Surprisingly even-handed and thoughtful with more twists than The Housemaid. Rising star Tom Bell makes a bid to fill the spot in the British movie hierarchy vacated by Michael Caine who had gone to greater things while Susan Hampshire is trying to escape the screen persona foisted upon her by Walt Disney in such innocuous fare as The Fighting Prince of Donegal (1967). Australian director Don Sharp was hoping to add some gravitas to a portfolio that included The Face of Fu Manchu (1965) and Our Man in Marrakesh (1966). To some extent, all three achieve their aims.
Irish terrorist Sean Rogan, learning he has been refused parole and has another seven years of a 15-year sentence to serve, breaks out of jail, assisted by Hannah (Susan Hampshire), scion of an IRA legend. Twist number one, back in Ireland, Sean tells his boss Colum O’More (Ed Begley) that he’s going to go straight. Ireland having no extradition treaty with the United Kingdom for political prisoners he’s safe. Twist number two, Colum threatens to dump him over the border to Northern Ireland where he could be arrested.
O’More wants Sean, an explosives specialist, to blow up an electronics plant that services British armament factories and in doing so restore pride in a fading political force. Sean agrees to plan the job but not carry it out, leaving it to underling Austin (Jon Laurimore). Sean also, surprisingly, has scruples, wanting to limit the charge so that it doesn’t affect people living in caravans below the factory. Meanwhile, Inspector Sullivan (Philip O’Flynn) turns up with a killer piece of information. He tells Hannah, who’s grown sweet on Sean, that the escapee was deliberately misled – his parole had been granted. Hannah refuses to pass this along, her loyalty to the cause greater than her feelings for Sean.
As the deadline approaches for the sabotage, it becomes apparent Austin has a different project in mind. Instead of blowing up the plant he’s going to use the blackout caused by the dynamite to rob the factory, forcing Sean to come along so he can be rendered unconscious and take the fall.
The final twist is that Sean foils the robbers.
Apart from the sabotage and the heist there’s a lot to savor here. Old hands are deserting the cause to enjoy prosperity. The idea of ruining local livelihoods by terminating the plant is anathema to some. Many are just tired of fighting a war that’s not been won. Others, like Sean, believe they have done their bit and are entitled to peace and quiet.
Die-hards like Colum are easily duped by the unscrupulous – one of the best scenes the shock on his face when he realizes he’s been took and he lacks the authority to stop what might be deemed organizational malpractice – while Austin takes advantage of the money-making opportunity that supposed fealty to the cause creates. Hannah, too, has to change her attitude. Sean’s spent enough time in prison to appreciate what he’s lost.
There’s little remorse but equally there’s little tub-thumping and the movie largely steers clear of the political issues and sentimentality. There’s nothing glamorous or romantic in this Ireland, no glorious scenery, just dreich wet streets, and the flag isn’t tied to the mast but employed to package the loot. The heist is well done and there’s an unusual climax. Possibly the most imaginative section is the flight after the initial escape with Sean disguised as a chauffeur driving a Rolls-Royce. It’s probably a plus point that nobody attempts an Irish accent that they’d mess up anyway.
Possibly because of the subject matter, the movie flopped. Neither Tom Bell nor Susan Hampshire ascended to the higher echelons though Don Sharp returned to Ireland for Hennessey (1975) and went on to direct Bear Island (1978). Written by Edmund Ward (Goodbye Gemini, 1970) from an early novel by Jack Higgins (The Eagle Has Landed, 1976 ) who both revisited the Troubles for Mike Hodges A Prayer for the Dying (1987) with Mickey Rourke.
In between the action beats plenty to mull over.
The Magnificent 60s 