There of so many echoes of The Third Man in this film, but the essential plot lacks narrative cohesion--the dazzling atmospherics of decadent Europe after WWII, like Reed's film, are rich in dark shadows, fogs and dripping walls, dizzying stairwells and dismal foggy streets--but the plot, unfortunately, is a little foggy to begin with, and although the viewer slowly comes some comprehension concerning Widmark's task to finesse the escape of an anti-communist leader from behind the iron curtain, there are numerous lures that sidetrack him, most of them of the female. Widmark's performance is characteristically compelling, and there are some new faces on the screen deservedly demanding attention. Another positive aspect of this studio film is that most of the faces are new ones to American viewers, and Widmark's relationships to each are complex although, like the plot, sometimes confusing. If the viewer doesn't expect constant clarity and a direct Indiana Jones narrative, this film is fascinating for it's location shooting, evoking a more direct sense of hopelessness than even The Spy Who Came in From The Cold, and it's all highlighted by a persuasive music score (one of the first powerful backups by John Williams), as well as the adventurous attempts to escape the constant threat of permanent imprisonment--the sympathetic hero combines with a growing sense of suspense can add up to an entertaining two hours: I found the atmospherics even more fascinating that the labyrinthine plot.

This typical Cold War spy thriller, full of impossible to understand plot turns, bad guys and bad girls who turn to be good, maybe, doesn't have much going for it except Max Greene's (Mutzy Greenbaum) dazzling B&W deep focus photography and one of John Williams' first atmospheric scores. Phil Karlson, the director, who occasionally made a decent film, was hired and then fired by star/producer Richard Widmark who mostly snarls. Karlson does an OK job with the confusing script, but this is no THIRD MAN. If you stop trying to figure out what the hell is going on, and just watch the imagery, worth your while. Added bonus: Lots of excellent European character actors looking sinister and the luscious Senta Berger looking delicious in one of her first English language roles.

The problem here is the script which isn't quite coherent, committing the deadly sin of keeping the audience out of touch with what is really going on - a lot of incidents and parts of the intrigue raises question marks that never are answered. This is not a Graham Greene story but an Alistair MacLean story, which concentrates more on suspense and effects than on any psychology that makes sense. Perhaps the book is better than the film, it usually is, and in that case the film suffers from severe logic gaps. Richard Widmark is always good and reliable, he never lets his audiences down, and the cinematography is the great advantage of the film, which needs something to counterpoise its over-meticulous slow action and rather dreary character - Alistair MacLean always made the villains and the enemy (in this case those behind the iron curtain) appear worse scoundrels than they were, exaggerating the justification for paranoia. The music is good, and it is actually one of John Wlliams' first scores, and he seldom made a better one. It's not on par with Anton Karas' unsurpassed suggestive cither music of "The Third Man", like the entire film falls into its shadow, but it is good and suggestive enough. It is neither one of Alistair MacLean's nor Richard Widmark's best shows, but it is interesting, and the Hungarians actually speak Hungarian - the realism is convincing enough.

Certainly has the Feel of a "Backwards" Stagnant Locale with the Police-State Lurking In and Out of Baroque Buildings. The Characters All Have a Suspiciously Worried, Frowning Attitude with No-Non-Sense Brutality Against Any Who Dare Question Authorities. When They Put On an "Act" of Welcome, it is More Like a Comedy Sketch than a Practiced Con. For that Matter, Widmark's "Acts" are just as Silly and Transparent. Neither Does the Film Any Good at Maintaining Suspense or Intrigue. John "Johnny" Williams First Full-Fledged Score is OK Full of Sudden Blaring and Bombastic "Stings". The 3rd Act has Most of the Action and Sadism, both a Staple of the Bad Commies in these Cold-War Types. Getting There may be a Slog for Some as the Film is Slightly Dated by its Verbosity Not Violence. Film Debut, in a Small Role, is Santa Berger. Widmark's Wife at the Time, Writes Her One and Only Screenplay. The Story is Somewhat of a Mess to Sort Through, as Things Go Undefined and Loose Ends are Fraying Everywhere. Not Bad, but Doesn't Rise to the Best of Richard Widmark or Phil Carlson. With Low Expectations... Worth a Watch.

"The Secret Ways" is a Cold War-era thriller with far fewer thrills than I'd anticipated. Most of the time, folks just talk and talk and talk and I can't help thinking it should have been better. The film stars Richard Widmark as Michael Reynolds, an American adventurer who will do all sorts of things for a buck. His latest assignment is to spirit a leader of the Hungarian underground movement following the unsuccessful Hungarian revolt against the USSR in 1956. For much of the film, Widmark hangs around Vienna and talks a lot...punctuated by a beating from some thugs. When he goes to Budapest, the same pattern pretty much continues...with lots of talking and communist party officials hanging about him as he tries to move about the city in search of the man he is supposed to slip out of the Iron Curtain. Along for the ride is the confusingly written daughter of the man he is trying to save. The best thing about this film is probably the wonderful black & white cinematography. It has a noir sort of look and really was lovely. As far as the story and acting go, they take a back seat to the images you see of the cities (of course, being an anti-communist film, they didn't really film in Hungary). As far as thrills go, the movie is just fair...and nothing more. I think it really needed more action and less sarcastic dialog from Widmark. Additionally, Widmark's character seemed to have no real plan...as if you could just easily flee from Budapest to freedom! In fact, it was comically easy...too easy...so much that it really hurt the story. Overall, not too bad...but more of a time-passer than anything else.

