The Internecine Project

source: The Internecine Project

When one card falls, all cards fall, and that's the goal of rising government official James Coburn in this sly political drama. He is determined to wipe out for government assassins who know too much about him, and that means having them kill each other so he is not directly linked. It's scary and sly and ingenious, and it's James Coburn at his absolute best. It's also time sensitive which is why he has to set it up so his lover Lee Grant doesn't figure things out, although as she begins to get suspicious, she comments "A little fascism can go a long way." One of the writers of the script was future hot shot director Barry Levinson, and it's one of the best director all efforts of Ken Hughes. When the murders are indeed committed, they are brutal and painful and terrifying, with one in particular (death by the presence of a piercing painful sound) quite scary. I wasn't really crazy about the ending which seems like some key element was deleted, but with terrific performances by Keenan Wynn, Harry Andrews, Michael Jayston and Ian Hendry, the viewer's attention is sure to be held. There is also some great location footage of London in the early 1970s, and for a good majority of the film, everything seems to be running smoothly. Perhaps the issue was in the editing room, but unfortunately, that affects the final product which ultimately affects the final rating.

"The Internecine Project" is a fascinating film which, in light of recent political scandals, doesn't seem all that farfetched today. Professor Elliot (James Coburn) is being nominated for a top government position. But he has a dirty past which could derail this nomination. So, he decides to clean up any loose ends...specifically to kill off four people who worked for him in the past and know how ruthless he can be. In other words, he's killing loyal people who put their lives on the line for him. But he's clever (too clever) and decides to do it in a way that will leave him blameless...he'll get the four to kill each other! This is an interesting story. I think the ending, though downbeat, wasn't bad...it was just HOW this ending occurred seemed a bit silly and hard to swallow. If you can look past this, however, you still have a decent story...one that, sadly, doesn't seem all that unlikely.

I never liked Lee Grant. But, she's a good actress. Michael Jayston, Ian Hendry and Harry Andrews are all very good, especially Harry Andrews. Hardy Krüger's daughter, Christiane Krüger, is very beautiful and talented. James Coburn is exceptional in his role as a criminal secret agent with a good man face. A very good film on a superb music signed by Roy Budd, who also composed extraordinary music for "Fear Is the Key" and "Get Carter".

This is a fantastic 1970's thriller set in England staring James Coburn in one of his best roles as Robert Elliot, an economics expert who is doing a little dirty work on the side for the US government. The motive of industrial espionage is interesting and this movie unlike most similarly plotted movies of the time does not focus on cold war paranoia. When presented with an opportunity to progress in his role as a government fixer he is required to completely detach himself from the network of low level spies he has recruited. Unfortunately for them this means they all have to be killed. The clever script has Coburn arrange for all his contacts to murder each other. As none of them know each other he is able to play on their various fears and weaknesses to coax, cajole and blackmail them into submission. His elaborate plan involves strict timing with each of the the victims phoning Coburn at set times over the duration of one evening while he sits in his office ticking off the preplanned murder sequence he has typed up. Of course the plan doesn't quite work out and the film ends with a superb twist. The only fault i have with the movie is the presence of Lee Grant. Her character (as a journalist) is introduced to show that she once had a relationship with Coburns character, that they still have feelings for each other and that he once may have been a more wholesome person before becoming corrupted. However her characters continual interjections as she investigates Elliot only serve to slow down the story. DVD releases in both the UK and the US have failed to do this movie justice even the most recent "special edition". The low number of reviews posted reflects the relative obscurity of a movie that deserves a wider audience.

James Coburn (gaunt, and with a thick mustache) plays an American diplomat and future adviser to the US President who needs his former life as a secret agent permanently scrubbed; unfortunately, he has four acquaintances in London (a civil servant, a prostitute, a thuggish masseur and a scientist doing research on a device that kills with a high-frequency sound) who know too much about his past. He orchestrates a plan to have the four unwittingly eliminate each other, though a sideline romance with former-flame and uptight writer Lee Grant might be his undoing. Very clever thriller from screenwriters Barry Levinson (who also produced) and Jonathan Lynn, adapting Mort W. Elkind's book "Internecine", though it does take a while to get this plot into motion (and involves a great deal of telephone ringing). Director Ken Hughes is attracted to intricate details and technicalities, but a snappy pace doesn't seem to be his thing. At least one of the killings (with the victim in the shower) is especially ungainly, however the film isn't terribly violent or bloody--Hughes and his writers are more interested in plot development than circumstance. Good performances all around, including Grant as the lover. Grant matches up well with Coburn, and she has a funny, natural reaction when he tells her she should be working on something more her speed--a cookbook. **1/2 from ****

