manages to simultaneously embody and subvert many classic tropes of the genre. He didn’t limit himself to the tropes of the titular TV series alone, however, and for better or worse delivered a film that owes more overall to the classic spy films of Alfred Hitchcock and heist films of Jules Dassin. While that may rankle some dyed-in-the-wool fans of Bruce Geller’s series (and while I’ll personally never be able to fully get over the appalling treatment of the series lead Jim Phelps), what spy fan can resist classically canted angles of Prague streets at night, treffs in London safehouses, live drops on European trains, or intrigue at black tie embassy affairs? Not this one!


Mission Report
TV Moments: The firefighter disguises from "Memory," the opening credits, lots of mask business
Dangling: The definitive Hunt Dangle—right out of Topkapi
Rogue Agents: Phelps and his associates
Rogue Ethan: Ethan goes on the run when Kittridge accuses him of being the mole
Fashion Alert: One attribute Voight's Phelps shares with Graves is a fashion sense that dates somewhat poorly. It mostly comes through in his hair, which seems an odd length and cut for a secret agent.

*NOC lists as MacGuffins are a personal pet peeve of mine. I can’t stand that trope. From Mission: Impossible to Skyfall to Atomic Blonde (all movies I thoroughly enjoy), the NOC list MacGuffin drives me nuts. Because once a list of active agents is out of the hands of the agency controlling them for even a minute, all those agents must be assumed blown. The damage is done in the mere theft or disappearance of such a list from safe hands. It’s toothpaste that can never be put back in the tube, and thus an ineffective MacGuffin. The only way the CIA can really protect its blown assets now is by doing whatever it can to warn them and exfiltrate them in a timely manner. And an object that becomes instantly useless when removed from its proper place fails as a MacGuffin. In Mission: Impossible, at least, the audience can be sure that the real NOC list is never compromised, because we’re always privy to its whereabouts and the ineffectiveness of any attempt to upload it elsewhere. But Kittridge and the CIA don’t have the benefit of our omniscient point of view.

Read my review of M:I-2 (2000) here.
Read my review of Mission: Impossible: The Seventh TV Season here.
Read my review of Mission: Impossible: The Sixth TV Season here.
Read my review of Mission: Impossible: The Fifth TV Season here.
Read my review of Mission: Impossible: The Fourth TV Season here.
Read my review of Mission: Impossible: The Third TV Season here.
Read my review of Mission: Impossible: The Second TV Season here.
Read my review of Mission: Impossible: The First TV Season here.

MISSION: IMPOSSIBLE Week

Over the nearly twelve years I've been writing this blog, I've written a lot about Mission: Impossible. It's one of the key spy brands, whether we're discussing the blockbuster Tom Cruise movies which have grossed nearly $2.8 billion collectively at the worldwide box office since 1996, Bruce Geller's original, innovative, and ahead of its time 1966-73 TV series, which established so many now familiar tropes of the spy genre, or Lalo Schifrin's indelible theme, a tune that connotes action and excitement and high-stakes espionage as readily as "The James Bond Theme."

CBS/Paramount released the first season DVD set just a few months after I began this blog, and I reviewed it in December 2006 here. Although I'd caught a few syndicated episodes randomly, the DVD sets afforded me my first opportunity to dive into the original series at any length. (My original introduction to the franchise had actually come from the 1988-90 revival series.) Over the next five years, those season sets formed a sort of backbone for this blog. As I noted in the conclusion to my review of the seventh and final season, "In many ways, this whole blog has been about my growth as a Mission: Impossible fan... Discovering new favorite spy series—and sharing those discoveries—is one of the main reasons I started this blog to begin with. And after watching all seven seasons, I can say categorically that Mission: Impossible is one of my favorites—probably my second favorite Sixties spy series after The Avengers." My reviews of each season became longer and longer, more profusely illustrated, and more and more in depth. They've proven to be among the most popular posts I've done. And yet, somehow, I've never gotten around to reviewing the Mission: Impossible movies. Sure, I've written about them a lot... covered their casting and production as news items, and included some of them on various best of the year and best of the decade lists. But I've never done in-depth reviews to compliment my reviews of the TV seasons. With Mission: Impossible - Fallout, the sixth movie in the big-screen incarnation of the franchise, due out this Thursday, what better time to finally rectify that oversight?

It's kind of amazing that Tom Cruise has been playing Ethan Hunt now for 22 years—far longer than any one actor continuously wore the mantle of 007, and longer even (by a year) than the cumulative period between Sean Connery's first and last (non-consecutive) appearances as James Bond. That's quite an accomplishment. And a reason why these films deserve further exploration on this blog!

