Portrayed with dry subtlety by Alec Guinness, James Wormold is an English vacuum salesman in Cuba on the eve of the Revolution and facing the ridiculous quandary of how to procure a coveted horse for his spoiled daughter. Happily and haplessly, he is enlisted to join a spy network during this politically combustible moment only to realize he has neither espionage skills nor inclination and goes about farcically inventing new rules entirely his own. The last of Greene’s collaborations with Carol Reed, Our Man in Havana echoes and magnifies the pieces of frenetic liveliness and humor which punctuate The Third Man, but the film’s subject is commentary on a world which Greene, and few others, knew intimately enough to intone with a deeper, penetrating bite.