THE MAN FROM U.N.C.L.E. (2015)

The influence of Ian Fleming’s James Bond on popular culture was enormous during the 1960s. The release of Dr No (1962) left audiences both shaken and stirred, inspiring many imitators and adaptations. Eager to capitalise on the burgeoning success of spy fiction, several production companies scrambled to create their own espionage narratives. Among these ventures was Sam Rolfe and Norman Felton’s popular television series The Man From U.N.C.L.E. (1964-68). Originally airing on NBC, the show enjoyed significant popularity due to its charismatic leads, Robert Vaughn and David McCallum. Vaughn portrayed the suave and unflappable American agent Napoleon Solo, while McCallum played the enigmatic and equally competent Russian agent Illya Kuryakin. The show deftly combined action and humour while maintaining an air of sophistication as its protagonists pursued justice for the United Network Command for Law and Enforcement (UNCLE) amid the fraught tensions of the Cold War.

For almost 20 years, producer John Davis (Predator) attempted to bring a cinematic adaptation of the beloved TV series to fruition. He reportedly commissioned over a dozen screenplays, considered an endless parade of potential leads, and enlisted several major filmmakers to helm the beleaguered project. Quentin Tarantino briefly flirted with preliminary drafts but ultimately chose to direct Jackie Brown (1997). Similarly, Steven Soderbergh (Ocean’s Eleven) was officially attached to the project before departing in 2011 due to creative differences. After languishing in development purgatory for several years, writer-director Guy Ritchie (The Ministry of Ungentlemanly Warfare) eventually solved the enigma by revisiting Solo and Kuryakin’s origins. Co-written alongside frequent collaborator Lionel Wigram (Sherlock Holmes), The Man From U.N.C.L.E. retains the sophistication of its predecessor but is further enhanced by the filmmaker’s visual flair.

Taking place during the height of the Cold War, a mysterious criminal organisation plans to use nuclear weapons to upset the fragile balance of power between the United States and the Soviet Union. It’s suspected that they have abducted the distinguished physicist Dr Udo Teller (Christian Berkel) and coerced him into developing a nuclear bomb. In a desperate attempt to prevent a global catastrophe, the CIA and KGB agree to temporarily put aside their differences and form an unlikely alliance. American operative Napoleon Solo (Henry Cavill) and Russian agent Ilya Kuryakin (Armie Hammer) are secretly assigned to steal the weapon’s schematics for their respective government. However, their only lead in locating the bomb is the daughter of the missing scientist, Gabby (Alicia Vikander). The unlikely trio embarks on a covert journey to Rome to investigate the enigmatic organisation and find the bomb before it’s too late.

Adorned in an array of impeccably tailored three-piece suits, Cavill is an engaging presence as Napoleon Solo. Drawing on the casual charm he infused into Clark Kent in Zack Snyder’s Man of Steel (2013), the actor delivers all the charisma and nonchalance necessary to play the American agent. Whether he is drugged by a villain or surrounded by menacing armed guards, he remains unflappable in the face of an adversary. Deliberately channelling Roger Moore’s perpetually flippant persona as Bond from The Spy Who Loves Me (1977), he balances a debonair grace with genuine moments of witty humour and arrogance.

Similarly, Armie Hammer (Call Me By Your Name) provides a nice counterbalance as the psychologically troubled Soviet agent, Ilya Kuryakin. Unlike McCallum’s sullen heartthrob, Hammer portrays the character with a violent temper underlined with a charming vulnerability. It is a somewhat complex performance but the actor balances his aggression with a surprising earnestness. The two share tremendous chemistry, bringing an excellent touch of comedy and camaraderie to the screen.

The general criticism often levelled against Ritchie’s oeuvre is that he frequently favours style over substance. Whether it’s the boisterous underground of Cockney London in Snatch (2002), or the exaggerated Victorian milieu in Sherlock Holmes (2009), his filmmaking idiosyncrasies are unabashedly prominent. Despite his proclivity towards excess, The Man From U.N.C.L.E. showcases a noticeable restraint compared to the hyperkinetic energy that has characterised his distinctive directorial approach since Lock, Stock and Two Smoking Barrels (1998).

