Beautiful, moving film.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

By the time the dramatic fireworks start popping off, each one feels earned.

The other side is the good side in this ingenious thriller which also benefits from an extensive use of real locations. The screenplay, however, is somewhat thin on characterization. The narrative is fleshed out with two plots which only come together via the odd telephone call. Nonetheless, the pace is brisk and there is plenty of boom-boom action.Constant changes of locale also keep our attention focused. All in all, the film is reasonably enjoyable for those of us who don't pay too much attention on the dopey plot and are just along for the ride.The ever-reliable Pat Magree presents us with a brief but enjoyably hammy performance. Badel, however, is reduced to stooging. Donald Pleasense is not presented with many opportunities for fine acting either, even though his role is comparatively large.!

The radical Russian Nicolai Dalchimsky (Donald Pleasence) steals some names and codes and flees to the United States of America with the intention of beginning the Third World War. The list is formed by ordinary American citizens that are actually brainwashed Russian agents that have been programmed fifteen years ago to destroy military bases and facilities and are triggered through a phone call with a message. The responsible for the secret program, General Strelsky (Oatrick Magee) and Colonel Malchenko (Alan Badel) summon Major Grigori "Gregg" Borzov (Charles Bronson) to travel to the United States to eliminate Dalchimsky. Gregg teams up with the Russian agent Barbara (Lee Remick) that was instructed to obey his orders but does not know what is happening. But Barbara has a secret agenda from her superiors to accomplish by the end of their assignment. "Telefon" is presently a dated rip-off of the central idea of "The Manchurian Candidate", with Russian agents with sleepy instructions and programmed to destroy but it is still engaging. Don Siegel was a master of action and "Telefon" never disappoints. My vote is seven.Title (Brazil): "O Telefone" ("The Telephone")

this line from the poem by Frost was used by H. Schmidt, the German chancellor in his book with Stern from 2009. Maybe he wants to wake up sleepers in Europe. During interviews, he liked to read them, so people who watched the video or Television would be activated after being MK Ultra processed. This was being observed by some writers on the internet already.Then again, some supposed that Schmidt simply liked the movie back then (remember, the title's language) and so came to read the poet Frost. But some stubborn conspiracy theorists still hang on the the MK Ultra / sleeper cell theory.

"Telefon" isn't exactly the most plausible espionage thriller ever made, but it was particularly the far-fetched and flamboyant plot line, along with the acting performances and harsh violence, that kept me glued to the screen. "Telefon" is the codename for an old Soviet war incentive against the US. Years ago, during the peak years of the Cold War, 51 Russian secret agents were strategically placed all over America. They were instructed to build up regular lives, however, reciting a specific piece from Robert Frost's poem "Stopping by Woods on a Snowy Evening" triggers some kind of hypnotic effect that turns them into unstoppable kamikaze soldiers with sabotaging assignments. The "Telefon" project got pretty much forgotten during the détente era, but now the dangerously berserk Stalinist Nicolai Dalchimsky single-handedly decide to awake the "sleeper" agents and leave a trail of destruction throughout America. Moscow headquarters' only chance to prevent World War III from happening is to send Major Grigori Borzov, who's loyal as a dog and has a photographic memory, to the US and eliminate Dalchimsky. You got to admit the idea behind "Telefon", which is based on a best-selling novel, is crazy enough to provide 100 minutes of grotesque and exhilarating action. In fact, the action and the extended imaginative sabotaging operations are what matter most here, as the rest of the script is full of ineptness and holes. The film hastily jumps from one wrecking sequence to the next without bothering to explain the background of the "Telefon" project or the motives of the culprit. Donald Pleasance, who portrays the evil Dalchimsky, is terribly underused because the screenplay never once bothers to elaborate on his malignant plans. This could have been a great role for Pleasance, but now it's just another villainous character like he has depicted dozens and dozens already. Charles Bronson is at his best, since he doesn't have to speak any more than absolutely necessary, but nevertheless acts forceful and confident. Don Siegel's direction is surprisingly pedestrian and distant, which isn't normal for him. Still, "Telefon" is good solid Charlie Bronson entertainment with a totally bonkers plot line!