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The Man from U.N.C.L.E. is a 2015 spy film directed by Guy Ritchie and written by Ritchie and Lionel Wigram. It is based on the 1964 MGM television series of the same name, which was created by Norman Felton and Sam Rolfe. The film stars Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki, and Hugh Grant. The film was produced by RatPac-Dune Entertainment and Davis Entertainment while Turner Entertainment Co., the original TV series current holder, was also involved.

Producer John Davis optioned the film rights to the 1960s TV series in 1993, setting up a development deal for an adaptation with Warner Bros. and series producer Norman Felton. Davis has estimated that he commissioned 12 or 14 different scripts over the course of 20 years, with writers Jim and John Thomas, John Requa, Glenn Ficarra, and Scott Z. Burns. Quentin Tarantino was briefly attached following the success of Pulp Fiction, but opted to make Jackie Brown instead. The Man from U.N.C.L.E. continued to labor in development hell with directors Matthew Vaughn and David Dobkin.[7] Steven Soderbergh was attached to direct Scott Z. Burns' screenplay, with production slated to begin in March 2012. Executives from Warner Bros. wanted the budget to stay below $60 million, but Soderbergh felt that amount would not be adequate to fund the 1960s-era sets, props, and international settings required for the film.[8] Emily Blunt was nearly cast as the female lead,[9] but she left the project shortly after Soderbergh departed in November 2011.[10]

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The musical score for The Man from U.N.C.L.E. was composed by Daniel Pemberton.[35] A soundtrack album was released by WaterTower Music on August 7, 2015.[36] A behind the scenes video was also released.[37] The musical score received many glowing reviews with the LA Times noting "it is composer Daniel Pemberton who in some ways seems to understand the idea of the movie even better than Ritchie, his score featuring breathy flutes, twangy guitar, spooky harpsichord and pounding drums and organ capturing the mixture of pastiche, homage and a twist of the new in a way the rest of the film rarely matches."[38]

The Man from U.N.C.L.E. grossed $45.4 million in North America and $64.4 million in other territories for a worldwide total of $109.8 million, against a production budget of $75 million.[4] The Hollywood Reporter estimated the film lost the studio at least $80 million, when factoring together all expenses and revenues.[42]

The film grossed $900,000 from its early Thursday screenings and $4.8 million on its opening day. In its opening weekend, the film grossed $13.4 million, which was about $5 million below expectations, finishing third at the box office.[43] In its second weekend it dropped 45% to $7.3 million, finishing fifth.[44]

It opened in Russia with $3.1 million.[45] In the United Kingdom, it opened alongside Sony Pictures' Pixels, earning $2.3 million, debuting at number 4 for Friday-to-Sunday, while Pixels was at No. 1 with $4.2 million, including previews during the week. Warner Bros did not preview The Man from U.N.C.L.E.[45] Across Asia, it generated $2.7 million from six countries and $1.7 million in Australia.[45]

On Rotten Tomatoes, the film has an approval rating of 68% based on 291 reviews, with an average rating of 6.20/10. The site's critical consensus reads, "The Man from U.N.C.L.E. tries to distract from an unremarkable story with charismatic stars and fizzy set pieces, adding up to an uneven action thriller with just enough style to overcome its lack of substance."[41] On Metacritic, the film has a weighted average score of 56 out of 100, based on 40 critics, indicating "mixed or average reviews".[46] On CinemaScore, audiences gave the film an average grade of "B" on an A+ to F scale.[3]

A 3D action game based on the film titled Mission: Berlin was released on iOS and Android. It featured sneaking, shooting, and getting in and out of drivable vehicles in the style of open world games. The player can choose to play as Solo or Kuryakin. There was also a multiplayer death match. As of December 2018, the game has been removed from both marketplaces.[50]

The Man from U.N.C.L.E. is an American spy fiction television series[1] produced by Metro-Goldwyn-Mayer Television and first broadcast on NBC. The series follows secret agents Napoleon Solo, played by Robert Vaughn, and Illya Kuryakin, played by David McCallum, who work for a secret international counterespionage and law-enforcement agency called U.N.C.L.E. (United Network Command for Law and Enforcement). The series premiered on September 22, 1964, and completed its run on January 15, 1968. The program was part of the spy-fiction craze on television, and by 1966 there were nearly a dozen imitators. Several episodes were successfully released to theaters as B movies or double features. There was also a spin-off series, The Girl from U.N.C.L.E., a series of novels and comic books, and merchandising.