This is a good cold war spy thriller that had all the elements to make it a great one, but it fell short. The culprit was the screen play's habit of inserting "magical" moments when characters emerge suddenly to change the scene without explanation. Because it's a spy film we are supposed to accept and believe that these moments occur because the forces at work are brilliant and well prepared etc., but it happened too often. Otherwise the film is very good indeed, with great on-location shots, excellent cinematography, a fine score, and a uniformly excellent, believable cast. Senta Berger lights up the screen in her US film debut, but her character's arrival, disappearance, then arrival and disappearance again are examples of those magical moments. Kudos to @krocheav who wrote a great review and brought out many of the strong and interesting points of the production, especially the "firsts" for John Williams, Richard Widmark, Jean Hazlewood, Senta Berger, Sonja Zieman and Alistair Maclean. [NB, I saw the film before I read that review.]

An above-average Cold War thriller, "The Secret Ways" was produced by its star, Richard Widmark. An American for pay, Michael Reynolds, is hired to go behind the Iron Curtain and bring out Professor Jansci, a scientist and member of the Hungarian resistance. Reluctantly teamed with the professor's daughter, Reynolds poses as a writer and crosses the border from Vienna to Budapest, where a few surprises await. Despite a leisurely beginning, the film holds interest and builds to an exciting climax. Widmark as Reynolds is largely on target as the mercenary without a personal life; unfortunately, he teeters on an unconvincing edge when he mocks Communist authorities and when he staggers through a staged drunken scene. German actress Sonja Ziemann as Julia, Jancsi's daughter, is effective, although her character creates unnecessary complications, and she seems more a token love interest than key player. The award-caliber cinematography by Mutz Greenbaum captures the dark side of Vienna and locations that pass for Budapest in strikingly-lit black-and-white images. The Baroque architecture, deep passageways, cobble-stone streets, wrought-iron staircases, and lingering vestiges of World War II damage are captured in shadowy night scenes. The lines etched in Widmark's face complement the textures of rough brick facades, stretched barbed wire, and walls of peeling paint. The inky photography creates an eery atmosphere that enhances the suspense as silhouetted figures are chased through dark back alleys and down starkly-lit stairways. At times tilted at an angle, Greenbaum's camera infused Vienna with a mystery and menace not seen since "The Third Man." Directed by Phil Karlson and based on an Alistair MacLean novel, "The Secret Ways" has a slow pace initially, which may deter viewers accustomed to James Bond and Jason Bourne. However, the film is similar to other 1960's thrillers such as "The Spy Who Came in from the Cold" and requires patience to appreciate. Sensational photography, a solid Widmark performance, and a backward glimpse at Cold War intrigue in the early 1960's make the film worth catching.

I don't think that anything was actually shot in Budapest. I recognized a lot of Viennese places (Apollo cinema, Vienna University, and others), but nothing from Budapest really. I suppose it was out of the question to get a permission to shoot that kind of movie in Hungary. The communist regime is not portrayed in a friendly manner at all. :-) But the wrong scenery is not a negative, Vienna is beautiful and many old houses have similar styles than many old houses in Budapest. Even today, more so in 1960. Besides the historic scenery, it's a rather usual good vs evil plot. Not very exciting.

Please note: there are some scene 'spoilers' contained within. This movie was filmed in 1961 and is set in 1960 Vienna and Hungary during the Cold War. Richard Widmark turns in an excellent performance as the cool & cocky American mercenary 'Michael Reynolds' who has been offered a job by his old acquaintance Hermann Sheffler, of Swiss Bank. The job? To go behind the Iron Curtain into Hungary and locate 'Jansci' (played by Walter Rilla), who is one of the resistance leaders. But the catch is that once he arrives in Budapest, Reynolds has only 48 hours to find Jansci and get him out. To aid him in finding Jansci, he locates Jansci's daughter, Julia (played by Sonja Ziemann). They cross the border into Hungary, with Reynolds posing as an American newspaper reporter. They are welcomed by the local Communist party officials and kept under constant surveillance. But Reynolds & Julia manage to ditch the security police tailing them and make their way to Jansci. They eventually plan Jansci's escape but are captured in the process and wind up in prison. Fortunately, one of Jansci's men ('The Count', played by Charles Regnier), impersonates a military official and attempts to break them out of prison. The final moments of the film show them trying to make a dash for freedom to the airport. Filmed on location in Switzerland and Vienna in black & white, there's definitely a film noir effect created here which makes this cold-war adventure more believable as a serious drama rather than if it were filmed in color. Also lending to the accuracy of the film are the numerous portraits in the background of Janos Kadar, the leader of Hungary at the time. The music, by Johnny Williams, also contributes significantly to the overall drama. Based on the novel by Alistair MacLean, "The Secret Ways" has plenty of action along with witty dialogue. Other fine performances are given by Stefan Schnabel as the border official (many may recall him as the General Secretary in the 1982 Clint Eastwood movie, "Firefox"). All in all, an enjoyable cold-war spy thriller. -GH

I love Alistair MacLean books and have just finished reading the book that this movie is based on. To say I was disappointed is an understatement. I could not watch this load of rubbish, I turned it of after 15min. Whilst the characters names are the same as the book the plot is different and does not follow the book at all. The acting is bad and the directing is no better. I did not find the camera work anything to write home about either. If you have read the book do NOT watch this movie, you will be very disappointed.