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In the spy-crazed film world of the 1960s, Len Deighton's antihero Harry Palmer burst onto the scene as an antidote to the James Bond films. Here was a British spy who had a working-class accent and horn-rimmed glasses and above all really didn't want to be a spy in the first place. As portrayed by Michael Caine, Palmer was the perfect antithesis to Sean Connery's 007. Unlike that of his globetrotting spy cousin, Palmer's beat is cold, rainy, dreary London, where he spends his days and nights in unheated flats spying on subversives. He does charm one lady, but she's no Pussy Galore, just a civil servant he works with, sent to keep an eye on him. Eventually he's assigned to get to the bottom of the kidnapping and subsequent "brain draining" of a nuclear physicist, all the while being reminded by his superiors that it's this or prison. Things begin to get pretty hairy for Harry. Produced by Harry Saltzman in his spare time between Bond movies, the film also features a haunting score by another Bond veteran, composer John Barry. --Kristian St. Clair

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In the spy-crazed film world of the 1960s, Len Deighton's antihero Harry Palmer burst onto the scene as an antidote to the James Bond films. Here was a British spy who had a working-class accent and horn-rimmed glasses and above all really didn't want to be a spy in the first place. As portrayed by Michael Caine, Palmer was the perfect antithesis to Sean Connery's 007. Unlike that of his globetrotting spy cousin, Palmer's beat is cold, rainy, dreary London, where he spends his days and nights in unheated flats spying on subversives. He does charm one lady, but she's no Pussy Galore, just a civil servant he works with, sent to keep an eye on him. Eventually he's assigned to get to the bottom of the kidnapping and subsequent "brain draining" of a nuclear physicist, all the while being reminded by his superiors that it's this or prison. Things begin to get pretty hairy for Harry. Produced by Harry Saltzman in his spare time between Bond movies, the film also features a haunting score by another Bond veteran, composer John Barry. --Kristian St. Clair

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Most helpful customer reviews   2 of 2 people found the following review helpful: Intelligent, well-acted spy thriller, Aug 14 2002 By  Matthew Horner (USA) - See all my reviews    "The Ipcress File" is a gripping spy thriller that was a big hit back in 1966. This was the time when Michael Caine was a rising young star, and this movie was an excellent showcase for his talent. Visually, the movie is dated in spots, especially in its use of psychedelic colors and images in the brainwashing sequences. These images, along with Caine's character's wearing of thick-lensed, horn-rimmed eye glasses, were later parodied in spy spoofs, most notably in the Austin Powers series. Fortunately, the story is as engrossing as ever, and Caine's Harry Palmer remains one of the most indelible movie characters ever. Harry Palmer is a shrewd, cocky, amoral Army sergeant who was busted in Germany for some illegal trading. Sensing his abilities, the British army has offered to keep him out of prison in exchange for his becoming a spy. It's the threat of prison that keeps the freedom-loving Harry in line. [This plot device has been used countless times since "The Ipcress File" was released, most recently in "XXX".] When a prominent British scientist is kidnapped, Harry's boss loans him out to another department. What our confident hero doesn't realize is that he's being used as bait. By whom and for what purpose is what keeps the suspense going right up to the movie's tense climax. "The Ipcress File" is in the category of spy movies which, unlike James Bond films, portray the characters as participants in a dark, sinister and deadly serious game. In this game, only the hero can be trusted. Was this review helpful to you? (Report this)   1 of 1 people found the following review helpful: The Anti-Bond, If You Will..., Dec 2 2002 By  Michael Weber "fairportfan" (Atlanta) - See all my reviews