Ritchie is far more fascinated with immersing audiences in the luxurious trappings of the genre and the sophisticated cadence of the 1960s. There’s a particular sequence where Solo and Kuryakin find themselves pursued by armed assailants while navigating a boat. After accidentally falling overboard, Solo swims to shore and finds refuge in a nearby truck. Upon discovering a bottle of exquisite wine and a sandwich, he proceeds to enjoy the meal unconcerned with his comrade’s perilous struggle. As Kuryakin pilots a burning speedboat in the background, the opportunistic Solo remains undisturbed by the mayhem unfolding.

It’s a hilarious moment that outlines Ritchie’s priorities and his sharp deconstruction of the genre. Rather than overwhelming the audience with his filmmaking exuberance, he chooses to invoke Federico Fellini’s La Dolce Vita (1960) by luxuriating in the decadence of Italian high society. Complimented by John Mathieson’s (Gladiator) cinematography and Oliver Scholl’s (Venom) production design, each composition has been meticulously crafted to resemble a tableau worthy of the most prestigious fashion editorials. Set against the stunning Baroque architecture and the breathtaking Mediterranean vistas, every character is immaculately coiffed and impeccably dressed in sharp couture. It’s a refreshing counterbalance to the spy thrillers that dominated the Hollywood landscape during the decade. Both The Bourne Identity series and the James Bond franchise had eschewed the frivolous escapades of yesteryear in favour of gritty realism. However, The Man from U.N.C.L.E. distinguishes itself by wholeheartedly embracing the bygone elegance of its era, homing its TV predecessor and an entire genre that was possibly never quite as sophisticated as our nostalgic glasses remember them being.

It may surprise audiences who dismiss Ritchie’s filmography as borderline indecipherable that The Man from U.N.C.L.E. moves along at a rhythmic pace. Nevertheless, his creative thumbprint remains unmistakably evident throughout. James Herbert (Aladdin) employs geometric split screens and period-appropriate transitions to sustain the momentum during the quieter moments. Several sequences evoke the opening bank heist in The Thomas Crown Affair (1968), elaborately presented with multiple moving panels coalescing into one cohesive image.

Admittedly, such editing techniques may not be to everybody’s taste, but they perfectly align with the film’s aesthetic and the filmmaker’s tonal intentions. Similarly, Daniel Pemberton’s (Spider-Man: Across the Spider-Verse) self-consciously groovy score is interlaced with the dynamic visuals. Oscillating between John Barry (The Ipcress File) and Ennio Morricone (Once Upon A Time In America), it’s a chic and nostalgic homage to the quintessential spy thrillers of the ’60s.

Ritchie strikes an ideal balance of action and intrigue with notes of debonair comedy that will make viewers forget about the frost of the Cold War creeping in from every angle. The characters all serve as impeccable foils for one another and some of the best moments derive from the vaguely homoerotic double entendres underpinning Solo and Kuryakin’s partnership. A particular humorous moment involves the two agents arguing inside a couture showroom about whether a Paco Rabanne belt suitably complements a Patou dress. As they disagree over what accessory would best suit Gaby’s cover as an architect’s wife, she picks out a Mod ensemble herself. Unlike Matthew Vaughn’s Kingsman: The Secret Service (2014) which had its tongue firmly planted inside its cheek, The Man from U.N.C.L.E. sizzles with British witticisms and wry humour present in most of Ritchie’s work.

While The Man from U.N.C.L.E. is competently crafted and undeniably pleasant to watch, the overarching issue is that it lacks even the slightest sense of urgency and forward momentum. Their respective superiors inform Solo and Kuryakin that they must find the warhead and thwart the terrorists’ plans. However, this tension is ineffectively communicated, and the characters appear more preoccupied with their clothing than the world’s fate. It’s almost comical how inconsequential the nuclear bomb is treated, and the main antagonist receives remarkably little screen time. Ritchie and Lionel Wigram’s (Sherlock Holmes: A Game of Shadows) screenplay is more concerned with providing an original story, establishing Solo and Kuryakin’s relationship, and chronicling the birth of the organisation U.N.C.L.E. Unfortunately, the result feels no more substantial than an extended pilot episode from the original television series, extended for 120 minutes.

