In 1967 spy films were all the rage in Hollywood, Europe and Asia. The world-wide popularity of the James Bond movies had created a ravenous public that was hungry for more and producers were eager to cash in on the spy craze. Most of the films that were made glamorized the world of international espionage or mocked it with humor. Only a handful of films produced during the ’60s such as The Manchurian Candidate (John Frankenheimer; 1962) and The Spy Who Came in from the Cold (1965) were willing to show a darker and more unsavory side of the Cold War. Anthony Mann’s 1967 film A Dandy in Aspic seems to straddle both worlds. It’s a serious and stark film about spies that occasionally dabbles in fantasy and fallacy.

It was the last film made by the acclaimed American director and it’s often considered one of Mann’s lessor efforts. This is partially due to the fact that Anthony Mann suffered a heart-attack midway through filming and after his sudden death on April 29th, 1967 the star of the film, actor Laurence Harvey, took over the directing reigns and completed the picture. The film also stands out due to it’s modern setting and Mann’s decision to work with many new collaborators such as writer Derek Marlowe, cinematographer Christopher Challis, composer Quincy Jones and designer Pierre Cardin. The collaborative nature of the film seems to bother a lot of critics but I think A Dandy in Aspic one of Anthony Mann’s best movies. It features many of the director’s favorite themes but it’s also a very contemporary film that stands out due to the exceptional cast, impressive look and its cutting-edge approach to modern day espionage.

The film tells the story of a Russian double-agent named Krasnevin (Laurence Harvey) who has infiltrated British Intelligence under the name of Alexander Eberlin and is killing off their top operatives. After 18 years of working as a double-agent the job has lost it’s appeal and Eberlin’s only desire is to return to Russia and assume his true identity. When Eberlin’s British superiors ask him to go to Berlin with another agent named Gatiss (Tom Courtenay) to track down the assassin, he reluctantly agrees. Eberlin hopes that he might be able to make his way to East Berlin when he gets there and leave the spy game behind him forever but that won’t be easy. Russia wants to keep Eberlin working in Britain and the British are slowly closing in on him.

Eberlin and his fellow agent Gatiss share a deep dislike for one another propelled by perceived class differences and distrust. Their working relationship becomes even more strained when Eberlin’s romantic fling with Caroline (Mia Farrow) threatens to interfere with the job they’ve been sent to do. A Dandy in Aspic is a taught slow-moving thriller that manages to convey a real sense of danger and I appreciate the complexity of the script. The film occasionally loses it’s footing and stumbles but it always manages to keep my attention and interest. The movie works well as a spy thriller but the complicated relationships between the characters and the bleak world they inhabit makes A Dandy in Aspic an unforgettable viewing experience..

Laurence Harvey was perfectly cast as the Russian double-agent. Harvey is often criticized for his acting but he’s always been on of my favorite performers and he does a wonderful job of underplaying the character of Eberlin. A lessor actor would have tried to make the audience sympathize with his plight but underneath the expensive wardrobe and endless charm, Harvey’s character is a cold-blooded killer and he never lets us forget it.  He keeps everyone at a distance and his quick-witted banter between Tom Courtenay reveals a tongue that is as sharp as a knife.

Gatiss: “I don’t like you, Eberlin. I don’t like you because you’re weak and dishonest. But even more, I don’t like you because you’re frightened of me, and that disturbs me. I want to know why. You can tell me; I’m a very understanding man.“

Eberlin: “You haven’t got an ounce of understanding or emotion in your body. You died the moment you were born. And when your heart finally stops beating, it’ll be a mere formality.“

Tom Courtenay is also very good as a British agent with a huge chip on his shoulder. His seething anger towards his co-workers and superiors seems ready to boil over at any moment. You’re never really sure what to expect when Courtenay appears on screen and he helps keep the movie interesting even when it sporadically loses steam.

