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Target Goldseven aka Spy Technique
The movie seems to have been put together by ticking off a check list of scenes from James Bond movies, which comes as no surprise, it just seems a little more obvious in this one, but that’s not necessarily a drawback.
Only 13 seconds into the movie the audience is given an indication as to what sort of budget they have to work with, when the observer on the bridge of a freighter calls out “small boat dead a head”, followed by a shot of what is, very obviously, a model boat bobbing and burning on a pond, a small boat indeed! Fortunately there are not too many other instances when they feel the need to adopt quite such a threadbare “special” effect.
In fact the next several scenes are well put together and much more promising. The villains high-jack a shipment of some type of uranium, killing all the crew, and bring the freighter back to their private island, equipped with interesting underground lair (reminiscent of Dr No). Supervillain Conrad San Martin, equipped with a cravat / ascot, has a multitude of henchmen, dressed in matching black skivvies and trousers, and a lab full of scientists, where a man is tied to a table with a large beam weapon angled down toward him (reminiscent of Sean Connery in Goldfinger). Sadly the weapon itself is never seen in action, either to dispose of the agent on the table now (it happens off screen), nor when Tony is tied to it later (budget constraints again).
Via the magic of stock footage, we fly over New York City and find Tony on a luxury golf-course flirting with a woman. Tony’s boss arrives in a Roller to interrupt him and sends him off to find the missing uranium. Next stop is the Copenhagen docks, but the stock footage shows the San Francisco Bay Bridge in the background. However the sign on the warehouse door definitely says “Copenhagen” so who am I to argue. The warehouse is also clearly in a marina, not on the docks, as we can see private pleasure craft outside, up on the hard to be cleaned, not commercial trawlers. However there is nothing wrong with the action scene that ensues, so all is forgiven.
More stock footage takes us to Lisbon, Portugal. We get down to business in the modernist hotel, where Tony first encounters “International Woman of Mystery” Erica Blanc, in the “what are you doing in my room scene”, and comes under surveillance by the sinister assassin Fernando Cebrian. This is another sequence in the movie which is very nicely done, the chemistry and interplay between the two seems better than in most Eurospy, perhaps the dialogue is bit better, or perhaps its Tony’s acting or perhaps it’s just because I personally find him more likeable than most.
Then there’s another well-choreographed fight with a henchman, involving pseudo karate moves. I particularly enjoyed the moment when Tony, after being thrown across the room and over the back of a chair, picks himself up and takes the time straighten his lapels and brush off his suit jacket before returning to the fray. One of the aspects of this film I most enjoyed was the way they struck a nice balance in intermingling the action with the glamour and dialogue.
Later, in the nightclub scene, Tony is introduced to Franco Cobianchi, who plays the Portuguese equivalent of Rene Mathis or Felix Leiter, and has some clever gadgets of his own. Time for a car chase and shootout, during which evil Fernando is captured. After interrogating him Tony and Franco continue to discuss the case, revealing important information while Fernando is still in the room, which is worrying. Fernando later escapes, using nifty blade which pops out of the heal of his shoe.
Franco also has an attractive female operative, who has infiltrated Conrad’s luxury coastal mansion. He and Tony are able to listen in for a while, until she inevitably gets found out and is a killed, by way of a small poisonous eel. So now Tony has to put on a disguise and go in himself. The villains plan involves threatening to use an atomic accelerator to kill anyone who won’t pay up for an immunising serum. There’s also another secret organisation up the line who call themselves “The Snakes”, however we never learn anything more about them (perhaps they were being saved for a sequel which was never made?)
The film continues along in a satisfactory manner, apart from a motorcycle chase which begins in the dark and suddenly switches to daylight, until eventually Tony heads out alone in a fizz boat to invade the island lair single handed. However he doesn’t get far (spotted through a “Dr No-like” underwater window) and ends up tied to the table with the radiation beam weapon pointing at him. This proves to be a bit of a drawback, as Tony spends most of the finale tied to the table, when he should be up and about, kicking ass.
Next Franco and his valiant men arrive, in their own fizz boats, apparently dressed as waiters (at least that is what their white jacket with black trouser ensembles reminded me of). Some also approach the island in scuba gear (a la Thunderball). The customary “Battle Royal” ensues, but poor old Tony remains tied to the table through all of it.
