THE DEFECTOR, 1966. A dull ‘60s spy story, only of interest now
as the last film by Montgomery Clift – what a dismal experience it is.
Seeing the frail Clift next to the sturdy Hardy Kruger shows us how ill
he must have been, compared to how he looked in the '50s (or even in WILD RIVER or THE MISFITS); he died the next year and going by how he looks here
would have been in no shape for another tough Huston shoot (on
REFLECTIONS IN A GOLDEN EYE) - See Brando label for review of that.
The mid-60s had some terrific thrillers on
spies and spying: THE SPY WHO CAME IN FROM THE COLD, THE QUILLER
MEMORANDUM, THE DEADLY AFFAIR, Hitch’s TORN CURTAIN and flashy spoofs
like MODESTY BLAISE, but THE DEFECTOR is just dull, dull, dull as we
follow Clift around some modest East European sites (meant to be
Leipzig) as the secret services seem interested in his movements. It all
makes no sense and is hardly worth unravelling. Kruger, Roddy McDowall,
David Opatoshu and Macha Meril (Godard’s UNE FEMME MARIEE) as the
nurse/romantic interest do their best.
Watching Clift in a long scene
with McDowall one suddenly wonders if Monty is actually paying attention
and in the moment as he seems totally distracted. Monica Vitti was
originally cast as the nurse, which would have been an interesting
teaming with Clift. Produced and directed by Raoul Levy, who committed
suicide shortly afterwards, (he had produced the Vadim Bardot films
among others) … the photography by Raoul Coutard makes it look good, and
I am sure that was Jean-Luc Godard seen for a moment in the office ….
More forgotten '60s soon: LES GODELUREAUX, THE 10TH VICTIM, DEAR BRIGITTE, MICHAEL KOHLHASS ...
he died the same year, not three months after shooting ended
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