Throughout director Anthony Mann’s impressive and celebrated career behind the camera he enjoyed dealing with conflicted characters who had trouble identifying themselves in a world that expects us all to fit into easily defined roles. The lines between good guys and bad guys often became blurred and their inner struggles were mirrored by the dominating landscapes and claustrophobic environments found in Mann’s films. In A Dandy in Aspic Laurence Harvey and Tom Courtenay are both conflicted individuals struggling with their sense of self and distrust of authority while desperately looking to belong. London and Berlin both appear incredibly dour and the dark, damp look of these two cities in A Dandy in Aspic is striking. Spy films made during the ’60s were often set in glamorous locations that accentuated the beauty of the films’ stars but the stark look of the locations in A Dandy in Aspic only seems to underscore the deep-seated unhappiness and isolation that the main characters are feeling. The film was photographed by the award-wining cinematographer Christopher Challis who had recently shot Kaleidoscope (Jack Smight; 1966) and Arabesque (Stanley Donen; 1966). Both movies embellish the crimes and spy games played out by their protagonists, but besides a thrilling scene at a race track in Germany and the lovely shots of Mia Farrow sporting her mod fashions, A Dandy in Aspic is a dreary looking film.

The movie occasionally attempts to have fun with the romanticized perception of spies and that’s mainly reflected in the character of Caroline played by Mia Farrow. A Dandy in Aspic provided Farrow with her first starring role in a film and although the 22 year-old actress is a little rough around the edges her inexperience is perfect for the character she portrays. Caroline’s a poor little rich girl who wears fabulous Pierre Cardin fashions, fancies herself a photographer and pines after the ridiculously handsome Laurence Harvey. Farrow’s character doesn’t really know or understand what Harvey’s character does in the film and her innocence could easily represent the public’s general naivete about the world of international espionage.

A Dandy in Aspic also features a notable performance from funny man Peter Cook as a Berlin operative who spends his time ogling women and looking at girly magazines. He provides some comedy relief in this rather grim movie. In a memorable scene at a cafe he shares his dinner salt with a lovely redhead at another table who happens to be the fashion model Paulene Stone; the future wife of the film’s star Laurence Harvey. One of the movies other assets is it’s terrific score by composer Quincy Jones. Jones had previously been nominated for an Oscar thanks to his work on the soundtrack for In Cold Blood (Richard Brooks; 1967) and his jazzy score for A Dandy in Aspic is an impressive follow-up.

The script for A Dandy in Aspic was written by Derek Marlowe and based on his novel of the same name. Before working on A Dandy in Aspic Derek Marlowe co-wrote a short film called Reflections of Love (1969) that was directed by Joe Massot (Wonderwall, The Song Remains the Same, etc.). This counterculture look at romance in swinging London features members of The Beatles. The decision to adapt Derek Marlowe’s unconventional spy novel shows that at age 60 Anthony Mann was apparently interested in appealing to a youthful audience with his film. This is also reflected in the casting of British actors like Laurence Harvey, Tom Courtney and Peter Cook who were all popular figures among British youth in the ’60s.

Top: Mia Farrow models one of Pierre Cardin’s designs for the film
Bottom: Anthony Mann, Mia Farrow & Laurence Harvey at Pierre Cardin’s salon in Paris

Although Laurence Harvey was forced to take over the directing of A Dandy in Aspic following Anthony Mann’s unfortunate death, I think the movie marks an important end to Mann’s esteemed career. In interviews Laurence Harvey claimed that he tried to stick closely to Mann’s original ideas for the film and he took little credit for it. His name is not mentioned in the directing credits but some of the film’s approach occasionally exhibits Harvey’s directing style. Before he took over the directing responsibilities for A Dandy in Aspic, Laurence Harvey had directed The Ceremony (1963) and the last film he made was a horror movie called Welcome to Arrow Beach (1974). I’ve only had the opportunity to see Welcome to Arrow Beach but it’s obvious that Harvey enjoyed playing with zoom shots, flashbacks and jump cuts. All of these techniques can be found in A Dandy in Aspic but the movie also appears to carry the stamp of Anthony Mann’s previous work. It’s possible that Mann’s interest in making a film that would appeal to a younger audience led him to explore nouvelle vague film techniques that are apparent in A Dandy in Aspic. After watching the film again recently I couldn’t help but wonder what kind of direction Anthony Mann’s career would have taken if he had survived the heart attack he had in 1967.

When A Dandy in Aspic was originally released the film was roundly criticized and left theaters quickly. After 40 some years later the movie seems to slowly be gaining critical recognition and it has been released on DVD in Britain. It’s not available on DVD in the US yet but it is available on video and occasionally plays on TCM.