The Double Man (1968)

That was an excellent one.

Really Surprised!

For all the hype it got I was expecting a lot more!

By the time the dramatic fireworks start popping off, each one feels earned.

Artificial and Stiffly Plotted Cold War Spy Film with an Obtrusive and Obese Musical Score. Yul Brynner is the Bald and Unblinking, Unloving and Hard-Hearted CIA Agent. The Movie is Dull at times and every Outdoor Shot is Snowy and Showy Determined to make its Mountainous Ski Resort Part of the Plot. The Film Plods along at an Excruciating Pace and when Something does Happen it is Over Quickly and back to the Boredom.After a Multitude of Silly Shots of Crowds holding Skis and Poles moving On and Off Lifts, the Last Act finally breaks Loose with some Movement but this is Undermined by yet Another Ski Slope Travelogue. Thankfully this one is at Night and We get a bit of Colorful Flares, Whoopee.Britt Ekland is here for some Eye Candy and Her Character is Given Something to do, but Ultimately it's Not Much. Brynner is There to Find Out about His Son's "Accidental" Death and the Reveal is a Surprise if every Reviewer on the Planet hasn't Spoiled it by now.Overall, the Trend of 1960's Bonding of Espionage and Film is Evident once again and Followers and Fans of the Genre might want to take a Look at this one from a Completest Point of View, but Others Can Miss this Without Missing Much.

Just like its leading man Yul Brynner, "The Double Man" is a decently lean, direct and hard-hearted late 60s spy melodrama. A steadfast Brynner simply commands the screen, even when no dialogues are spoken, his psychical presence and glare can knock you down. Here he plays CIA agent Dan Slater who heads to a ski resort in the Tyrolean Alps after the reported accidental death of his son, but he believes it wasn't an accident and unknowingly to him his arrival is actually part of a cunning Cold War ploy. It's a well-handled and good-looking (thanks to the scenic cinematography of picturesque snowy backdrop) presentation, as the plot is thick on intrigue and investigation, as it slowly builds upon its brooding framework. There's nothing particularly exciting about it, as the thrills are few and minor and it's overly talky. However the structure is persistent, as the exchanges have a moody intensity and Brynner carries it along nicely with all that chasing and shadowy scheming going on behind the scenes. The ludicrous twist when it comes isn't much of one, because of the clues that are given. Really it only complicates matters, but this works for its stone cold approach. Franklin J. Schaffner's taut direction is grounded and practical in style, as he lets the story's conflicts evolve and the cast take control. The ever-beautiful Britt Ekland plays an important piece to the plot's stirrings and there's excellent support from the likes of Clive Revill, Anton Differing, Lloyd Nolan and Moira Lister. Also dominating was the instrumental music score. Sometimes it worked, other times it was on overload.

I watched this movie in the wee hours of the morning and probably should not have done so as I was not too sure who was the survivor in the end. I do not like to have a movie end that way, but the location scenes were very good and makes me want to return there again.Cannot an American movie be made without the overkill of the "barroom brawl" smash and bang portion that, in my opinion, ruins the whole movie. Someone has to come crashing through plate glass windows, destroy mountains of dishes and glassware and demolish a whole kitchen or other room for "sensationalism". This cheap addition makes me not like whatever else (good story, good acting, beautiful scenery) may be in that movie. Americans are destructive orientated and I guess we thrive on the addition of this junk.

"The Double Man" comes out of the rash of 60's cold war thrillers and James Bond wannabes, yet it is better than most of the period. Fine performances by Brynner, Clive Revill, Anton Diffring, and Lloyd Nolan, and some excellent cinematography involving the Austrian Alps by Denys Coop give the film a solid boost. Franklin Schaffner's direction gives the film a tight, efficient pace. The biggest positive here is that cast and director treat what could have been tongue-in-cheek material (in lesser hands) in a serious manner, lending weight and intelligence to the film. The only drawbacks are the occasional plot-hole and the non-acting of co-star Brit Ekland (here only for window dressing). Otherwise, "The Double Man" is good entertainment for spy movie fans everywhere!