It's also been a very long time since I've done a theme week, so "Mission: Impossible Week" is pretty exciting! Watch for my review of Brian De Palma's 1996 inaugural Mission later today, and others throughout the week, mixed in with other little Mission-related postings. And then see Mission: Impossible - Fallout in theaters this weekend! And while you're waiting (no doubt with bated breath!) for that first film review, why not whet your palettes by checking out or revisiting my reviews of the various TV seasons?

Read my review of Brian De Palma's Mission: Impossible (1996) here.
Read my review of John Woo's M:I-2 (2000) here.

Read my review of Mission: Impossible: The Seventh TV Season here.
Read my review of Mission: Impossible: The Sixth TV Season here.
Read my review of Mission: Impossible: The Fifth TV Season here.
Read my review of Mission: Impossible: The Fourth TV Season here.
Read my review of Mission: Impossible: The Third TV Season here.
Read my review of Mission: Impossible: The Second TV Season here.
Read my review of Mission: Impossible: The First TV Season here.

May 22, 2018

Full Trailer: CONDOR (2018)

Following up on March's teaser trailer, The Audience Network (yeah, that's a thing) has released the full trailer for their TV reimagining of 3 Days of the Condor entitled Condor. James Grady's novel Six Days of the Condor is one of the genre's all-time classics. Sydney Pollack then made it into one of the all-time classic spy films, Three Days of the Condor. Can lightning strike thrice? Can the same story now be successfully adapted once again, into a different medium? Well, it worked for Tinker Tailor Soldier Spy, so I suppose it's just possible... but obviously a long shot. Still, this full trailer looks pretty good, even if it seems clear that they've ditched the brilliant purpose of the CIA department Condor works for in both original versions.

As we first learned over a year ago, the series protagonist played by Max Irons (Crooked House) will be named Joe Turner, like Robert Redford's character in the film, and not Ronald Malcolm, as in the book. But the movie was close enough to its source material (despite a few key differences) that if the TV series is at all faithful to either, it should at least resemble both. Katherine Cunningham (The Playboy Club) takes on the Faye Dunaway role of Kathy Hale (again using the character's movie name rather than book name), and 20-year-old Israeli Arab actress Leem Lubany (Rock the Casbah) plays Gabrielle Joubert, a variation on the iconic role of the professional killer played so memorably by Max Von Sydow in the film. William Hurt, Mira Sorvino, Brendan Fraser, and Bob Balaban also star.

Condor premieres June 1 on The Audience network. My understanding is that the Audience Network was previously only available to DirecTV satellite subscribers, but now there is an app, DirecTV Now (similar to HBO Go, I think), that allows users to stream it on various set-top devices. I haven't done this myself, and can't vouch for it. But come June, I will have to figure out how to see it, and this seems the easiest way.

Mar 26, 2018

First Teaser Trailer: CONDOR TV Series

It was just over three years ago that we first heard Three Days of the Condor would be remade as a TV series. Last week AT&T's Audience Network released the first trailer for their upcoming series, Condor (a simplified title that, while lacking some coolness, conveniently avoids the potentially limiting question of a specified number of days altogether), a reimagining of one of the spy genre's cornerstone stories, based on James Grady's classic 1974 novel Six Days of the Condor and Sydney Pollack's iconic 1975 film of it, Three Days of the Condor. While the trailer doesn't look very familiar to fans of the movie or the novel, the description on the show's official website does:
Joe Turner has always been conflicted about his work for the CIA. But when something he’s discovered gets his entire office killed, leaving Joe as the only survivor and forcing him to go on the run, the theoretical reservations he’s always harbored turn into all-too-real moral dilemmas. Under life or death pressure, Joe will be forced to redefine who he is and what he’s capable of in order to discover who’s behind this far-reaching conspiracy, and stop them from completing their deadly objective that threatens the lives of millions. Inspired by Paramount’s Sydney Pollack 1975 political thriller Three Days of the Condor. Condor stars Max Irons, William Hurt, Leem Lubany, Mira Sorvino, Brendan Fraser, and Bob Balaban.
So, as we first learned a year ago, the series protagonist played by Max Irons (Crooked House) will be named Joe Turner, like Robert Redford's character in the film, and not Ronald Malcolm, as in the book. But the movie was close enough to its source material (despite a few key differences) that if the TV series is at all faithful to either, it should at least resemble both. Katherine Cunningham (The Playboy Club) takes on the Faye Dunaway role of Kathy Hale (again using the character's movie name rather than book name), and 20-year-old Israeli Arab actress Leem Lubany (Rock the Casbah) plays Gabrielle Joubert, a variation on the iconic role of the professional killer played so memorably by Max Von Sydow in the film.