As is also customary, evil Conrad forgoes the obvious option of shooting Tony in the head from point blank range, in favour of setting a timer switch for the radiation weapon and departing. Eventually Erica shows her true colours and turns it off. So this time we get a reversal of the “customary” gender roles, with Tony as the helpless “damsel in distress” tied to the railroad tracks, and Erica saving the day (With an assist from her friend Antonio Pica).
Conrad manages to escape in a fizz boat, with Franco and his merry men in hot pursuit. Later Tony and Erica also join the chase, in a helicopter, and Conrad is disposed of in suitable fashion, although the choreography of the ultimate struggle between Tony and Conrad proves to be “a bridge too far” for the stunt team budget and is staged in a very unconvincing fashion.
During the flight home it looks like Tony and Erica are going to get together, but she slips him a Micky-Finn and gets off the plane while Tony is asleep. When he wakes up the air-hostess tells him that "she was a Russian lady”. Not exactly the way it turned out for Roger Moore and Barbara Bach then.
Overall I found this to be rather enjoyable, for the most part the script was decent, the cast were decent, the mix of action and talking was good, the music was fine, but sadly the budgetary constraints let it down at times, leading to some frustrating and jarring lapses in quality.
Re. scores, I agree, what for some (like me) might be a quirk, might be what puts the wrong label on some Eurospy films.
Richard Johnson certainly was on the slimmer side. Maybe, if he had got the part, he would have to do some work in the gym, but on the other hand, Roger Moore wasn't necessarily hitting the gym throughout his tenure either – not to mention Connery in DAF…
I look forward to watching Fury In Marrakesh, if I can find – or rather, if I have a copy of it somewhere. I'm still not quite sure if I have ever watched it. It might be that it popped up on Youtube, but I never got around to watching it.
I've been looking for this one, @Gerard. Has it been released on DVD or (probably less likely) Blu-ray?
Currently available
Also currently available in 12 parts (but very poor quality)
Superseven Calling Cairo
Although all the Eurospies I seen have been romantically inclined, none of them has come close to challenging the alpha male bedroom exploits of Sean Connery era James Bond, in fact most of them are lucky if they manage to bed even a single lady over the course of a movie. That changes here, as when we are introduced to Roger, he is already in bed with a female of the species and, soon after, he kills her with his trusty fountain pen gun (before she can shoot him). Ten minutes in and he’s bedding his second, after the obligatory “what are you doing in my room” scene. He’s busy working on his third prospect when he comes across an old girlfriend, so he has to forgo a possible reunion there. However the third one never quite works out for him, so he comes up short of attaining the level of sexual prowess achieved by Connery-Bond or Moore-Bond (usually 2 or 3, occasionally as high as 4)
I think Roger is the first pipe smoking “International Man of Mystery” I’ve come across, but alas, it has no alternative function. However he does have a radio transmitter in his shaver, in addition to the trusty pen gun, both of which get plenty of use over the course of the movie.
This a polished production, sturdy and dependable, but somehow uninspired, missing some spark of energy which allows the better Eurospys to punch above their weight. The dialogue is functional but lacking any particular wit or sophistication. They have an occasional stab at “Avengers” style whimsy (with the Napoleonic mannequins) or “Swinging 60s Psychedelia” (when the henchmen put on swimming goggles and overpower Roger with infra-red light in some unexplained way) but those moments seem out of place with the rest of the film, which is a bit more “grounded”.
The McGuffin is a sample of a newly discovered element called “Baltonium”, which was hidden inside a camera lens, that has accidently been passed on to an unsuspecting tourist, while in the process of being smuggled.
There are plenty of exotic locations on show. Stock footage takes us to Paris (for the prologue), London (for mission assignment and fight training), Cairo (for all the expected spy movie activities), Locarno, on Lake Maggiore (in lieu of the Riviera) and finally Rome (although, in fact, none of the outdoor events in "Rome" take place in the historic city centre). I think the production probably did actually pay a visit Cairo and the lake in order to supplement the stock footage.
The casting provides a decent villain with a suitable array of distinctive henchmen and beautiful women.
Action arrives at suitable intervals, but is more enthusiastic than well-choreographed. The music performs its function, supporting the mood of onscreen events. However the ending is a bit of a disappointment. The villains’ boat breaking down out of the blue, for no good reason, is very lame. The rom-com epilogue is clunky, like much of the rest of the movie.
