Spy thrillers, with their inherent interest in matters such as trust and betrayal, conform well to the interests of love stories. John le Carré's The Little Drummer Girl, for example -- a better example by far than the present adaptation of his glasnost-era spy thriller, as grimly difficult to adapt as his spy thrillers of every era. The big void in the book remains the big void on screen: the underwritten love angle. The filmmakers may have thought that the casting of Michelle Pfeiffer -- the blushin' Russian -- would sweep aside all reservations, clearing the way for a tacked-on sappy ending in slow-motion. That indeed may be enough for some, but the authentic Soviet locales and extras don't help Pfeiffer to pass inspection. Sean Connery, who can act circles around his co-star and is a poor chemical match for her, is charismatic enough as the robust protagonist, one of le Carré's vivider. But the most gripping part of the book -- the opening -- has been sacrificed for conciseness, and whatever's been saved hasn't been brought to life. With Klaus Maria Brandauer, James Fox, Ken Russell, and Roy Scheider; directed by Fred Schepisi. (1990) — Duncan Shepherd
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