Scientist Dr. Radcliffe boards a train, is kidnapped, and his bodyguard murdered and dumped in the luggage carts. A young Michael Caine plays Sergeant Harry Palmer, the kind of man who slouches like a pregnant camel when appearing before his superior, prefers dry sarcasm with his conversations, takes pride in being considered a little insubordinate, insolent and a trickster, and wears black, thick-rimmed glasses. His service with British Intelligence was a decision to avoid prison, after having been made an example of when caught making money off the Germans in black market dealings. He’s given a new assignment as the replacement security escort, something slightly more exciting than his usual observation jobs, which includes a small pay increase, the issuing of a Colt .32, and working for Major Dalby (Nigel Green), a man even more straight-laced than his previous, humorless boss Colonel Ross (Guy Doleman). Every action taken by each agent requires extensive paperwork and bureaucratic regulations, numbing the effectiveness of Palmer’s streetwise skills.

Without Radcliffe, the scientific department will be shut down, so it’s imperative that Darby’s division gets to him first. Eric Ashley Grantby, code name Bluejay (Frank Gatliff) is the likely ringleader behind the nabbing, and will sell him to the highest bidder. Palmer finds Bluejay almost immediately, which ends in violence and two very impressive, faraway shots out of the range of sound that are curiously thrilling. Although it was released in 1965, the cinematography and camerawork is surprisingly contemporary, with handheld shots, unique angles from inside tight spaces or voyeuristically just outside the circle of action, and gritty locales, not terribly unlike the French Connection made six years later. On a hunch, Palmer orders a raid that produces nothing but a damaged audio tape marked with the name IPCRESS. When they finally succeed in making a trade for Radcliffe, who appears to be brainwashed, Palmer accidentally kills a CIA agent tail, and must contend with heat from the Americans. He’s in a sticky situation – neither side is particularly interested in his wellbeing, and now he’s being framed for murder.

Described as a sexpionage, although completely devoid of onscreen sex, The Ipcress File is comparable to a James Bond adventure (linked doubly by sharing composer John Barry), except Palmer is a more British and more realistic version of the superspy. He’s equally talented when it comes to the fairer sex and quite the gourmet, but not as prone to daredevilry or bedding record numbers of women. Additionally, the focus is generally on drama and mystery as opposed to action, as if Palmer is the less expensive version of Bond - and The Iprcess File chronicles the activities Bond might undertake in between saving the world. A better comparison could be made with The Manchurian Candidate, especially considering the subplot of mind control.

Light humor makes its way into the film as well, smartly avoiding complete tongue-in-cheek methods while providing the occasional smirk. Caine’s charisma is unquestionable, as is his acting, owning the character like he created it himself. It’s not fast-paced, more concerned with letting the characters develop fully, but intriguing nonetheless, carefully adding mysteries while building to a clever climax. The Ipcress File, based on Len Deighton’s novel, went on to win the BAFTA award for Best British Film, and Caine reprised his role in two immediate sequels within the next two years (Funeral in Berlin and Billion Dollar Brain). Almost three decades later, he played Harry Palmer again in two additional films (Bullet to Beijing and Midnight in Saint Petersburg).

- Mike Massie

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