Neither Cavill nor Hammer want their hair getting mussed.
(2015) Spy Action (Warner Brothers) Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki, Luca Calvani, Sylvester Groth, Hugh Grant, Jared Harris, Christian Berkel, Misha Kuznetsov, Guy Williams, Marianna Di Martino, David Beckham, Julian Michael Deuster, Peter Stark, Pablo Scola, Andrea Cagliesi, Peter Stark, Simona Caparrini, Joanna Metrass. Directed by Guy Ritchie
The 60s were an interesting era. While most people associate the last half of the decade of the era with the counterculture, evolution of rock and roll, protests and rioting, the first part of the era was something completely different. It was a time of the Cuban Missile Crisis and the New York’s World Fair, of great stress and great optimism. It’s a time when the Beatles and Burt Bachrach co-existed on the charts, and style still held more than a trace of elegance and grace. It was the golden age of spies, with James Bond, Modesty Blaise and Matt Helm all fighting the menace of Evil Empires and Megalomaniacs bent on world domination – or destruction. It was the age of U.N.C.L.E.
Napoleon Solo (Cavill) is a former war profiteer caught and sentenced to prison. However, the C.I.A., recognizing that his skills are superior, intervenes, allowing the sentence to be commuted – so long as he works it off for the Agency. Solo has become one of the most respected and successful spies in the business. Ilya Kuryakin (Hammer) is a KGB agent with incredible athleticism, brute strength and a temper more explosive than Vesuvius.
They butt heads when Solo tries to smuggle a pretty East German auto mechanic named Gaby (Vikander) out of East Berlin and Kuryakin is told in no uncertain terms to stop them and he turns out to be pretty much a one-man wrecking crew, but nonetheless Solo gets the girl out of the Soviet zone.
As it turns out, her Uncle Rudi (Groth) works for Vinciguerra (which means “Win the War” in Italian), a sketchy Italian multinational corporation that may have her father, a nuclear physicist who may have discovered a means of making nuclear bombs portable. For a third party to have such destructive power at their fingertips is intolerable both for the Americans and the Russians so they decide to send their best men into the fray and get the technology for their own countries.
They will first have to get past Victoria Vinciguerra (Debicki), the twisted de facto head of the company and her vicious brother Alexander (Calvani), more thugs than you can shake a stick at and their own mutual suspicion. The game of spying has become even more complicated and confusing than ever.
Like the Mission: Impossible series, this is based on a hit TV show from the 60s but unlike the former film franchise, the filmmakers have elected to keep the film in the same general time period as the TV show which to my mind is a brilliant idea. The era is perfect for the story; they just don’t do urbane the way they used to, and Napoleon Solo is nothing if not urbane.
I like the casting in the leads but oddly enough, I’d have liked the casting better if Cavill and Hammer had switched roles. Cavill, I think, has a darker side to him than Hammer does and Hammer, who grew up not unfamiliar with the country club lifestyle, would have made an extremely convincing Solo. But then again, Hammer is a big fellow and that might not have jibed well with the Saville Row ladies man that was the American spy. Then again, David McCallum was a much less physical specimen than Hammer and still made an extremely effective Kuryakin in the TV series.
Ritchie, having done Sherlock Holmes and its sequel, has created a new niche for himself after escaping the old one. He is able to re-create the early 60s – 50 years gone now – by making the setting timeless places, mostly in the Old World. He uses vintage clothing as well as recreations to clothe his actors, although his screenwriters don’t quite have the idioms down – phrases like “skill set” and “price point” are phrases from this decade and not that one, and one would have wished the writing had been a little more careful in that regard. Comes from having young whippersnappers doing the writing (actually co-writers Lionel Wigram and Ritchie are two and eight years younger than I, so shows you what I know).
Vikander has become a hot property and this movie isn’t going to do anything to cool her down. These are the types of roles perfectly suited to growing a career; even though the movie is coming out in August, it’s still a major studio release and thus she’s going to get plenty of attention. The movie is pretty lightweight, true and so is the part although it is the most complex role in the movie but this isn’t meant to be John Le Carre; it’s light and frothy and Vikander wisely plays it that way.
And that’s really the draw for this movie; yeah, it doesn’t really add anything to the genre and yeah, it’s a pretty overcrowded field this year with James Bond waiting in the wings still, but that’s all good. When I was a kid, I used to watch the reruns of The Man from U.N.C.L.E. and eagerly read the paperback novelizations of the show. Hey, my parents loved it so who am I to disagree with an endorsement like that? In any case, this is a throwback to an earlier time well-executed in every way. Think of it as a cold Pepsi on a hot August day; perfectly refreshing and very welcome.
REASONS TO GO: Perfectly set in the period. Effervescent.
REASONS TO STAY: A few anachronisms here and there.
FAMILY VALUES: There’s plenty of action, some partial nudity and sexually suggestive material.
TRIVIAL PURSUIT: When Solo removes a tablecloth from a table without disturbing the place settings on it, he actually does that trick, being trained by a British variety show performance who specializes in the stunt.
CRITICAL MASS: As of 8/20/15: Rotten Tomatoes: 66% positive reviews. Metacritic: 55/100.
COMPARISON SHOPPING: Our Man Flint
FINAL RATING: 7/10
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