When it was first announced, the project was described as a limited series (what we used to call miniseries). But that's changed, and now it's just referred to as a series. Should we get subsequent seasons, I would love to see them based on some of Grady's later Condor novels--especially the overlooked second one, Shadow of the Condor. I kind of doubt that will happen, but it would be cool.

My understanding is that the Audience Network was previously only available to DirecTV satellite subscribers, but now there is an app, DirecTV Now (similar to HBO Go, I think), that allows users to stream it on various set-top devices. I haven't done this myself, and can't vouch for it. But when Condor premieres this June, I will have to figure out how to see it, and this seems the easiest way.

Feb 7, 2018

Tradecraft: Teen Spy Kim Possible Makes a Live Action Comeback

Well, here's some unexpected and very cool spy news! According to Deadline, teenage superspy Kim Possible is poised to make a comeback after an 11-year absence. (And a decade after an unsuccessful campaign for a fifth TV season.) But not quite as you might expect, should you be familiar with the hilarious, whipsmart cartoon spy parody Kim Possible that aired on the Disney Channel from 2002-2007. The new Kim Possible will be a live-action movie. The trade reports that series creators Mark McCorkle and Robert Schooley have penned the script along with Josh Cagan (The DUFF). Adam B. Stein and Zach Lipovsky (Mech X4) will direct. Casting is currently underway. Unfortunately, the new Kim Possible won't be a theatrical feature, but a Disney Channel Original Movie.

In the original series, Kim was an ordinary teenage girl dealing with ordinary teenage problems like crushes, dating, acne, social hierarchy, cheerleading, and homework... along with less average ones like supervillains, monkeys, ninjas, and monkey ninjas. Because in addition to being a regular full-time high school student, she was also a freelance superspy and crime fighter. (Her genes were in her favor, being the daughter of a rocket scientist and a brain surgeon.) With her best friend and sidekick, the clumsy but utterly loyal Ron Stoppable, his pet naked mole rat Rufus, and 10-year old Q-type gadget genius Wade, she took on the likes of the nefarious Dr. Drakken and his henchwoman Shego, Lord Monkey Fist, Señor Senior, Sr. and Señor Senior, Jr--not to mention her cheerleading rival, Mean Girl Bonnie Rockwaller. Part Buffy the Vampire Slayer and part James Bond, the series never condescended to its young audience and featured razor-sharp scripts sure to entertain any adult spy fan with humorous send-ups of 007, Mission: Impossible, S.H.I.E.L.D., Alias, and countless more spy standards. It was also quite impressive visually, with sets galore inspired by Ken Adam.

I'm a bit dubious about the live-action angle, and particularly worried about how Rufus, the naked mole rat, will be handled. (An anthropomorphized CG critter could ruin a live-action version.) I wish we were getting an animated feature or a rebooted cartoon series, but I'm excited to see Kim Possible returning in any form! The original remains one of my favorite spy shows of this century.

Dec 15, 2017

Tradecraft: Female Blaxploitation Agents Reactivated on Big and Small Screens

Blaxploitation heroines Cleopatra Jones and Christie Love are both making comebacks... with an espionage twist. Deadline reports that ABC is resurrecting the 1974 TV movie and subsequent series Get Christie Love!, but dropping the exclamation mark and adding spying. Christie Love, as played by Teresa Graves, was a police detective. But in the new version starring Kylie Bunbury (Pitch, Under the Dome), is, according to the trade, "an African American, female CIA agent who leads a highly trained elite ops unit. Beautiful and charismatic, Christie transforms into whoever she needs to be in order to get the job done especially when it’s down to the wire and the stakes are life and death." The new "action-packed, music-driven" hour-long drama hails from Power creator/showrunner Courtney Kemp and producers Vin Diesel, Debra Martin Chase and Shana C. Waterman.

