Spy Game is a 2001 American spy film directed by Tony Scott and starring Robert Redford and Brad Pitt. The film grossed $62 million in the United States and $143 million worldwide and received positive reviews from film critics. In 1991, the U. S. and China are on the verge of a major trade agreement, with the President due to visit China to seal the deal. The CIA learns that its asset Tom Bishop has been arrested at a People's Liberation Army prison in Suzhou and will be executed in 24 hours unless the U. S. government claims bargains for his release. But if the government claims Bishop as an agent, they risk jeopardizing the trade agreement. Bishop was operating on his own when he was captured, unauthorized by the Agency; the CIA's special operations executives summon Nathan Muir, the senior agent who recruited and mentored Bishop during a ten-year partnership in various zones of conflict, on his last day before retirement. They ask if he knew of Bishop's mission in China, hoping he will give them the pretext they need to justify letting Bishop be executed.
The CIA executives are unaware that Muir had been tipped off about Bishop's capture prior to arriving at CIA headquarters by a fellow CIA veteran in Hong Kong. Muir schemes to save Bishop while he is in and out of the executive’s meeting room all day telling them stories and using a series of pages to hoodwink his colleagues, he leaks the story to CNN through an MI6 contact in Hong Kong, believing that public pressure would force the CIA to rescue Bishop. They are stalled before a phone call to the FCC from CIA Deputy Director Charles Harker results in CNN retracting the story as a hoax. Muir describes how he met Bishop in 1975 when Bishop was a Marine Scout Sniper during the Vietnam War. In 1976 Muir recruited Bishop as a CIA asset in Berlin, where Bishop was tasked with procuring assets in East Germany, he discusses Bishop's spy work in Beirut in 1985 during the War of the Camps, their last mission together. We see events unfold in detail via flashback scenes. Bishop was conflicted when Muir insisted from the beginning that a civilian “asset” that endangered a mission should be sacrificed to preserve the "greater good”, Muir made it clear he would do the same to Bishop, since he too was an asset and not an agent.
In Lebanon, Bishop met relief worker Elisabeth Hadley, while using her to connect with the asset he needed for their mission they became romantically involved. Muir mistrusted Hadley and tried to warn off Bishop by revealing she was exiled from the U. K.. Hadley confesses to Bishop that she was involved in the bombing of a building owned by the Chinese government in Britain she expected to be empty, but people died, she asks him to tell the truth, Bishop reveals his true name to her as well. Fearing that Bishop or Hadley herself could jeopardize their mission, Muir tips off the Chinese to Hadley's location in return for freeing an arrested U. S. diplomat. Chinese agents kidnap Hadley as the mission implodes on its own, Bishop cuts all ties to Muir when it’s over, he finds a Dear John letter from Hadley. Muir recognizes that Bishop went to China for Hadley and they are running out of time. Muir forges a directive signed by the CIA director to begin "Operation Dinner Out", a rescue mission spearheaded by a SEAL team that Bishop had developed as a "Plan B" for his own attempt at rescuing Hadley.
Using $282,000 of his life savings and a misappropriated file on Chinese coastline satellite imagery, Muir enlists the help of his Hong Kong colleague in bribing a Chinese energy official to cut power to the prison for 30 minutes, during which time the SEAL rescue team will retrieve Bishop, Hadley. Bishop is rescued along with Hadley, discovers that Muir orchestrated everything when he hears the pilot refer to Operation Dinner Out - the code name Bishop used to get a birthday gift for Muir while they were in Lebanon; when the CIA officials are belatedly informed of the rescue, Muir has left the building and is seen driving safely off into the countryside. The film was to be directed by Mike Van Diem. Pitt's casting meant. Spy Game opened at number three at the box office in its first weekend in the United States; the film grossed $62,362,785 in $143,049,560 worldwide. Review aggregation website Rotten Tomatoes gave the movie an approval rating of 66% based on 133 reviews, with an average rating of 6.2/10.
The website's critical consensus reads: "The outcome of the kinetic Spy Game is never in doubt, but it is fun watching Robert Redford and Brad Pitt work." Metacritic gave the film a score of 63 out of 100 based upon reviews by 29 critics. Audiences polled by CinemaScore gave the film a grade B+. Roger Ebert of the Chicago Sun-Times gave the film two and a half stars out of four and said, "It is not a bad movie, mind you. China–United States relations Spy Game at AllMovie Spy Game on IMDb
A soundtrack written sound track, can be recorded music accompanying and synchronized to the images of a motion picture, television program, or video game. In movie industry terminology usage, a sound track is an audio recording created or used in film production or post-production; the dialogue, sound effects, music in a film each has its own separate track, these are mixed together to make what is called the composite track, heard in the film. A dubbing track is later created when films are dubbed into another language; this is known as a M & E track containing all sound elements minus dialogue, supplied by the foreign distributor in the native language of its territory. The contraction soundtrack came into public consciousness with the advent of so-called "soundtrack albums" in the late 1940s. First conceived by movie companies as a promotional gimmick for new films, these commercially available recordings were labeled and advertised as "music from the original motion picture soundtrack", or "music from and inspired by the motion picture."
These phrases were soon shortened to just "original motion picture soundtrack." More such recordings are made from a film's music track, because they consist of the isolated music from a film, not the composite track with dialogue and sound effects. The abbreviation OST is used to describe the musical soundtrack on a recorded medium, such as CD, it stands for Original Soundtrack. Types of soundtrack recordings include: Musical film soundtracks are for the film versions of musical theatre; the soundtrack to the 1937 Walt Disney animated film Snow White and the Seven Dwarfs was the first commercially issued film soundtrack. It was released by RCA Victor Records on multiple 78 RPM discs in January 1938 as Songs from Walt Disney's Snow White and the Seven Dwarfs and has since seen numerous expansions and reissues; the first live-action musical film to have a commercially issued soundtrack album was MGM’s 1946 film biography of Show Boat composer Jerome Kern, Till the Clouds Roll By. The album was issued as a set of four 10-inch 78-rpm records.
Only eight selections from the film were included in this first edition of the album. In order to fit the songs onto the record sides the musical material needed editing and manipulation; this was before tape existed, so the record producer needed to copy segments from the playback discs used on set copy and re-copy them from one disc to another adding transitions and cross-fades until the final master was created. Needless to say, it was several generations removed from the original and the sound quality suffered for it; the playback recordings were purposely recorded "dry". This made these albums boxy. MGM Records called these "original cast albums" in the style of Decca Broadway show cast albums because the material on the discs would not lock to picture, thereby creating the largest distinction between `Original Motion Picture Soundtrack' which, in its strictest sense would contain music that would lock to picture if the home user would play one alongside the other and `Original Cast Soundtrack' which in its strictest sense would refer to studio recordings of film music by the original film cast, but, edited or rearranged for time and content and would not lock to picture.
In reality, soundtrack producers remain ambiguous about this distinction, titles in which the music on the album does lock to picture may be labeled as OCS and music from an album that does not lock to picture may be referred to as OMPS. The phrase "recorded directly from the soundtrack" was used for a while in the 1970s, 1980s and 1990s to differentiate material that would lock to picture from that which would not, but again, in part because many'film takes' consisted of several different attempts at the song and edited together to form the master, that term as well became nebulous and vague over time when, in cases where the master take used in the film could not be found in its isolated form, the aforementioned alternate masters and alternate vocal and solo performances which could be located were included in their place; as a result of all this nebulo