He creates a pseudonym as well: Ramon Garcia. In the nation’s capital, he has greater access to more important documents - how and where the government would set up should the Soviets launch a nuclear attack - and is able to up his price, asking $100,000 for his goods. reporting to Mike Fine, played by Ron Silver as hesitant and calm as his underling. Six years later, Hanssen is again frustrated by his lack of movement in the bureau, even though he’s now in D.C.
He shrugs it off to Bonnie as inconsequential documents and the subject is never again broached in the Hanssen household. Having made their way to New York in 1979, the Hanssens find themselves $10,000 in debt rather than ask Howard to once again foot a few bills, Robert sells some papers to the Russians. It eventually means Jack will watch the Hanssens make love - broadcast live from the bedroom to the family room. It’s Robert’s one peccadillo - letting Jack in on intimate details and arousing him without Bonnie ever knowing. Robert likes taking photos of his wife in topless and erotic poses and then sending the photos to his buddy Jack (David Strathairn), a lifer in the Army. all the while driving a deep rift between the Hanssens and Robert’s father, Howard (Peter Boyle). It’s a tedious first half, watching Hanssen rise through the ranks at the FBI, forcing his family to move around the country - Gary, Ind. In fact, we don’t see him dealing with the Soviets only because he always has money to spend can we assume he’s delivering top-secret documents up until the time of his arrest.
For a guy who complains about backstabbers and less intelligent types blocking his career path, we never see him encounter them. Hurt plays Hanssen as cool as a cucumber, and his behavior - or at least what we see - is all about not raising suspicion. This may be the first spy pic with absolutely no implicit danger. “I love order.” “I live in a land of … exquisite privacy.” “There’s no way out.” “I’m so guilty all my life.” It’s an odd personality trait - a throwback to Steve McQueen “getting his mind right” in “The Great Escape” - and fortunately does have a keen payoff at the show’s conclusion when he ascribes qualities of a confessional to his prison cell. Mailer’s vision of Hanssen is a man who addresses life, facing himself in the mirror and issuing declarative sentences that define his being.
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