This news comes on the heels of an earlier Deadline story reporting that sexy, karate-chopping government agent Cleopatra Jones (one of Christie Love's inspirations) is also making a comeback--on the big screen. Jones travels the world smashing drug rings under the cover of being an international model with a gloriously flamboyant wardrobe that would make Fatima Blush jealous. According to the trade, "the studio has set Misha Green (Underground, Lovecraft) to write the script and produce a film that will present the heroine very much as the female answer to James Bond." Deadline points out that "those comparisons were made when the original hit film was released, partly because Jones was so adept at martial arts and drove a Corvette Stingray fully equipped with automatic weapons." Tamara Dobson (Amazons) starred in the 1973 original (opposite Never Say Never Again's Bernie Casey) and its less successful 1975 sequel Cleopatra Jones and the Casino of Gold. The Cleopatra Jones movies stood out from many of their grimmer blaxploitation brethren thanks to their sharp comedy. No one has yet been cast to fill Dobson's shoes.

Apr 13, 2017

Tradecraft: William Hurt Among Cast for CONDOR Remake Series

Variety reports that the cast has been set for The Audience Network's TV series version of 3 Days of the Condor. (All the trades refer to it as being "inspired by" Sydney Pollack's iconic 1975 film, rather than adapted from James Grady's 1974 novel Six Days of the Condor (itself a cornerstone of the spy genre). Indeed, the series protagonist played by Max Irons is named Joe Turner, like in the film, and not Ronald Malcolm, as in the book. But the movie was close enough to its source material (despite a few key differences) that if the TV series is at all faithful to either, it should at least resemble both.

Joining the previously cast Max Irons (Crooked House) as Turner are Hollywood heavyweights William Hurt (The Accidental Tourist), Bob Balaban (Best in Show), Mira Sorvino (Mighty Aphrodite), and Brenden Fraser (The Quiet American). Anyone who's seen A History of Violence knows that Hurt would be a perfect choice to play the assassin originally portrayed so memorably by Max Von Sydow, a role it's absolutely crucial for the series to nail in order to succeed. (And a role that's actually much more interesting in the movie than in the book, where he is more of a generic hitman.) But... that's not who he's playing, unfortunately. That part will actually be played by 20-year-old Israeli Arab actress Leem Lubany. Lubany was very good in Rock the Casbah (2015) and scored great reviews for the Oscar-nominated Omar (2013)... but her casting in this part raises some alarm bells for me. I've got no problem with the gender flip, but the age is a different matter. Casting a sexy young star in the role certainly changes the part from Von Sydow's scene stealing elder statesman of murder for hire. And based on Deadline's description of her character, Gabrielle Joubert ("an elite Special Forces operative whose formidable physical talents are matched by a deep emotional imbalance"), the role sounds closer to the generic killer of the book than the fascinating enigma of the film. Which is too bad.

Hurt, meanwhile, will play what sounds like a variation on John Houseman's character from the film. Per Variety: "Bob Partridge [is] a decorated CIA field operative who is rusty and a little soft after 20 years behind a desk. He’s tried to make changes for the better while at the CIA, including recruiting a team of the country’s top young minds to come up with out-of-the-box solutions to some of the United States’ most intractable problems."

Balaban is career CIA administrator Reuel Abbott, a name I don't recall from either the book or the movie. Sorvino, according to a different Deadline story, "will play Marty Frost, an investigator who has come out of retirement to take over the investigation after an attack at Joe’s office." It sounds like her role may be inspired by Cliff Robertson's in the film.

Fraser, per yet another Deadline story, "will play Nathan Fowler, an unstable yet efficient central cog in an unholy alliance between the private military company that employs him and the CIA. He’s motivated by his hatred of radical Islam, but also by his inner child’s desire to win the approval of his war-hero father. Nathan is redeemed by his fierce love for his daughter, but that relationship and his fanaticism are on a collision course."

Katherine Cunningham (The Playboy Club) takes on the Faye Dunaway role of Kathy Hale (again using the character's movie name rather than book name), reimagined for our times as "a corporate lawyer who’s lonely and dissatisfied with her buttoned-up life." Kristoffer Polaha (Castle) plays another character from the movie, Turner's friend and colleague Sam Barber.