Overall this is competent but unremarkable.
Mannix clone Roger Browne returns as Martin Stevens, this time sporting a posh English accent, rather than a gauche American one (only kidding), at least in the dubbed version I watched.
This is the second of Umberto Lenzi’s collaborations with Browne (“Last Man To Kill" would be the 3rd) and improves on the first, by having a plot that is a somewhat of a departure from the usual Eurospy template, making it more intriguing.
Roger has just returned from retrieving a stolen McGuffin, but is immediately sent back out to again to murder 3 people, only one of whom is actually guilty of memorising vital information about said McGuffin. Roger initially shows some reluctance to kill apparently innocent men in cold blood, but eventually he gives in and accepts that orders are orders and there is no room for fair play or sentimentality in the spy business.
This got my attention and I was looking forward to seeing how they would handle the moral dilemma of Roger killing an unsuspecting and possibly innocent person in cold blood, however it never comes to that, as it turns out the three men are all professional assassins themselves, and they all seem to be aware that Roger is coming, and try to kill him first. So Roger can claim self-defence and rest easy with clear conscience. On the other hand, after the third near fatal encounter, Roger begins to smell a rat and becomes suspicious that everything is not as he had been led to believe…
Exotic locations visited via the wonders of Stock footage include Madrid (for the initial recovery mission), London (for debrief and reassignment) and Paris (first assassin), before we move on to actual shooting locations, Geneva (second assassin) and Athens (third assassin and the rest of the mission).
There are a colourful assortment of henchmen, including Spaghetti stalwarts such as Fernando Cebrian (with the musketeer beard), Sal Borghese (with the chin dimple) and Claudio Biava (the balding blond). Of the beautiful women, Emma Danieli is engaging and feisty as the photo journalist inadvertently caught up in the espionage machinations, Pilar Clemens is particularly sensual as the “Moneypenny” and Yuko Tani adds the archetypal inscrutable oriental touch. Daniell Vargas and Marino Mase are also effective in their roles.
The same level of technical competence is on display as in the original “Superseven” film, briskly paced, with a good mix of action interspersed with conversation, and with a soundtrack that supports the onscreen action rather than undermining it.
The henchmen in goggles and the strange red light from “Superseven” (that make anyone without the goggles pass out), make a second appearance, apropos of nothing. I mean I like the goggles gimmick, as they look creepy, but they just bare no relation or relevance to anything else in either movie.
Roger doesn’t have as much luck with the woman as he did on his previous outing though, he actually turns down Pilar, because work comes first, then he runs into another old girlfriend from a previous mission, but she gets knocked off before he can rekindle that relationship, and Chinese agent Yoko also departs, just as she is succumbing to Rogers charms. However he and Emma do get together in the rom-com epilogue and this time there are no interruptions. I’m not sure if the dialogue was actually any better or if it was just the new posh accent that made Roger seem more suave, but the final scene also felt like an improvement on the previous edition.
Above average this time around
https://new.static.tv.nu/16691252?forceFit=0&height=850&quality=50&width=567
NB I just noticed that Roger died only last month (11/10/2024) aged 94
RIP Superseven!
Tony Kendall and Brad Harris ride again, in the second edition of Kommissar X, this time in exotic Sri Lanka.
The camaraderie has developed, with Tony and Brad by turns bickering and bantering, frenemies who grudgingly respect each other’s abilities. The beautiful girls are plentiful, although, as usual, Tony doesn’t get any further than first base with any of them (at least on screen) and Brad remains all business.
The early scenes in the film flow very nicely and set things up perfectly, re-establishing the nature of Tony and Brad’s characters for those new to Commissar X, and reminding and reinforcing them for those already familiar with the boys from “Kiss, Kiss, Kill, Kill”.
As usual there is plenty of colourful action, but about half way through the plot gets a bit too complicated for its own good. Someone tries to kidnap a rich American land owner’s daughter (the Lincolns) and when that fails they threaten to make his land barren in some fashion. Either way the main thing is they want a million dollars. Tony is hired by the landowner and Brad is there to investigate the death of an American embassy guy (Baker) who was killed in the kidnap attempt.
