'Our Man in Havana' (1959) Movie of the Book by Graham Greene

'Our Man in Havana' (1959) by Graham Greene is a satirical spy comedy.

Carol Reed directed it (and spoiled it). The film is supposed to be a sharp, darkly comedic adaptation of Graham Greene’s 1958 novel. Set against the backdrop of pre-revolutionary Cuba, the film blends satire with the tension of Cold War espionage, offering a witty yet unsettling portrayal of the absurdities within the intelligence world. With Alec Guinness delivering a subtle and nuanced performance as the reluctant spy James Wormold, the film remains both a humorous and cautionary tale about the dangerous consequences of deception in the shadowy realm of international politics.

Plot Summary:
The narrative follows James Wormold, a mild-mannered British vacuum cleaner salesman living in Havana with his extravagant teenage daughter, Milly. Struggling to maintain Milly’s luxurious lifestyle, Wormold is approached by Hawthorne, a clumsy and bureaucratic figure from the British Secret Service, who recruits him as their agent in Cuba. Wormold, though initially reluctant, accepts the position—not out of patriotism but due to the promise of financial stability. However, as an ordinary civilian with no access to sensitive information, he finds himself unable to deliver the intelligence required by his superiors.

Faced with the pressure to produce results, Wormold resorts to fabrication. He invents a fictitious spy network, drawing fake diagrams of secret military installations, which are actually based on vacuum cleaner parts. To his surprise, his reports are enthusiastically received by British intelligence, who fail to detect his deceit. What begins as an innocent con soon spirals into genuine peril as rival agents become aware of his “discoveries.” Real people he has carelessly named as informants begin to disappear, and Wormold himself becomes a target for assassination. This shift from comedic farce to genuine threat reflects the central tension in Greene’s work: the fine line between absurdity and tragedy.

Themes: Satire, Bureaucracy, and Moral Ambiguity
At its core, 'Our Man in Havana' is a satire of Cold War intelligence operations. The film highlights the incompetence and self-delusion of Western intelligence agencies, which are depicted as more interested in maintaining appearances than uncovering truth. Through Wormold’s fabrications, Greene critiques the bureaucratic machinery that rewards falsehood as long as it fits the narrative. The ease with which Wormold manipulates his superiors exposes the blind spots and inefficiencies within these secretive organizations.

The film also explores moral ambiguity. Wormold initially views his deception as a harmless means of survival, a practical solution to his financial problems. Yet, as the consequences become real—people vanish, and innocent lives are endangered—he is forced to confront his complicity in a system that is indifferent to human life. This moral reckoning aligns with Greene’s broader literary preoccupation with the ethical dilemmas faced by individuals trapped in corrupt institutions.

Characterization: James Wormold and the Everyman Spy
Alec Guinness’s portrayal of Wormold is central to the film’s success. Unlike the glamorous and confident spies of traditional espionage fiction, Wormold is a reluctant and unassuming figure. He is not motivated by ideological commitment but by personal necessity—a reflection of Greene’s rejection of the romanticized spy archetype popularized by figures like James Bond. Wormold’s ordinariness makes him both an amusing and sympathetic figure, and his transformation from a bumbling conman to a man facing genuine moral peril adds emotional weight to the narrative.

The supporting cast further amplifies the film’s themes. Noël Coward’s portrayal of Hawthorne emphasizes the absurdity of the intelligence bureaucracy—his polished, unflappable manner stands in comic contrast to the chaotic consequences of his recruitment efforts. Meanwhile, Milly, Wormold’s materialistic daughter, represents the personal stakes driving his deception, while also embodying the moral blindness of those who benefit from systems of power without acknowledging their darker implications.

Style and Direction: Carol Reed’s Visual Irony
Carol Reed’s direction balances the film’s dual tone—lighthearted farce on the surface, with an undercurrent of genuine menace. His use of Havana’s exotic, sunlit locations juxtaposes the comedic narrative against the harsh realities of Cold War politics. This visual contrast echoes his earlier collaboration with Greene on The Third Man (1949), where the postwar rubble of Vienna underscored that film’s moral and political complexities.

Reed’s camera work also reflects the growing tension: while the early scenes feature wide, open frames emphasizing Wormold’s innocence, as the danger escalates, the cinematography becomes more claustrophobic. The film’s climactic scenes, particularly the attempted assassination of Wormold, shift from the light comedy of the opening to a mood of paranoia and dread—a tonal shift that underscores the film’s deeper message about the real-life consequences of espionage games.

Conclusion: A Timely and Timeless Spy Satire
'Our Man in Havana' remains a compelling and incisive satire of Cold War espionage and bureaucratic folly. Through its blend of humor and suspense, the film critiques the recklessness and absurdity of intelligence agencies while offering a portrait of a man caught between personal necessity and moral responsibility. Alec Guinness’s restrained performance, combined with Carol Reed’s masterful direction, brings Greene’s themes to life, making the film not only an entertaining spy comedy but also a profound meditation on truth, deception, and the moral costs of survival.

In an age where misinformation and bureaucratic incompetence remain relevant concerns, 'Our Man in Havana' continues to resonate as both a cautionary tale and a darkly comic reflection on the absurdity of power.