The Man from U.N.C.L.E.

You should not confuse this modern update of The Man from U.N.C.L.E. with the other recent TV spy thriller brought to the big screen, Mission: Impossible - Rogue Nation.  This is a quieter and subtler film that almost seems to be targeting older audiences who used to watch the TV program, rather than the youth market.  And yet, co-writer and director Guy Ritchie (the two Sherlock Holmes films with Robert Downey, Jr. and Jude Law) does manage to keep a fairly brisk pace, and even throws some good comedic moments in.  This is an entertaining, if not slight, film that works well enough as late summer entertainment.

The first thing that grabbed my attention while watching the film was the period settings and attention to detail.  The opening credits have a distinct 1960s vibe to them, and all of the settings, clothing and vehicles do a great job of putting the viewer into the right mindset of a Cold War spy story.  This isn't even a case of the filmmakers having fun or poking fun with the era and its fashions.  Ritchie directs the film as a straight period piece, and we are transported to the right mindset almost as soon as the opening credits appear on the screen.  In another wise move, Ritchie has decided to set his story before the events of the TV series, so fans can look forward to this not just being a big budget recreation of what they've already seen on TV.  There are even some references and Easter Eggs to look out for.  This is a movie that's been well thought out.

The film's two heroes, American secret agent Napoleon Solo (Henry Cavill) and Russian KGB agent Illya Kuryakin (Armie Hammer), start out on opposite sides of the war as the film opens.  Napoleon has been sent to East Berlin with the mission to smuggle out an auto mechanic named Gabby Teller (Alicia Vikander).  Gabby's father, whom she has not seen in years, is a famous rocket scientist who has gone missing, and is feared to be helping an evil organization build a nuclear warhead.  As Napoleon and Gabby attempt to flee to safety, they are tracked down and chased after by Illya in the film's first big setpiece which skillfully combines fast-paced action and humor.  This extended chase not only gets the film off to a rousing start, but assures us early on that the movie should be a fun ride.  Fortunately, it does not betray that promise.

After Gabby has been brought to safety, Napoleon learns from his superior (Jared Harris) that this nuclear warhead stands as a threat to both the U.S. and Russia, and so he now finds himself being partnered with his former pursuer.  Neither Napoleon or Illya take this news well, and Gabby is not exactly thrilled that she will have to pose as Illya's fiance while they are going undercover and trying the infiltrate the secret base of the mastermind behind the evil plot, a dangerous millionaire named Victoria Vinciguerra (Elizabeth Debicki).  Illya and Gabby will have to blend into the wealthy world that Victoria inhabits in order to blend in, passing themselves off as an architect and his fiance vacationing in Rome.  Napoleon, meanwhile, uses his skills as a thief to try to gather information, get close to Victoria, and find the location of the warhead.

Even though The Man from U.N.C.L.E. features some impressive staged action sequences, they are not really the focus on the film.  Rather, it is the odd relationship that slowly forms between Napoleon, Illya and Gabby.  There is a lot of wit and edge to the three lead performances that I enjoyed.  Cavill is the dashing James Bond-type - suave and quick with a one liner.  Hammer more or less has to play a human tank, as Illya is the type who prefers to use brute force whenever necessary.  Their different approaches to a lot of the situations that they have to work together in provides much of the film's comedy.  The character of Gabby comes across as being a bit underwritten, but Alicia Vikander is a likable screen presence, and manages to stand out.  I also enjoyed the film's offbeat sense of humor, with two of my favorite moments being an interrogation scene involving a man obsessed with torture, and a rather odd but funny sequence where Napoleon takes a break from a high speed boat chase to have a bite to eat, and just watches the action from afar.

This is an oddly breezy and somewhat low key movie.  You would think a spy film, even one that doesn't take itself entirely seriously, would be almost wall-to-wall action.  And yet, it's the dialogue that stands out the most.  I'm thinking this is why the movie is being released so late in the summer.  While the ending does set things up for a sequel, the studio is probably playing it safe, which is most likely for the best.  While the movie is fast-paced and quite fun, it's not exactly a roller coaster action thriller, or an edge of your seat type thriller.  It's the sort of movie where you're certain to remember a clever line, rather than a special effect.  Will this hurt the film's chances?  I really don't think so.  As I said, the movie does seem to be targeting for a somewhat older audience than your usual summer blockbuster.

The Man from U.N.C.L.E. is not a reboot, as it's set in the same time period as the original TV series.  It serves more as a tribute, and should sequels come, hopefully they follow the same successful formula as this.  The filmmakers obviously have great respect for the original program, and I hope it carries on.

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