There’s a mysterious secret society called the “Three Golden Cats” involved, a nephew who’s playing both sides (Dawson), a police chief who may or may not be under their evil influence (Khamar), a woman who wants revenge for her sister’s death (Michelle), a friend of hers (Champa), another landowner who has left the country (Farrell?) and, apropos of nothing, yet another local landowner (Barrett) who keeps a menagerie of animals. It all becomes rather difficult to keep track of.
In the end, it turns out there is also a mad scientist (Dr Flynn) involved, who is working on a deadly bacteria that even the Americans are not interested in developing further, so he has teamed up with the “Three Golden Cats” to extort some funding from his neighbours. The deadly bacteria is a bit of a McGuffin and never forms a significant part of the story, it’s all about grabbing the million bucks.
As far as the villains go, the henchmen are really the stars of the show, Dan Vadis (who later went on to work with Clint Eastwood in 5 films) is magnificent as “King”, the bald-giant-martial artist, and Siegfried Rauch as “Nitro” the American assassin who likes to carry vials nitro glycerine around in his jacket pockets (like James Coburn in “A Fist Full Of Dynamite”). The Kung Fu craze in the West was still a few years away when this was made, so it is leading edge stuff for 1966.
The first and best climax in the film is the much foreshadowed martial arts showdown between Brad Harris and Dan Vadis, which fittingly takes place inside a cave temple on top of the spectacular Sigiriya, the monumental rock which towers 180 feet over the surrounding land. It has been the site of everything from a monastery, to a fortress, to a palace, over its timeless history. It reminded me of the finale of “Way Of The Dragon” at the Coliseum, however it is clear that the local authorities weren’t prepared to let the film crew loose on a site of such cultural significance, which could have made the fight scene even more impressive, but I can understand their reluctance to do so.
After a second climactic action scene, at a jungle airfield, we have the customary comic epilogue, where the girls love Tony and Tony loves the girls, but somehow he doesn’t end up with either (but wins the affections of an elephant instead)
The standard in this sequel remains high so I recommend it
Frederick Stafford returns for a second go round as the French answer to James Bond.
A very polished production, as usual, but let down by the sound track, also as usual. The on screen action is fine, but the music rarely provides any assistance to help generate suspense or tension. Either ersatz Asian travelogue, Bosa Nova jazz, or missing altogether. The scene where the Combi van is crashed being a classic example, with a cheerful tune played during what should be a moment of great peril.
Japan provides suitable exotic locations (a year before “You Only Live Twice”) and a somewhat stylish super-tanker makes for a decent villain’s lair in the finale (although it only has a medium size door in the side, big enough for a launch size boat, rather than a ship swallowing front maw like the one in “The Spy Who Love Me”).
There are several excellent fight scenes, the screenplay is good, with a decent plot and adequate dialogue.
Frederick makes friends with a couple of attractive women. Marina Vlady brings the beautiful ice queen who eventually melts, and Jitsuko Yoshimura brings the cute and perky, but also sensual, local flavour (as when she playfully bites Fred’s finger while bidding him farewell).
Eventually, after all the usual spy shenanigans, being followed or chased, chasing or following, getting knocked out, escaping from traps and ambushes, Fred identifies the bad guys, locates the lair and saves the day in suitable fashion.
Best Bond-esque quip
Marina – “Have you ever been called a cad?”
Fred – “No. I kill people before they have time to say it.”
Ingrid Schoeller becomes the first female to headline a Eurospy movie (at least, as far as I know).
This was Umberto Lenzi’s first attempt at Eurospy, made just before he began teaming up with Roger Browne. It is set mainly in his perennial favourite exotic location, Cairo, and includes much of the stock footage that he would continue to recycle across all his Eurospy movies;- panoramas of the Nile, pyramids, markets, black & white taxis’ and dubious cabaret acts. Also the customary stock footage of Westminster from the Thames that always precedes the mission assignment scene. Zermatt rounds out the locations and provides a contrast of scenery for the finale.
Ingrid is 008, an American agent who is teamed with British agent 006 and a half, played by Alberto Lupo, who doesn’t look remotely British. 007 James Bond is also mentioned several times in passing. She’s vivacious, insightful and competently deals with all the usual spy action, including fighting and defeating no less than 4 henchwomen at the Institute of Beauty, while also good naturedly fending of the attentions of Alberto (once even resorting drugging him to sleep, when they are sharing a room and posing as husband & wife). Meanwhile Alberto seems to have trouble keeping his mind on the mission, expends plenty of energy, but often ends up needing to be saved by Ingrid.
