SIEGEL CONSTRUCTS SOMETHING SPECIAL.
Added 11/11/2004
For this work, scenes of "action", a Don Siegel specialty, are less significant than those that generate characterization and plot, functioning to release tension rather than keep it at bay, although the director's customary taut pacing and stoniness are here, within a twisty story largely faithful to its source, a Clive Egleton novel: "Seven Days to a Killing", strongly scripted by Leigh Vance to further define the character-focussed film. A cleverly fresh storyline involves a kidnapping, the victim being son of MI-5 operative John Tarrant (Michael Caine), with a ransom demand for greater than one half million pounds worth of uncut diamonds that are resting within a Defence Ministry safe, as an unknown traitorous official has informed the abductors, with subsequent dual scenario devices of Tarrant's struggle to retrieve his son held by illicit arms syndicate villains, along with Ministry efforts to culpably link Tarrant with the conspiracy. The film benefits from attention to continuity, no loose ends rupturing one's concentration, with heed to detail perhaps its primary strength, yet telling contributions come from many, including players Caine, who adds a needed element of engagement to his Harry Palmer persona, Delphine Seyrig giving a splendidly nuanced performance as companion of the principal evildoer (played with effectual guile by John Vernon), and Donald Pleasence earning the acting laurels here as a dispassionate MI-5 security chief, along with Clive Revill, Joss Ackland, and ever intense Janet Suzman. Siegel's hand is apparent in the spare deployment of music, with scoring and silence each appropriately employed; palette and filter for well-composed cinematography and montage (shooting is in London, Paris and the Sussex countryside); a symbolic use of clothing colours; and accomplished post-production efforts, all increasing the worth of a piece undervalued by some reviewers, indeed by Caine himself, unfortunate in the event as the film is one of Siegel's finest, his skill with improvisation mating well with capable workmanship.
8 out of 10 people found this helpful.
|
Efficient but strangely unexciting
Added 2/16/2007
The Black Windmill has a workable premise, an unspectacularly decent cast (Delphine Seyrig, Donald Pleasance, Janet Suzman, Clive Revill, Dennis Quilley, Edward Hardwicke and Joss Ackland among them) and a good director in Don Siegel, but it never catches fire. Michael Caine, playing a very different spy to Harry Palmer - more of a middle class career army officer who never needed to be blackmailed into the job - finds himself being set up by the vicious kidnappers of his young son to steal some diamonds intended for some dubious operation, eventually finding himself having to avoid his employers, the French and British police and take out the very bad guys (hey, it is John Vernon). All of which sounds at least more energetic than the film actually is. It moves along with competence, dotting the 'i's and crossing the 't's, but even though a surprising amount happens in the last half hour, it never seems to develop any tension or urgency. Along the way there's a nice Sean Connery joke and a neat scene that manages to reference both The sound of Music and Caine's own Battle of Britain, but the good Scope composition and the typical 70s Roy Budd score make more of an impression than anything else in the film.
Uiniversal's Region 2 PAL DVD has no extras, but it does boast a good 2.35:1 widescreen transfer that at least ensures the film looks its best and has none of the panning-and-scanning problems of the TV prints.
2 out of 3 people found this helpful.
|