Feb 6, 2017

Tradecraft: Max Irons is the New Condor in Three Days Remake

Deadline reports that Max Irons (Jeremy's son, soon to be seen in the Julian Fellowes-penned Agatha Christie adaptation Crooked House) will attempt to fill Robert Redford's iconic shoes as CIA analyst Joe Turner in the previously announced MGM-produced miniseries remake of 3 Days of the Condor. The new Condor, as it is called (thus avoiding the 3/6 discrepancy over the number of days Condor spends on the run between the 1975 movie and the James Grady novel upon which it's based, Six Days of the Condor), will take the form of a 10-episode series for AT&T's Audience Network. (Great, another must-see spy show that requires ordering a whole new cable package, like Berlin Station!) Like Redford, Irons will play Joe Turner (not Ronald Malcolm, as he's named in the book), the desk-bound CIA analyst code-named Condor who finds himself on the run and in way over his head. Here's how the trade describes the new take:
Turner is an idealistic millennial who secretly joins the CIA hoping to reform it from within. But when everyone in his office is massacred by professional killers, this brilliant analyst is forced out of his ivory tower think tank and into battle with the most dangerous elements in the military-industrial complex. If he is to have any chance of surviving, Joe will have to do things he never imagined himself capable of — and discover that no one knows their true character until they’ve been tested under fire.
The good news is that other than the de facto "millennial" label, that description pretty much matches both the classic movie and the classic novel. (Both are essential for any spy fans!) The bad news is it doesn't really give us any hint of which source the scripts by Jason Smilovic (Lucky Number Slevin, My Own Worst Enemy) and Todd Katzberg will hew closer to, or what changes they've made to the material. But it is kind of amazing how easily Grady's plot (originally conceived in the Nixon era) can be applied to today's post-Snowden world and feel timely.

It was announced around the same time this project was first announced (early 2015) that Jay Roach (Austin Powers: International Man of Mystery) was attached to direct a film of Grady's 2006 novel Mad Dogs, which features an older Condor in a bit part, but we haven't heard anything about that since. At any rate, I have high hopes for this new Condor miniseries! The material is still relevant, and Condor deserves to be a better known brand in the spy landscape. It would be great if the series proves successful and subsequent seasons draw from Grady's follow-ups Shadow of the Condor and Last Days of the Condor!

Oct 22, 2016

Tradecraft: Nineties Surveillance Movies Become Modern TV Shows

Two fun and fairly beloved Nineties caper movies about surveillance experts are being rebooted as rival TV series. Deadline reports that NBC is developing a hacker drama inspired, no doubt, by the timely post-Wikileaks success of USA's Mr. Robot, but ostensibly based on Phil Alden Robinson's classic 1992 movie Sneakers. The film starred Robert Redford as master hacker Martin Bishop (though I can't recall if it actually used the word "hacker"), who leads a Mission: Impossible-style team of surveillance experts as they conduct fake heists to test companies' security. They become embroiled in spyjinks when they're blackmailed into recovering that favorite espionage MacGuffin, a "black box" for the NSA. Bishop's arch enemy turns out to have a personal connection to his past, a set-up that lends itself well to a network series. The movie's producers Walter Parkes (who also co-wrote it) and Laurie MacDonald will executive produce the series along with Mentalist executive producer Tom Szentgyorgyi.

Meanwhile, according to Variety, ABC is taking a crack at Tony Scott's 1998 action movie Enemy of the State. The film's producer Jerry Bruckheimer is on board to produce the show, which will be written by Morgan Foehl, who mined similar territory in the 2015 movie Blackhat. The trade reports that the series is conceived not as a remake, but a sequel to the film. "Based off the movie, the show is set two decades after the original film. When an elusive NSA spy is charged with leaking classified intelligence, an idealistic female attorney must partner with a hawkish FBI agent to stop a global conspiracy that threatens to expose dark secrets and personal mysteries connecting all three of their lives." Other than a thematic similarity, it's difficult to see from that description how exactly the series relates to the movie, which starred Will Smith as a labor lawyer who becomes embroiled in a spy conspiracy involving the NSA, an assassination, and a reclusive surveillance expert played by Gene Hackman. Just as the fun of the Bruckheimer-produced The Rock was seeing Sean Connery unofficially reprising his James Bond role, the main attraction in Enemy of the State was seeing Hackman unofficially reprise his role from Francis Ford Coppola's 1974 classic The Conversation.

In addition to capitalizing on the success of Mr. Robot, shows about hacking and domestic surveillance are also obviously quite topical in the current climate. It will be interesting to see if one or both of these reboots ends up making it to series!