Evano Staccioli makes for a memorable villain and swarthy, dimple chinned, Sal Borgese takes a turn at being lead henchman, equipped with a black glove that can fire knives.
The plot, dialogue, direction and music are all solid by Eurospy standards and played at a “Roger Moore-esque” level of seriousness. There are a couple of minor twists at the end, as Ingrid outwits Alberto to take sole possession of the McGuffin. As is customary in a Lenzi spy movie there is a humorous epilogue, that signs off with Ingrid and Alberto about to embark on another joint mission.
Imagine a James Bond movie without 90% of the action, or a Hitchcock movie without 90% of the suspense, and you have “Assignment K”. This is a polished “A” grade production which fails to grasp the fundamental principles of the genre it is working in.
In the first third of the film, affable Stephen Boyd romances the beautiful Camilla Sparv around the ski fields and Gashauses of Kitzbuhel, while various interested parties watch them, and otherwise pass microfilm around amongst themselves. And that’s it. No chases, on foot or by car, no dramatic confrontations of any sort. The tradecraft on display is nice, but it’s just not enough.
Things pick up a bit after that, with Camilla being abducted by the villains, but the soundtrack is not helping things along, being either non-existent or overdoing the cocktail jazz aspect, at the expense of helping to generate any tension.
The villains want to pressure Stephen into revealing the other members of his information smuggling network, however, before Stephen swept her off her feet, we know Camilla was socialising with “Rolphie”, a man who we have subsequently seen exchanging glances with, and participating in surveillance activities for, the villains, therefore, as seasoned spy movie fans, we must give serious consideration to the possibility that Camilla could be a “honey trap”. Stephen’s London handler, Michael Redgrave, tell Stephen she’s been cleared by security, but somehow I remained unconvinced. On the way out the door, Stephen himself remarks, “Oh, thanks, not that it matters anymore, I’ve lost interest”. At this point viewers may find themselves wholeheartedly agreeing with him.
Leo McKern makes for a memorable villain and if you look in the dictionary under “henchman” you’ll find a picture of Jeremy Kemp (you may also find him if you look up “German Officer”). John Alderton also makes an impression as an undercover courier, as does Jane Merrow as the female henchperson. However Michael Redgrave seems wasted in his role as the “MI6” handler, stuck in a bare office.
Despite having a double twist ending, the movie never really takes off or manages to cause the heartrate to increase, so the downbeat ending seems entirely fitting.
Secret Agent Super Dragon
In many ways this is one of the best Eurospys I’ve seen, only let down by a lack of ambition, probably attributable to a limited budget. By which I mean that everything they do is very polished, but they don’t attempt anything they can’t carry out to that same standard. So there are no car chases, crashes, explosions or spectacular set piece stunts of any kind i.e. nothing that would cost serious money to stage properly, where the only alternative would involve the use of obvious models, cutaway shots or other cheap tricks to try and disguise.
Events take place firstly in the modest American town of Freemont, Michigan, where the student body has been acting strangely, before moving on to the films only exotic location, Amsterdam in the Netherlands. The villains’ masterplan is to secretly feed everyone a drug which has minor apparent effects, but which will eventually cause death if they aren’t given the antidote. Once the World is hooked, the World will have to pay for that antidote. They have been using obscure Freemont as a laboratory to test the effects of the drug, but still manage to catch the attention of the American Secret Service. Ray is retired and living to good life, but the death of his friend, the agent who was looking into the case, brings him back.
Ray Danton impressed me with his confident swagger and he is able to project a persona that is at once cheerful yet still suggests an edge of danger, the iron fist in the velvet glove quality which I think Sean Connery had. A trait that often got Ray parts as a suave but cold villain. He humorously taunts the people he interrogates while slapping them around in a casually sadistic fashion, more reminiscent of Connery-Bond than say Moore-Bond (or any other subsequent incarnation of Bond to be honest)
He’s also the first Eurospy I’ve seen who actually manages to achieve true Alpha male status on a par with Connery and Moore, although nothing much is shown on screen. It seems likely he has bedded Margaret Lee (the “Moneypenny”), if not during the movie then before, then he certainly beds Marisa Mell (the female-villain-who-later-turns-out-to-have-been-coerced) and he ends up with Solvi Stubbing (the Dutch restaurant manageress) for the romantic epilogue. Finally, a worthy rival for Bond in the sexual prowess stakes!
