Eye Of The Needle

Although in terms of production values Richard Marquand’s film is limited by the almost televisual standards of British film-making of the time (when compared to Hollywood) Eye of the Needle is a surprisingly engaging espionage thriller with a strong character focus.

Based on a bestseller by thriller writer Ken Follett whose other works have been adapted for television, the film tells the story of a charming German spy, Henry Faber (Donald Sutherland), who, while trying to return to Germany with vital information on the D-Day landing for Hitler, becomes stranded on a storm-swept island with Lucy (Kate Nelligan) and her disabled husband, David (Christopher Cazenove). Estranged from her embitter husband who was crippled in a car accident on their wedding day and sexually frustrated Lucy finds herself under Faber's calm spell.

Whilst relatively low on thrills the strength of Marquand’s film is in the portrait of the near-psychotic Faber whose dedication to his job supersedes any fellow-feeling. That is, until he meets the lovely and loving Lucy who pours out all her loneliness to him and in doing so breaches his insularity. Not that that stops him from disposing of anyone who gets in his way with his weapon of choice, a stiletto blade, the needle of the title and hence, Faber’s nickname amongst the British counter-espionage operatives pursuing him.

Both Sutherland and Nelligan are Canadians and fit seamlessly into this British production. Sutherland with his characteristic imperturbability is perfectly cast as the emotionally disconnected but ruthlessly-focussed spy whilst Nelligan brings a vulnerability and passion to her character that lifts the film considerably above the routine. Perhaps most unusually for the genre, her affections take on a perversely dark cast in the latter part of the film once she intuits that Faber is up to no good and threatens the safety of her family. Cazenove’s main function is to communicate the bitterness which drives Lucy into Faber’s arms. This he does well and even approaches some kind of redemption as late in the film he finally gets a chance to contribute to the war effort.

If the staging of the action scenes are a little underwhelming (and in the big showdown between Lucy and Faber everyone seems to have forgotten the house was on fire) this is small beer when we have compelling characters brought to life with such evident conviction. 

Available from: Viavision

 

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