With few recurring characters, the series attracted many high-profile guest stars. Props from the series are exhibited at the Ronald Reagan Presidential Library and Museum and at the museums of the Central Intelligence Agency and other US intelligence agencies. The series won the Golden Globe Award for Best TV Show in 1966.

Ian Fleming contributed to the series after being approached by co-creator Norman Felton.[5] According to the book The James Bond Films, Fleming proposed two characters, Napoleon Solo and April Dancer (later appearing on the spin-off series The Girl from U.N.C.L.E.). The original name for the show was Ian Fleming's Solo.[6] Robert Towne, Sherman Yellen, and Harlan Ellison later wrote scripts for the series. Author Michael Avallone, who wrote the first original novelization based upon the series (see below), is sometimes incorrectly cited as the show's creator.

Filmed in color from late November to early December 1963, with locations at a Lever Brothers soap factory in California, the television pilot made as a 70-minute film was originally titled Ian Fleming's Solo and later shortened to Solo. However, in February 1964 a law firm representing James Bond producers Harry Saltzman and Albert R. Broccoli demanded an end to the use of Fleming's name in connection with the series and an end to the use of the name and character "Solo", "Napoleon Solo" and "Mr. Solo". At that time filming was underway for the Bond film Goldfinger, in which Martin Benson was playing a supporting character named "Mr. Solo", being an American Mafia boss murdered by Auric Goldfinger. The claim was the name "Solo" had been sold to them by Fleming, and Fleming could not use it again. Within five days Fleming had signed an affidavit that nothing in the Solo pilot infringed any of his Bond characters, but the threat of legal action resulted in a settlement in which the name Napoleon Solo could be kept but the title of the show had to change.

Beyond extra scenes for the feature film, and revised scene shots and edits made for the television episode, there are other differences among the three versions of the story. Before the show went into full production there was concern from Metro-Goldwyn-Mayer that the name of Thrush for the pilot's international criminal organization sounded too much like SMERSH, the international spy-killing organization in Fleming's Bond series. The studio suggested Raven, Shark, Squid, Vulture, Tarantula, Snipe, Sphinx, Dooom [sic], and Maggot (the last used in early scripts). Although no legal action took place, the name "WASP" was used in the feature version To Trap a Spy. The original pilot kept "Thrush" (presumably since it was not intended to be released to the public in that version). Felton and Rolfe pushed for the reinstatement of "Thrush". It turned out that WASP could not be used, since Gerry Anderson's British television series Stingray was based on an organization called W.A.S.P. (World Aquanaut Security Patrol). By May 1964, Thrush was retained for the television episode edit of the pilot. Despite this, WASP was used by the feature film in Japan in late 1964, and it was left in the American release in 1966.

Another change among the three versions of the pilot story was the cover name for the character of Elaine May Donaldson. In the original pilot it was Elaine Van Nessen; in the television version and the feature version it was Elaine Van Every. Illya Kuryakin's badge number is 17 in the pilot, rather than 2 during the series, and Solo's hair, after new footage was added, changed back and forth from a slicked back style to the less severe style he wore throughout the series.

Rolfe endeavored to make the implausible elements in the series seem not only feasible but entertaining.[citation needed] In the series, frogmen emerge from wells in Iowa, shootouts occur between U.N.C.L.E. and THRUSH agents in a crowded Manhattan theater, and top-secret organizations are hidden behind innocuous brownstone facades. The series began to dabble in spy-fi, beginning with "The Double Affair" in which a THRUSH agent, made to look like Solo through plastic surgery, infiltrates a secret U.N.C.L.E. facility where an immensely powerful weapon called "Project Earthsave" is stored; according to the dialogue, the weapon was developed to protect against a potential alien threat to Earth. The Spy with My Face was the theatrical film version of this episode.

In its first season The Man from U.N.C.L.E. competed against The Red Skelton Show on CBS and Walter Brennan's short-lived The Tycoon on ABC. The ratings were poor and it faced cancellation. But NBC switched it to Monday nights where it found a receptive audience. The success of the James Bond film Goldfinger also created a huge interest in spy entertainment which greatly benefitted the series. During this time producer Norman Felton told Alan Caillou and several of the series writers to make the show more tongue-in-cheek.[11] ff782bc1db