When we first meet Ray he is meditating by his pool, practising a technique for slowing his metabolism, which comes in handy later in the film, and which reminded me of something similar in one of the Pierce Brosnan Bond films. The director does a good job of establishing Ray’s character in the early scenes as both confident and competent. During the pool scene and later in the scene where he searches the dead agent’s apartment, he shows Ray as calm and unhurried, thinking things through and demonstrating his trade craft.
Ray has a beefy “Q” who travels with him, bringing a suitcase full of gadgets and he, along with Margaret, help out when additional manpower is required. Ray wears a bullet (and knife) proof vest, and carries self-inflating flotation devices in his jacket pocket (who doesn’t?). He also has a pen with a light which allows him to read otherwise invisible messages written on mirrors, a tape recorder in his cigarette lighter, a watch he can use to beep Morse code to another similar device, and jacket buttons that contain homing transmitters.
The villains’ are a serviceable, but not particularly memorable, bunch. However the inside of the secret lair is nicely done, lots of shiny corrugated metal walls and numerous sliding doors reminiscent of the opening and closing credits of “Get Smart”. Several futuristic desks decorated with switches, dials and flashing lights, and no less than two long meeting tables, one where the villain’s #2 holds a “Spectre” style meeting to berate his panel of lab coated scientists, and another where the head villain holds a “Goldfinger” style meeting, in order to deliver his triumphant oration on the masterplan to his business partners. (except, unlike “Goldfinger “, he doesn’t kill them afterwards). This second is an elegant oval covered in baize, with a centre piece that revolves to reveal a map of… Michigan!!!
There are a number of good technical fight scenes, most of which Ray eventually loses, due to being out numbered. Twice the villains do the “over-elaborate-attempt-to-kill-the-hero” routine, both nicely done, although the second one perhaps stretches credulity a bit too far. However the same thing can be said about “You Only Live Twice” so it’s not a biggy.
There’s also a memorable, nasty torture scene, with Margaret the intended victim. However, unlike in “Casino Royale”, Ray manages to turn the tables and it’s the lead henchman who gets shallow fried for information while Ray cracks wise.
Direction, plot, dialogue and music are all of a decent quality, but the ending is an anti-climax. As mentioned above, there seems to have been no budget for a big finish, no huge fiery explosions, not even a “Battle Royale” between the villains henchmen and Dutch police, just some unconvincing two a fro deal making, a bit of faked helicopter action (the only such attempt in the film), and a quiet little shootout in a windmill, before the customary rom com epilogue.
Bond-esque quip
Ray makes numerous quips of varying quality throughout the film but I think the best actually goes to fellow agent Marissa Mell
Marisa – “Anything else?”
Ray – “Yes, one little thing, are you a natural red head?”
Marisa – “You’ll have to take my word for it… (walks to the door and turns) for now”
Earlier
Marisa – “So you’re the famous Super Dragon?”
Ray – “That’s right… would you like my autograph?"
Marisa – “If that’s all you can offer a lady”
Ray – “Well, in public yes, but in private I try to be a little more generous”
Neil Connery took time off from his career as a plasterer to appear in this Eurospy, where he was joined by Bernard Lee (M, as an M equivalent), Lois Maxwell (Moneypenny, as a field agent called “Maxwell”), Daniela Bianchi (“From Russia With Love”, in an equivalent role) Adolfo Celi (“Thunderball”, in an equivalent role), Anthony Dawson (“Dr No”, promoted from enemy agent to “Alpha”, the equivalent of the head of Spectre), Yee Wah Yang (Minor Bond Girl in “You Only Live Twice”, in an equivalent role), Anna Maria Noe (in the “Lotte Lenya” role) and Guido Lollobrigida (cousin of Gina, as a henchman).
Neil sports a beard, of the sort Errol Flynn adopted for Robin Hood, and lacks the magnetic presence of his older brother, however if you can put that out of your mind he does an adequate job, considering he is a novice actor. (or an outstanding job, for a plasterer). His character is not a professional agent and has to be coerced into helping out, due to his special knowledge of the case at hand. A plastic surgeon by trade, he has no gadgets but can hypnotise people and bend them to his will, or make them reveal information (which is as useful as any fancy physical gadget James Bond ever had), is proficient at reading lips (another invaluable skill for a spy), speaks numerous languages (even if some of them are archaic), is an expert martial artist and an archery champion.
