The Russia House (1990) MGM/Suspense-Drama RT: 123 minutes Rated R (language) Director: Fred Schepisi Screenplay: Tom Stoppard Music: Jerry Goldsmith Cinematography: Ian Baker Release date: December 21, 1990 (US) Cast: Sean Connery, Michelle Pfeiffer, Roy Scheider, James Fox, John Mahoney, Michael Kitchen, J.T. Walsh, Ken Russell, David Threlfall, Klaus Maria Brandauer, Mac McDonald, Nicholas Woodeson, Martin Clunes, Ian McNeice, Colin Stinton, Peter Marinker, Ellen Hurst, Peter Knupffer. Box Office: $22.9M (US)
Rating: ***
The Russia House, an adaptation of John le Carre’s spy novel, came out around the time when the former Soviet Union was collapsing. Gorbachev had established a policy of glasnost which meant that all the activities of the USSR were made known to the rest of the world. No more secrecy, less censorship and greater freedom of information; these would become the norm in the new Russia. With the end of the Cold War, the face of Russia was changed. Westerners had greater access to the once-insular country. Even though Communism was effectively dead (it became a reality in December ‘91), it was replaced by corruption. People still had to stand in long line for essentials like shoes. It was difficult for the citizens to leave the country. The Russia House is the perfect spy thriller for this point in time. With the changed rules, it was easier for a spy to enter the country. He still had to watch what he said though; the government still had eyes and ears throughout the country.
Directed by Fred Schepisi (A Cry in the Dark), The Russia House is the kind of movie I’d go to see with my father at 13 or 14. I’d understand it on a fundamental level while watching it. Dad would fill me in on the stuff that went over my young head afterwards. I wished he was sitting next to me when I saw it at 23 on Christmas Eve ’90. It’s dense and confusing with the international politics and activity between MI6 and the CIA. It’s difficult to keep track of the various characters and plot developments. I suppose that’s what defines a good spy thriller. The viewer is never sure what’s going on and who’s doing what to whom. The spy game is one of deception and subterfuge.
As depicted in The Russia House, it also involves a lot of talking. Contrary to what you’ve seen in the James Bond and Jason Bourne movies, it’s NOT about fancy gadgets and explosive action scenarios. Le Carre’s books, which also include The Spy Who Came in from the Cold and Tinker Tailor Soldier Spy, tend to be complex and cerebral. If anybody knows anything about espionage, it’s le Carre. Before gaining fame as a novelist, he worked for British intelligence for a few years (1958-64) before being betrayed by infamous double agent Kim Philby. He understands perfectly and it shows in his work.
The Russia House takes its time setting up its story of a reluctant spy who finds himself in the middle of a potentially volatile political situation. Barley Scott-Blair (Connery, the original James Bond) is a cynical, world-weary, alcoholic, jazz-loving publisher brought in for interrogation after a manuscript meant for his eyes only ends up in the hands of British intelligence instead along with a letter to Blair from Katya (Pfeiffer, Dangerous Liaisons), a Russian office worker he doesn’t know. The manuscript contains sensitive information about the true nuclear capabilities of the Soviets. The British and the American both realize its vital importance to the ongoing arms race. They need confirmation that the author’s claims are true. This is where Blair comes into it. They need him to go to Moscow, meet up with Katya and set up a meeting with the author identified only as “Dante” (Brandauer, Never Say Never Again) to verify his information. After some very basic spy training from his MI handler Ned (Fox, A Passage to India), an uncertain Blair goes to Russia to complete his mission.
No mission would be complete without some sort of complication. In The Russia House, it’s Katya. In short, Blair falls in love with the divorced mother of two. Such a relationship could compromise the integrity of an already tense situation that has some powerful people on edge. If the USSR’s nuclear capabilities are as weak as Dante claims, it could potentially upset the balance of power in world politics. It could have a negative effect on the weapons industry which counts on the continuing Cold War for their continued prosperity. In short, making this information public would have serious repercussions. It puts Blair in a moral quandary. Should he be loyal to his country or his heart?
Schepisi and screenwriter Tom Stoppard (Empire of the Sun) have made a compelling but slow spy thriller consisting of endless scenes of middle-aged men sitting around and talking. Included among the conversationalists are Roy Scheider (Jaws 1 & 2) and John Mahoney (Moonstruck) as CIA agents, J.T. Walsh (Good Morning Vietnam) as an American military official and director Ken Russell (Tommy) as Ned’s MI6 colleague. It’s a great supporting cast; it’s too bad the screenplay underserves them by limiting their performances to the above mentioned scenarios.
Thankfully, the love story between Connery and Pfeiffer breaks the monotony. It helps that they both deliver solid individual performances. Connery is perfectly cast in the lead. He’s completely believable as the drunken, disheveled publisher thrown into a situation far above his pay grade. The exquisitely beautiful Pfeiffer is absolutely splendid as Katya. She even manages a convincing Russian accent. She’s the one that makes Blair realize it’s okay to hope and love after years of boozing, cynicism and self-loathing. The two actors have great chemistry. Never mind that they look more like father and daughter than lovers. Their feelings for each other add a palpable undercurrent of tension to The Russia House like in the scene in Katya’s apartment where they conduct a conversation by writing their words on a piece of paper, words not meant for prying ears.
The cinematography by Ian Baker is quite striking. His sharp photography captures a place that’s been largely unseen by outsiders for decades. There’s great beauty in the wintry streets and playgrounds, the well-decorated but shabby apartments, the major historical landmarks (Red Square, Lenin’s Tomb) and the crowded stores. The score by Jerry Goldsmith, which includes moody sax work by jazz musician Branford Marsalis, is terrific.
The Russia House is a decent spy movie and a better love story. It’s best described as a thinking person’s James Bond movie. It even stars the first James Bond. It’s slow and boring in parts, but the romance gives it a level of emotionalism that holds the viewer’s interest. It’s that nearly extinct brand of movie made for adults about adults doing adult things. Not every movie has to be about superheroes, maverick cops or giant alien robots. It’s refreshing to see a movie that requires the use of the viewer’s brain. I just wish the characters did more than talk.
