Watch out for spoilers: It's a cliché to say "the book is better." Some books are, since they have more depth of character. This is not, however, universal. Many screenplays, for obvious reasons, streamline novels, cutting out extraneous characters and making the stories flow much more smoothly. I can point out lots of cases where the movie actually is better.
Not here. "The Eagle Has Landed" does streamline the story, naturally. The entire Preston subplot is excised. So is a lot of the back-and-forth yo-yoing of Radl to Himmler. In fact, Canaris has so little to do in this flick, I'm surprised they left him in at all. (Anthony Quayle is wasted as Canaris; Donald Pleasence has a field day as Himmler, and he lets us know what Hamlet means when he says one can smile and be a villain).
On the plus side, the screenplay telescopes the story nicely. The novel takes place over months, while the screenplay seems to cover just a few days.
Michael Caine is perfect as the German soldier with a conscience, while playing his cards close to his chest. Donald Sutherland is fine as the wry Devlin (replacing Richard Harris, and it's too bad we missed that performance). Larry Hagman, never the world's greatest actor, plays a character who was an idiot in the book and manages to be even more stupid in the movie (so although he did the part well enough as written, he can't help coming off looking unpleasantly like a buffoon; I'm surprised they didn't hire a comedic actor to play the part). I've never been a fan of Jean Marsh so I'm happy with her performance as the faux-British traitor. Jenny Agutter is pertly pretty; that's all that is required of her and that's all she does.
But when all the shooting is over, one has never really connected to the characters. In the book one is surprisingly drawn to the IRA assassin and all the men fighting for their German fatherland (or, in Steiner's case, his real father, who is in Himmler's clutches). Confronted, in the movie, with dumb Americans and Brits, angry churchmen, supposedly compassionate characters studded over with Nazi regalia, and a moonstruck girl who shoots an unwelcome suitor in the back with both barrels to keep him from betraying her hit-man lover, there is really no one here for the film-goer to sympathize with.
This is where the book's depth of character makes it superior. In the book you even feel disappointed when the Nazis lose, which shows the author's mastery. In many ways the screenplay and the editing improve on the story. But overall, once the shooting starts it's a bore, when that should be the exciting part.
Not here. "The Eagle Has Landed" does streamline the story, naturally. The entire Preston subplot is excised. So is a lot of the back-and-forth yo-yoing of Radl to Himmler. In fact, Canaris has so little to do in this flick, I'm surprised they left him in at all. (Anthony Quayle is wasted as Canaris; Donald Pleasence has a field day as Himmler, and he lets us know what Hamlet means when he says one can smile and be a villain).
On the plus side, the screenplay telescopes the story nicely. The novel takes place over months, while the screenplay seems to cover just a few days.
Michael Caine is perfect as the German soldier with a conscience, while playing his cards close to his chest. Donald Sutherland is fine as the wry Devlin (replacing Richard Harris, and it's too bad we missed that performance). Larry Hagman, never the world's greatest actor, plays a character who was an idiot in the book and manages to be even more stupid in the movie (so although he did the part well enough as written, he can't help coming off looking unpleasantly like a buffoon; I'm surprised they didn't hire a comedic actor to play the part). I've never been a fan of Jean Marsh so I'm happy with her performance as the faux-British traitor. Jenny Agutter is pertly pretty; that's all that is required of her and that's all she does.
But when all the shooting is over, one has never really connected to the characters. In the book one is surprisingly drawn to the IRA assassin and all the men fighting for their German fatherland (or, in Steiner's case, his real father, who is in Himmler's clutches). Confronted, in the movie, with dumb Americans and Brits, angry churchmen, supposedly compassionate characters studded over with Nazi regalia, and a moonstruck girl who shoots an unwelcome suitor in the back with both barrels to keep him from betraying her hit-man lover, there is really no one here for the film-goer to sympathize with.
This is where the book's depth of character makes it superior. In the book you even feel disappointed when the Nazis lose, which shows the author's mastery. In many ways the screenplay and the editing improve on the story. But overall, once the shooting starts it's a bore, when that should be the exciting part.