In Hindsight: 'The Man from U.N.C.L.E.'

How a film is released can be the reason audiences sit down for it, or the exact opposite. Sometimes it's a limited release, a common instance for smaller films, and then maybe it's because it's just not the right time of the year. The latter reason has plagued many would-have-been big films over the years. These problems lead to good films being lost on many potential fans.

2015 saw an instance of that when Guy Ritchie's classic spy caper, The Man from U.N.C.L.E came out in August. The film was released a mere two weeks after (ironically) Tom Cruise jumped on a plane in Mission: Impossible-Rogue Nation. Ironic because Cruise was initially set to appear in The Man from U.N.C.L.E before deciding to focus back on Ethan Hunt. Furthermore, August is never the best summer month to release a big film. Audiences are usually trying to get in last summer vacations, and families, a target audience for summer films, are trying to get ready for the fall to start.

It could be said that it's a tragedy that The Man from U.N.C.L.E got lost in the August rush. The 1960s-set film is one of Ritchie's finest achievements, and is one of the few blockbusters that uses stars Armie Hammer and Henry Cavill well.

The film, which is based on the 60s TV show of the same name, follows American spy, Napoleon Solo (Cavill) and Russian spy, Illya Kuryaken (Hammer) as enemies who must join forces to bring down an Italian terrorist, along with the help of a German car engineer (Alicia Vikander). Set mostly in Italy, the trio attempt to accomplish their mission through smarts, style, and charm.

The spy genre today is an interesting one. Bond is on his way out, struggling, as usual, on how to exist in the modern world. Bourne comes and goes, never changing face. New franchises like Kingsman bring more color and humor to the genre. Then there is the M:I franchise, no doubt the best and currently, most successful. But they are all fast-paced modern stories. They might be based on books and shows of the classic spy era, but they exist in today's world, which is highly different from the 60s.

In The Man from U.N.C.L.E, Ritchie brings the audience back to an era of glamour and color. His film has a slower pace, and instead of focusing in on constant and impressive action sequences, relies on charming and informative conversation. More importantly, he lets the style of 50 years ago shine in the color of the fashion, the sound of the music, and his very classic, yet unique cinematography.

However, Ritchie doesn't let U.N.C.L.E. run on only style. The film's story is hardly lacking in character with a steady, simple, and interesting plot that keeps the story going with great pacing. The film balances action and dialogue very well, and Ritchie never seems overwhelmed with the grand scope of his story. The glamorous vibe mixed with Ritchie modern sense of cinematography occasionally gets mixed up, but overall, his trademarks work magnificently. The true gems of the film, however, are the stars.

Henry Cavill, known before for only Superman, gets the chance to be more of a brooding alien. He excludes the charm of Bond without the misogyny and makes Solo a lovable rogue. Hammer, also underused in bigger films, gives an incredible performance as Russian Spy, Illya. Not only does his accent not falter, but he is also by far the most interesting character in the film. Vikander, pre Oscar win never lets Gaby be the damsel in distress, and hold her own against the men. Her story arc is also the most surprising. The trio's chemistry is off the charts, taking the audience in and keeping them in the tale.

Looking back at U.N.C.L.E., which is now a bigger hit among film fans, one of the most special aspects of the film is its timelessness. The film with the bright colors, the vogue fashion, and the soft sounds Roberta Flack and Solomon Burke allow a flashback to a fascinating decade. The Man from U.N.C.L.E gives a fashionable, modernized take on the spy genre that almost any viewer will fall in love with at first sight.