Monday Monday. But it's a good one since I'm fully rested and psyched about this evening's films:

THE QUILLER MEMORANDUM

SOL MADRID

It's no secret (get it?) that I love 60's Spy Films, particularly Bond and Flint, along with the sub-genre of intelligent cold war thrillers, typified by THE IPCRESS FILE and THE SPYWHO CAME IN FROM THE COLD. I love the widescreen esthetics, and smart, paranoid dialogue. The films usually have great star turns, from Michael Caine to Richard Burton. I'd seen snatches of THE QUILLER MEMORANDUM (1966) on long ago late-night TV broadcasts and did have the cool John Barry soundtrack, so I was jazzed about seeing it.

This was the first night I actually talked to QT. I told him how much I loved the title scene of PRETTY MAIDS ALL IN A ROW and its infectious Osmond's/Mike Curb song. Richard Linklater said he had it on a record or CD, so it was available. We talked more about the film and I went back to my seat, happy that I could find "Chilly Winds."

I chatted with Harry Knowles about PRETTY MAIDS and then Quentin took to the stage. He compared the 60's spy films to 80's action movies, and he had only seen this a year before but it had blown him away. He praised George Segal with "He's Mr. Swinging Dick in this, alright?" He said the novels were very naturalistic and felt genuine. He particularly adored Harold Pinter's subtextual script. He also warned us that he only had a non-anamorphic 16 mm print, as befits my television memories. Properly prepared, Quentin thudded the microphone and darkness enveloped us.

I totally dug THE QUILLER MEMORANDUM. It turned out to be one of my favorites of the fest and I added it to the pantheon of great 1960's serious spy movies. Here's my in-depth DVD review (scroll to the botttom) Here's an excerpt:

This is one of the few spy films whose writer's contributions are equal or beyond that of the filmmakers. Pinter is famous for pulling out the unspoken truth behind banal exchanges (a stylistic trait that influenced David Mamet) and though I've never been a fan of his work, when applied to a genre film, Pinter has found a match for his method. It's apropos that these paranoid government figures would speak in code, keeping their real intent obscure and the dialogue perfectly captures this paranoid tone. There's also a satirical undercurrent to the events, typified by British officer George Sanders, who is as interested in his companion's dinner as he is blase about the fate of another murdered agent.

Although George Segal might seem miscast on first glance, keep in mind that before he gained more fame as a comedic actor, Segal was first known for drama with his turns in SHIP OF FOOLS (1965) and his Supporting Oscar nomination for WHO'S AFRAID OF VIRGINA WOOLF (1966). And he is certainly not James Bond; after all, he doesn't even carry a weapon ("If you carry a gun, you're more likely to get killed."). Segal has brains, charm and attitude...This layered spy uses his bravado and Ugly American status to ensnare the neo-Nazi's into coming out in the open after him. There's a great reveal later when you find out that this Quiller cat knows more than he lets anybody know and you see how he would be considered an unorthodox but effective cold warrior -- without firing a shot.



After the film ended, the audience was clearly confused. Harry has his report here. And he's correct. Tarantino came out and had also gauged the response. He went into a very smart explication of what the last  confusing scenes meant. I appreciated the film even more. Quentin set us for the next flick, SOL MADRID, an obscure 1968 MGM pic with David McCallum and Telly Savalas (who deserves a festival), along with Ricardo Montalban, Stella Stevens, and Rip Torn. A fairly standard story about a cold criminal, McCallum, involved with Savalas, a suave drug kingpin. Quentin didn't think this was a great movie but cool in its own way; he said some movies have scenes in them that make them worthwhile. He told us to watch out for a moment  when McCallum seems in awe of Savalas's bold style.

SOL MADRID began, looking like a more expensive TV movie of the era, but with sex and violence. The aforementioned scene arrived when McCallum, playing an icy amoral bastard, almost smiles as Savalas lays on his Playboy Grotto bravado.

I dig the way Telly holds his cigarette, betwixt thumb and forefinger, Euro-style -- the exact way he held a cigarette when he played Blofeld in ON HER MAJESTY'S SECRET SERVICE (also from 68).

There's a typical drug-hallucination scene and some fun character moments. Montalban was always bigger than than the films he was in. A sadly underused actor. But he's badass in this along with Savalas.  Altogether, a very watchable  movie but not one I'd consider revisiting a lot.

Quentin announced that he was going to show some 16 mm prints of THE MAN FROM UNCLE if we wanted to stick around. I did for a bit and felt my brain going under like Quiller himself. Had Tarantino spiked my beer? Would I wake up my in the gutter, a gun in my hand and a message in my brain?

Nope. I was tired and crept out of the shadows as a small crowd stayed behind to watch black and white 60's secret agents for Gawd knows how long.