charlesrothwell The spy genre saw a (British-led) backlash in the mid-/late-1960s against the 'James Bond-led' type of upper class, super-human, perfect being spies and attention being paid in literature ("The spy who came in from the cold") and film (the Harry Palmer films) to a much more realistic portrayal of who spies were and what they actually did (often grubby little men working in atrocious conditions and for minimal recompense). In addition to literature and film, I can recall seeing the original "Callan" series on TV and of being very impressed by it. As portrayed by Woodward, Callan really was a working class thug (ex-army/ex-offender/borderline alcoholic and capable of great viciousness) doing the most unglamorous kinds of things in order to "take care" (with threats, blackmail, entrapment and, ultimately, 'termination') of people his superiors ordered him to. At the same time, Woodward gave the character a real human side who often displayed pity and empathy for his victims and who refused to turn into just the simple killing machine his masters wanted. I thought this film (which I had never seen before and found on some TV network being broadcast between 1.00 and 3.00 AM!) caught all of this very well. It was made at a time of great violence/almost seeming social melt-down (IRA bombing campaigns in Britain, the never-ending "Troubles" in Ireland, terrorism across much of Europe, the PLO terrorist attacks across the world. the Vietnam War staggering towards its bloody (and probably inevitable) end) and there are a number of places in the film where issues of direct relevance for today are also addressed (where to draw the line between 'enhanced interrogation' and outright torture, what are the limits of surveillance, how far can people 'follow orders' and still stay human?) An exciting film to watch but also one with a lot more to offer as well.

A_Different_Drummer While the notion of "franchising" a successful creative work is nothing new today, it was quite novel (sorry for the pun) for author James Mitchell.His spy novel A Magnum for Schneider was published in 1969. It begat a successful book series; a top-rated British TV drama which ran for years, which Mitchell also wrote for; a bona fide international star (Woodward) who was so successfully identified with the role of Callan that he actually crossed the pond and starred in a TV show there called The Equalizer; and, of all things, this bizarre almost reverent attempt to milk the original cow (the first novel) one more time, in 1974, using most of the original cast, in a feature length film, and shot in colour.This should be point in the review where I tell you that this whole exercise was of such high quality that Callan is as watchable today (whenever you are reading this) as it was then. If I said that, I would be lying.While Mitchell had his finger on the pulse of the 60s -- a gradual turning away from traditional and respectable spy stories to something a little more violent and gritty -- it was only a taste of what was to come.Which means that this film, as competent as it is, will always remain merely a curiosity for fans who remember the original. (And also remember, for example, that in the series, Callan not only returned to his "job" but for a while actually ran the entire Section!) Fond memories. But only memories.

glenn-aylett Callan made Edward Woodward into a star. He plays a sort of James Bond as anti hero, a reluctant and downbeat assassin who wants to retire as he is being damaged by his work, but is blackmailed by the SIS into carrying out one last job, which is never his last.Basically the 1973 film version of Callan was a remake of a classic episode A Magnum for Schneider, where Callan is ordered to kill a German businessman who has links to the Stasi and who is involved in some dodgy arms deals with a liking for Magnum revolvers. ( Interestingly the little known Japanese version of the pistol is mentioned in the film).While I haven't seen this film for a while, it seems to have disappeared from the late night television schedules, Callan is quite a good and brutal film. Callan in this is shown to be a karate expert, he uses it to extract some information from his associate Lonely in his squalid bedsit and then dispenses with two arms dealers in the most brutal karate display this side of a Bruce Lee film. Also of note are a car chase which involves Callan driving a Range Rover through an orchard and a Jaguar being bounced across a level crossing by an Inter City train. Schneider, who is killed off by Callan, also has a penchant for collecting toy soldiers and re enacting classic battles.Another interesting fact about the film is Clifford Rose makes an appearance as a consultant physician, later he was to make his name as the sinister SS officer Kessler in Secret Army.Not a great film, but a good way to pass an afternoon and Russell Hunter in particular is excellent as Lonely, the smelly, loyal informant for Callan who deserves a medal for the way Callan treats him throughout the film( usually knocking him about).

kawilliamson13 I thought the film was very good. I like others at first approached the film with a jaundiced view, specifically the totally different effect of the music. However once viewed several times ones' view changes and accepts the film / music / different "Hunter" etc. afresh. No one else could play Callan other than Edward Woodward, the effect of Eric Porter as the new "Hunter" also becomes part of the whole fabric. I have seen the film many times now and to change anything or to try to align it with the way Callan was presented for TV would be detrimental.Enjoy it as it stands without prejudice. One weak spot, the scene where Callan is located with Lonely in a pub by one of Mears' henchmen; you could never jam a kiosk door with a piece of folded up card!