Shrewd and unscrupulous former secret agent Prof. Robert Elliot (a marvelously ruthless portrayal by the always commanding and charismatic James Coburn) gets a chance to become a top adviser to the President of the United States. However, Elliot must devise a plan to eliminate four people who know about his shady past in order to achieve this goal. Capably directed by Ken Hughes, with a gripping and ingenious script by Barry Levinson and Jonathan Lynn, a steady pace, lively cinematography by Geoffrey Unsworth, a gritty, serious, no-nonsense tone, a robust and rousing score by Roy Budd, a substantial amount of tension, several startling moments of savage violence (a shower murder set piece is especially harsh and shocking), a tough and cynical central theme about the vicious extremes some people will resort to so they can acquire true power, and a real corker of a surprise ending, this unjustly overlooked item sizes up as one extremely effective and engrossing affair. The first-rate cast helps matters a whole lot: Lee Grant as pesky reporter Jean Robertson, Harry Andrews as brutish misogynist Albert Parsons, Ian Hendry as the antsy and squeamish Alex Hellman, Michael Jayston as the reluctant David Baker, Christiane Kruger as the sultry Christina Larsson, and Keenan Wynn as evil businessman E.J. Farnsworth. Moreover, the cold stream-lined efficiency of Elliot's brilliantly diabolical scheme gives this picture an extra potent and chilling edge. Recommended viewing.

Ingenious British-made corporate thriller with an impressive cast well-versed in this sort of thing – James Coburn, Keenan Wynn, Ian Hendry, Michael Jayston and Harry Andrews; Lee Grant provides both a feminist viewpoint and a romantic partner for Coburn. The plot involves Coburn’s rise in the political stakes, abetted by ruthless bigwig Wynn; however, he needs to put his shady past behind him and, to this end, organizes an intricate scheme by which his four former associates will eliminate one another on the same night! Those expecting action, comedy, sex and colorful scenery a' la Coburn’s “Flint” pictures will be sorely disappointed by this low-key, intelligent but humorless character-driven piece – filmed against drab European settings (albeit by the great Geoffrey Unsworth); composer Roy Budd, another genre fixture, delivers an appropriately moody score. Still, the murder sequences themselves (with Coburn bemusedly ticking away each carefully-timed step of his plan) – particularly Andrews’ vicious shower murder of the Christiane Kruger character and the hesitation at carrying out his part of the bargain by the typically angst-ridden Hendry – generate the requisite amount of suspense during the film’s second half. While Grant’s reporter character seems an intrusion at first, her presence (or, rather, Coburn’s callous mistreatment of her) eventually threatens to jeopardize his ‘mission’ – on finally getting wise to his machinations, she’s willing to suppress her affections and expose him for what he is! The film, however, provides a delicious twist ending, which sees the over-confident Coburn getting his come-uppance – even if the audience is clearly rooting for him – at his moment of glory (by the person he least expected it from)! Regrettably, this is only available via a reportedly substandard pan-and-scan R2 DVD; then again, I did watch it in this aspect ratio myself – and dubbed in Italian to boot!

The movie begins (and ends) like a political movie,a la Pakula .But if the "hero" is blamed for butchering democracy ,the essential is a thriller ,some very special "domino theory" .To get rid of some people who become embarrassing,the professor (a spy) ,pushes the "divide and rule" concept to its absolute limits and ,although completely implausible (all works out much too well) , displays an implacable logic in his sinister plans.Probably not great,but not derivative,and rather gripping. Main objection: Lee Grant's character is almost useless and her would be feminist journalist is only decorative.

THE INTERNECINE PROJECT is an intriguing little thriller made as a collaboration between the UK and West Germany. It's one of those films that nobody mentions anymore, but which provides a few surprises and nice elements for film fans. The unusual plot itself is a highlight, as this is a film which explores the meaning of the word 'internecine' (mutually destructive, as it happens). James Coburn plays an anti-hero, a politician with more than a few skeletons in his closet. In order to tie off some loose ends, he sets a plot in action to kill off people who know a little too much about him. The thrills come from seeing said plot play out, and wondering whether he'll succeed or not. The spy elements of the storyline give this some decent, Cold War-era paranoia shudders. The cast is very well picked; even Lee Grant is an asset, although her character - a feminist journalist - is extraneous to the storyline, although she does have a jaw-dropping encounter with the chauvinistic Coburn. Harry Andrews continues to delight in his later years, Ian Hendry is memorably twitchy, and the likes of Julian Glover and Keenan Wynn prop up the cast. There's little to dislike and much to enjoy about this thought-provoking thriller.