My review was written in October 1982 after a screening at Thalia theater on Manhattan's UWS.
Produced in 1974 by British Lion using German tax shelter funding, "Who?" is a very affecting though minor science fiction film. Acquired for U. S. release by the since-defunct Allied Artists (along with other pictures produced by Canadian Barry Levinson -not the U. S. director of "Diner"), picture was shelved and has had domestic exposure only through nontheatrical bookings. It's a shame, since this is a nice little picture which, despite its anticipating the sic-fi boom by a couple of years and its non-reliance on hardware, could have attracted a small following.
Adapted from Algis Budrys's novel by the late British playwright John Gould (no relation to pic's star Elliott Gould), "Who?" is an action-espionage thriller examining, from a science-fiction perspective, the nature of identity. Joe Bova gives a beautiful, underplayed performance as diminutive U. S. scientist Martino, whose face and arm are remade in metal after a car accident in Berlin. The film's mystery-suspense plot derives from iterated flashbacks showing Martino grilled and/or indoctrinated by East German intelligence officer Azarin (Trevor Howard).
Once back in the U. S., Martino is subjected to gruelling questioning and investigation by F. B. I. Operative Rogers (Elliott Gould) to check his new security clearance for continuing a top secret research project in Florida. Gould examines the reactions of Martino's old associates to his transformed, robot-like appearance.
The action sequences, including a standard Remy Julienne-piloted car chase,are not the main area of interest in "Who?", but rather the vulnerable, ultimately lovable little man Martino's saga of self-discovery. Constantly crushed by people's pitying or frightened reaction to his cyborg appearance. Marino only snaps out of his depressive state when he realizes that he has lost his identity by depending too much on the opinions of others. In terms of story development, this central theme is tied directly to his immediate (unwilling but internalized) need to impress Rogers with the proven fact of his identity as physicist Martino rather than some imposter planted by the Communists.
After the flashbacks ultimately reveal Martino's new identity, film concludes with a terrific scene where Rogers and Martino come to a mutual understanding and latter has found his self-realization at last by working anonymously on a farm where his fellow workers accept him at "face" value -he doesn't have to prove anything anymore. This elegant finale carries a simple philosophical punch unusual for the sci-fi film genre.
Crisply directed by Jack Gold, "Who?" is a technically adroit low-bugeter, with excellent makeup for Martino executed by Colin Arthur, famed for his superb makeup effects recently in "Christiane F." and "Conan the Barbarian".
Bova does wonders in the central role, creating intense viewer identification though restricted to vocal and body acting rather than his face, which is covered with the silver, metal look. Bulling his way through the picture in the tough guy lead roe familiar from many British B-pictures featuring a U. S. actor for marquee value. Gould brings humor to the assignment. Trevor Howard is seen only in the flashbacks.
Produced in 1974 by British Lion using German tax shelter funding, "Who?" is a very affecting though minor science fiction film. Acquired for U. S. release by the since-defunct Allied Artists (along with other pictures produced by Canadian Barry Levinson -not the U. S. director of "Diner"), picture was shelved and has had domestic exposure only through nontheatrical bookings. It's a shame, since this is a nice little picture which, despite its anticipating the sic-fi boom by a couple of years and its non-reliance on hardware, could have attracted a small following.
Adapted from Algis Budrys's novel by the late British playwright John Gould (no relation to pic's star Elliott Gould), "Who?" is an action-espionage thriller examining, from a science-fiction perspective, the nature of identity. Joe Bova gives a beautiful, underplayed performance as diminutive U. S. scientist Martino, whose face and arm are remade in metal after a car accident in Berlin. The film's mystery-suspense plot derives from iterated flashbacks showing Martino grilled and/or indoctrinated by East German intelligence officer Azarin (Trevor Howard).
Once back in the U. S., Martino is subjected to gruelling questioning and investigation by F. B. I. Operative Rogers (Elliott Gould) to check his new security clearance for continuing a top secret research project in Florida. Gould examines the reactions of Martino's old associates to his transformed, robot-like appearance.
The action sequences, including a standard Remy Julienne-piloted car chase,are not the main area of interest in "Who?", but rather the vulnerable, ultimately lovable little man Martino's saga of self-discovery. Constantly crushed by people's pitying or frightened reaction to his cyborg appearance. Marino only snaps out of his depressive state when he realizes that he has lost his identity by depending too much on the opinions of others. In terms of story development, this central theme is tied directly to his immediate (unwilling but internalized) need to impress Rogers with the proven fact of his identity as physicist Martino rather than some imposter planted by the Communists.
After the flashbacks ultimately reveal Martino's new identity, film concludes with a terrific scene where Rogers and Martino come to a mutual understanding and latter has found his self-realization at last by working anonymously on a farm where his fellow workers accept him at "face" value -he doesn't have to prove anything anymore. This elegant finale carries a simple philosophical punch unusual for the sci-fi film genre.
Crisply directed by Jack Gold, "Who?" is a technically adroit low-bugeter, with excellent makeup for Martino executed by Colin Arthur, famed for his superb makeup effects recently in "Christiane F." and "Conan the Barbarian".
Bova does wonders in the central role, creating intense viewer identification though restricted to vocal and body acting rather than his face, which is covered with the silver, metal look. Bulling his way through the picture in the tough guy lead roe familiar from many British B-pictures featuring a U. S. actor for marquee value. Gould brings humor to the assignment. Trevor Howard is seen only in the flashbacks.