Certain films are very difficult to watch in present geopolitical circumstances. In a time when humanity has more and more reasons to fear all-out nuclear war between United States and Russia it is rather devastating to be reminded of a different era, when such prospect was looking like it was to be forever removed from any serious considerations. One of the film that embodies those optimistic sentiments is The Russia House, 1990 spy film directed by Fred Schepisi.
The film is based on the eponymous novel by British writer John Le Carré, grand master of Cold War Literature, and the last one written while that conflict was still going on. Protagonist, played by Sean Connery, is Bartholomew “Barley” Scott Blair, British book publisher who uses new atmosphere of openness in Soviet Union under Glasnost policies for frequent visits, during which he meets many writers and generally enjoys the country. While he visits his friends at famous Soviet writers’ retreat at Peredelkino he is approached by mysterious figure who calls himself “Dante” (played by Klaus Maria Brandauer), an idealist willing to risk everything for the sake of world’s peace. Blair finds him to be kindred spirit and offers help. Some time later, during audio book fair, Katya Orlova (played by Michelle Pfeiffer) wants to bring him manuscript of Dante’s novel, but Blair isn’t there and the text is instead taken by fellow publisher Niki Landau (played by Nicholas Woodeson) who delivers it to British intelligence. Manuscript is actually treasure trove of Soviet top state secrets, including those that suggest that the country’s nuclear deterrent is so inefficient that the global arms race is pointless. British and American authorities want to check veracity of the document and decide to recruit Blair to visit Moscow, get in touch with Orlova in order to approach Dante. Blair very reluctantly agrees and when he meets Katya he finds her to be irresistibly beautiful woman. While his British and American handlers argue how to proceed with their scheme and Katya worries about possibility of being discovered by Soviet authorities, Blair sees less and less point in taking part in spy intrigue and instead begins pursuing woman he loves.
The Russia House is one of those Cold War films that had misfortune of being produced shortly before Berlin Wall came down and their main premise becoming irrelevant and obsolete by the time they got in cinemas. Unlike The Hunt for Red October, which escaped such fate by being spectacular action-packed thriller, this film was more of an acquired taste, based on the works of former intelligence operative who had very unglamorous views of that profession and never hesitated to portray that kind of life as the realm of boredom, bureaucracy and life-long personal frustrations. Schepisi, on the other hand, enjoyed something many of his film makers have only dreamed of in previous decades – access to Soviet Union and co-operation of its authorities and film companies. As such, The Russia House exploits this to the fullest by using as much authentic and iconic locations in Moscow and Leningrad as possible, presented in loving detail by Ian Baker’s cinematography. Beautiful images, even when suggest decay of ideological bankrupt and morally exhausted Soviet system, are accompanied by melancholic and jazz-centric music score by Jerry Goldsmith, which the famous composer later described as one of his favourite.
The most important asset of the film is, however, Sean Connery. An actor who became star by playing James Bond was thrilled with possibility to play protagonist who is the very antithesis of famous fictional spy. His Blair is presented as clearly middle-aged man, with too much love of drinking and some of the cynicism that comes with it, but also as someone who would ultimately choose his and happiness of his loved ones over national loyalties. In that way Connery portrays character who is both mirror image and another version of the character of renegade Soviet commander he has played in The Hunt for Red October. Connery has excellent chemistry with Michelle Pfeiffer, who delivers one of best performances of her career, playing the character that is both restrained and warm at the same time. Two of them are joined by good supporting actors, most of them playing small roles of quarrelling British and American intelligence and military officials. Roy Scheider stands out among them mainly by delivering point which seems rather relevant these days – the end of Cold War might be very bad news for all those in American military-industrial complex which had accumulated enormous wealth, power and influence and who would, consequently, do everything they to keep it.
The Russia House is in fascinating as window into a brief but fascinating period of history, but it leaves much to be desired as spy thriller. The plot is actually weak, there aren’t any action scenes and Schepisi is apparently so much in love with beautiful images and great work of his actors that he pads film with numerous flashbacks and jumps in narrative. The result is unnecessary long running time and plot that might be slightly confusing to less perceptive writers. Yet, despite those flaws The Russia House is good film that should be recommended, although probably in future with less frightening geopolitical circumstances.
RATING: 6/10 (++)
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