Review: The Internecine Project

James Coburn stars as an economics professor soon to be handed a gig as economics advisor to the President of the United States. He’s informed this by a friend and colleague named Mr. Farnsworth (Keenan Wynn, well-cast), who suggests he ties up any loose ends before starting the job, as he will need to be closely vetted beforehand. This does prove to be a pickle, because our economics professor is in reality a spy who has been involved in espionage activities while stationed in Britain. He will need to silence a group of four operatives who have been working for him in order to properly leave his old life for a new one. So he devises an intricate plan to make sure they’re all dead and that no connection to himself is left behind. There’s research scientist Michael Jayston, who is working on a high-tech device that produces deadly sound waves. Alcoholic and diabetic civil servant Ian Hendry (whose own alcoholism likely led to his passing before he reached 60), naïve woman-hating masseuse Harry Andrews, and high-priced call-girl Christiane Krüger round out the quartet. Coburn also needs to juggle a personal life, which includes reporter/lover Lee Grant popping up at the most inopportune times.

 

Nifty, sadly neglected 1974 thriller from director Ken Hughes (“Chitty Chitty Bang Bang”, the underrated “Cromwell”) has a top British and American cast, and an irresistible gimmicky premise that’ll keep you engrossed throughout. James Coburn has one of his best-ever roles and is perfect as a man effortlessly able to slip in and out of skins as he coldly and confidently attempts to tie up loose ends. Although there are traces of the suave, charismatic ladies man Coburn persona here, for the most part this is him transitioning towards his more villainous John Huston-ish side. Playing a truly diabolical, self-serving bastard, he’s mostly grim-faced and absolutely terrific. Everyone here is pretty much terrific, particularly an unforgettable Harry Andrews. For the most part he gives the usual gruff, manly-man Harry Andrews performance we all know and love. However, the more you see of him, the more he’s very, very different. A (possibly homosexual) misogynist masseuse, Andrews has one scene that is the most extraordinary of his career as he’s shown to be a woman-hating homicidal brute. Andrews is framed like a classic Universal horror monster and really goes all-out in the scene. In an otherwise kinda cool, clever thriller, it’s a real brutal shock. Michael Jayston (am I the only one who thinks he looks like John Hannah crossed with Richard Johnson?), Ian Hendry, and Keenan Wynn are very solid support, Jayston especially. Lee Grant gets to play something other than an hysterical bitch for a change and does it very well. It’s with her character than Coburn shows off his more familiar, charming persona. They work really well together.

 

I really liked how Coburn’s dealings with each of his former colleagues have differences, and that each of them are very different individuals: Cat-loving masseuse Andrews is gullible and hates women, Christiane Krüger is a hooker with high-ranking clients whom she secretly tapes, Ian Hendry (looking terrible) plays a rather colourless civil servant with not much intestinal fortitude, and Michael Jayston is a research scientist. The only issue I have with the entire film is that the narrative structure is a tad clunky. Some might question whether the scheme needed to be this complex, but those people would do best to watch something else. It’s an awfully churlish criticism for something that is so much diabolical fun. As for the ending, I didn’t pick it exactly, but the result was certainly the same as I had expected. It’s the right conclusion for the film, though I’ve heard Coburn was displeased with the ending.

 

If you’re a James Coburn fan like me or you like 70s spy-thrillers, this one’s for you. The premise is irresistible, the cast impeccable. Coburn and Harry Andrews are especially memorable. Seriously underrated, with a pretty exciting Roy Budd (“Get Carter”) score to boot, probably his best-ever. Based on a novel by Mort W Elkind, the clever screenplay is by Jonathan Lynn (director of the underrated “Clue”, “Nuns on the Run”, and “Wild Target”), and Barry Levinson, the latter is not the same Barry Levinson who made “Good Morning, Vietnam” or “Rain Man” however.

 

Rating: B