Jul 20, 2016

Tradecraft: Smiley Returns to the Small Screen in New The Spy Who Came in from the Cold Miniseries

In an introduction to a paperback edition of The Looking Glass War, John le Carré joked that what the public wanted from him at the time he wrote that book was "Alec Leamas Rides Again." Unlikely as that prospect seemed, it looks like Leamas, the titular Spy Who Came in from the Cold, will indeed ride again! This is certainly exciting news. The success of The Night Manager miniseries (or "limited series," to use the preferred term du jour) in both Britain and America guaranteed we'd be seeing more le Carré adaptations on the small screen, but I honestly didn't expect a new version of what's probably his most famous novel (and one of the best spy novels of all time). Yet that is in the works! Deadline reports that Paramount TV and The Ink Factory (the production shingle run by le Carré's sons with a mandate to develop film and television projects based on his works) are developing the property as a limited series with Simon Beaufoy (Slumdog Millionaire, The Hunger Games: Catching Fire) writing. Le Carré will serve as executive producer, as he did on The Night Manager. No network is involved at this stage, though one has to imagine that both of Night Manager's partners, the BBC (in Britain) and AMC (in the United States), will bid hard for a follow-up of this magnitude.

Though it was his third novel (and also third featuring George Smiley), it was The Spy Who Came in from the Cold that put le Carré on the map. Upon its publication in 1963, the book garnered excellent reviews and became a bestseller on both sides of the Atlantic. Martin Ritt made an excellent film of it in 1965 starring Richard Burton and Claire Bloom and co-written by Goldfinger scribe Paul Dehn. But as good as that film is, I don't see it as the last word on the story. In fact, I've long harbored dreams of a Spy Who Came in from the Cold remake. Making it in a new format (as a miniseries) will afford Beaufoy the opportunity to make different choices from Ritt and Dehn, and to flesh out certain aspects of le Carré's novel that got short shrift in the film, just as the Tinker Tailor Soldier Spy feature proved a fresh take on that material from the famous BBC miniseries that came before.

No casting has been announced, and it is probably a long way off at this stage. But I would guess that, like The Night Manager, this title will attract high caliber stars. Personally, my dream cast for a Spy Who Came in from the Cold remake has long been Daniel Craig as Leamas (I think he'd be perfect!) and Keira Knightly as Liz (who can now use her actual name; in the film it was changed to Nan because of Burton's famous wife named Liz). Craig, however, is committed to another TV series, and sadly unlikely to be available. Even more important, though, are the supporting roles. I really, really hope that The Ink Factory's producers Stephen Cornwell and Simon Cornwell will manage to lure their Tinker Tailor actors back in the roles of Smiley and, more crucially, Control. While it seems somewhat unlikely that Gary Oldman would want to reprise his film role on television for what basically amounts to a cameo, I have trouble picturing anyone other than John Hurt in the role of Control. He was utterly fantastic in Tinker Tailor. (Spy would be a prequel to that story, which was adapted from a later book.) And Hurt certainly does television.

The only thing I'm slightly disappointed about regarding this news is the fact that they're not doing Call for the Dead first. Though Call for the Dead (which was filmed in the Sixties as The Deadly Affair, also adapted by Dehn) features Smiley front and center and Spy does not, Spy is very much a sequel to Call. I wonder if Beaufoy will be able to incorporate certain aspects of that novel into his adaptation? Depending on how many episodes the miniseries turns out to be, that could be a very interesting approach.

What this news means for the Ink Factory's previously announced follow-up to The Night Manager, a 3-part adaptation of le Carre's 2003 novel Absolute Friends, remains to be seen. Hopefully that is still on track as well. (It may even materialize before The Spy Who Came in from the Cold.)

Read my book review of The Spy Who Came in from the Cold here.
Read my overview "George Smiley: An Introduction" here.

Feb 17, 2016

Tradecraft: Sony Shops Salt for TV

Screen Daily reports (via Dark Horizons) that Sony is developing a television version of their 2010 spy film Salt. The original starred Angelina Jolie (after a lengthy development process that saw the protagonist's gender changed after Tom Cruise left the project), was directed by Phillip Noyce (Patriot Games) and written by Kurt Wimmer (The Recruit). According to the trade, "The Hollywood studio is pitching the adaptation to broadcasters and co-production partners at this week’s European Film Market, which runs alongside the Berlin Film Festival." Diego Suarez joined Sony last year as Senior Vice President of International Television Production with a mandate "to develop local and international TV around the world. Suarez told the trade,“We want to bring [the Salt series] to Europe in a completely different way." Transporter: The Series was a European TV show based on a European movie property; NBC's upcoming Taken series a U.S. TV show based on a European movie property. "If successful," the trade notes, "Salt would mark one of the first Hollywood pictures to be turned into a television series in Europe."

Last we had heard, Sony was still keen on a theatrical sequel to Salt, and had set Becky Johnston to write. (Wimmer had worked on a previous draft.) That was back in 2012, however, and things have been pretty quiet on the Salt front since then. It's unclear what a prospective TV series means for the movie sequel.