Charming without being pretentious and stylish without feeling disingenuous, The Man from U.N.C.L.E. strikes the right balance of nostalgic fun with contemporary technical panache. While presenting a visual feast replete with impeccable costume design and sumptuous cinematography, Guy Ritchie crafts a refreshing departure from the monotonous gravitas of typical espionage blockbusters including Mission: Impossible—Rogue Nation (2015) and Spectre (2015). Unfortunately, the disjointed screenplay fails to conjure any palatable tension and suffers from a lacklustre villain. However, despite its narrative shortcomings, Ritchie successfully crafts an affectionate homage to 1960s spy fandom.

UK • USA | 2015 | 116 MINUTES | 2:39:1 | COLOUR | ENGLISH • RUSSIAN • GERMAN • ITALIAN

Limited Edition 4K Ultra HD Blu-ray Special Features:

Showcasing a wonderful 2160p Ultra-HD transfer, The Man from U.N.C.L.E. has received a marvellous 4K restoration courtesy of Arrow Video. Presented in its original aspect ratio of 2.39:1, it is one of the first titles in a new deal brokered between Arrow and Warner Brothers.

Captured primarily on Arri Alexa Plus cameras, the digital photography perfectly complements the use of light and shadow. Night-time escapades in East and West Berlin look phenomenal, and the black levels are almost impenetrable. Whereas daytime rendezvous are equally as stunning, showcasing the luxurious environment captured by John Mathieson’s cinematography. Dolby Vision intensifies the already wonderful palette and handles the colour scheme incredibly. Vibrant primary tones are wonderfully reproduced, bringing the period aesthetic to life. Whether it is the clothing, Renaissance art, or a brief snack Solo pauses to enjoy during a harrowing chase sequence, the transfer is blessed with an appetising boost compared to Warner Brothers’ 2015 Blu-ray release.

The 4K Ultra HD release of The Man from U.N.C.L.E. enjoys a boisterous Dolby TrueHD 7.1 audio track. Presented with optional English subtitles, the mix is wonderfully dynamic and surrounds viewers with numerous sonic elements. The Dolby Atmos speakers are noticeably engaging during fight scenes and extended chase sequences. Action effects including blistering gunshots and shattered glass are amplified for impact, remaining primarily at the rear. Whereas atmospherics including screeching tyres, rumbling engines, and heavy footfall are cleverly dispensed throughout the channels.

• 4K (2160p) UHD Blu-ray presentation in Dolby Vision (HDR10/compatible).
• Original lossless Dolby Atmos sound.
• Optional English subtitles for the deaf and hard of hearing.
• Brand new audio commentary by critics Bryan Reesman and Max Evry.
• ‘The Hollywood Way’—brand new interview with co-writer/producer Lionel Wigram.
• ‘A Lineage of Bad Guys’—brand new interview with actor Luca Calvani.
• ‘Legacy of U.N.C.L.E.’—brand new featurette celebrating the original 1960s TV series and its influence on the 2015 movie, featuring Helen McCarthy, David Flint and Vic Pratt.
• ‘Cockneys and Robbers’—brand new featurette exploring director Guy Ritchie’s oeuvre, featuring Kat Hughes, Hannah Strong and Josh Saco.
• ‘Spy Vision: Recreating 60s Cool, A Higher Class of Hero, Metisse Motorcycles: Proper and Very British, The Guys from U.N.C.L.E. and A Man of Extraordinary Talents’—five archival featurettes exploring the making of the film.
• ‘U.N.C.L.E.: On-Set Spy’—four archival, bite-sized featurettes going behind the scenes on the film set.
• Theatrical trailer.
• Image gallery.
• Double-sided fold-out poster, featuring original and newly commissioned artwork by Dare Creative.
• Illustrated collector’s booklet featuring new writing by Barry Forshaw, and a reprinted article from CODEX Magazine on the film’s cinematography.
• Reversible sleeve featuring original and newly commissioned artwork by Dare Creative.

Cast & Crew

director: Guy Ritchie.
writers: Guy Ritchie & Lionel Wigram (story by Jeff Kleeman, David C. Wilson, Guy Ritchie & Lionel Wigram; based on the TV series created by Sam Wolfe & Norman Felton).
starring: Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki & Hugh Grant.