The rest of the cast are all very effective in their familiar roles, but Adolfo Celi in particular stands out (if you look up “Bond Villain” in the dictionary, I can imagine his might well be the picture you would see). He positively radiates evil power and wealth in every scene he appears in.
This has a better budget than most Eurospy and is predominantly played straight and serious, with only sporadic unfortunate lapses into spoof scenes, which appear jarringly out of place.
Other than that the film does a good job of creating effective ersatz Bond situations. There are the usual high class parties and auctions, several Spectre style meetings, with the usual unfortunate consequences for some of those attending, and no less than three “Battle Royales’” involving henchmen, who are all dressed in different sets of matching outfits on each occasion.
The music by Ennio Morricone is very dramatic, although it must have come as close to infringing the copyright of existing Bond score music as it is possible to get.
The Villains are all part of a secret organisation called “Thanatos” and their scheme is to use a nuclear powered magnetic wave generator to disable all mechanical and electronic devices in order to rule the World. A subplot has evil Adolfo also planning to eliminate Anthony and take over control of Thanatos. The plot hangs together reasonably well, but the dialogue lacks any wit or finesse and is probably the main fault which leaves the film feeling rather dull and mechanical.
Exotic locations include Monaco, Malaga, Tetuan (in Morocco) and Fenis Castle (in Italy, near the Swiss border, but described as being “20 miles out of Munich” in the movie). Adolfo has an impressive luxury yacht in Monaco harbour (with an attractive female crew), and a palace in Tetuan. Thanatos has an outstanding headquarters, above ground a large Castle, and below ground an underground cavern lair (could even be partially real) of melted candle stalagmites and tites, with added modernist “Ken Adam-esque” control room, bridges and balconies (not real).
The film features a distinctive array of interesting American cars, including a Studebaker Champion Regal, a Ford Mustang, and Corvette C1, but there are no car chases.
Yet despite having many of the right ingredients, somehow it doesn’t quite add up. A combination of misleading moments of spoof, when the rest of the film is otherwise not at all humorous, a script full of flat, unimaginative dialogue and perhaps Neil not having the charisma or experience to carry the movie.
So it was back to the plastering for poor old Neil, his 15 minutes of fame were over, although he continued to get occasional parts in the coming years (and I’m looking forward to going back to find him in an episode of “Only When I Laugh”)
NB Lois Maxwell recalled she earned more money for the film than her combined award wage payments from all her appearances in the Eon Productions 007 films put together (shame on you EON!)
Neil could have chosen to look like this in the movie
Would it have been an improvement?
You be the judge
Thanks for both links, @Seve!
I love continuing reading your Eurospy reviews. I've seen all of the last films you've reviewed here, with the exception of 008 Operation Exterminate. I never warmed to Secret Agent Super Dragon and OK Connery aka Operation Kid Brother. I quite like Ray Danton, but the films itself wasn't that interesting to me. It's been a long time since I watched it, so it's probably worth seeing it again. OK Connery was just a mess though (IMO) – a must watch for Eurospy fans, but still a mess of a film. The spoof scenes are way to jarring for my liking.
I reviewed OSS 117 Terror In Tokyo this summer, and it's one of my favourites of the OSS 117 series. The fact that it predates You Only Live Twice utilising Japan as a location, and maybe served as an inspiration for The Spy Who Love Me, makes this a movie a lot of Bond fans will enjoy too – and not just Eurospy fans.
I'm due a rewatch of the Kommissar X films, but I remember Death Is Nimble, Death Is Quick (aka Three Golden Cats) as one of the better ones in the series. They are all entertaining though. A film I also really like is Assignment K – in fact, it's become a yearly tradition for me to watch it before or during Christmas. I won't argue any of the points you mention about the film though, because I agree with them all – it's just happens that I really like it despite of all it's flaws. I quite like the cocktail jazz aspect of the score too; you can argue that it's very misplaced, but it somehow works for me.
Assignment K has also recently got a very limited and now out of stock Blu-ray treatment, with last year's release from Imprint Films. I managed to get a copy, and while it’s fantastic to see such an obscure title receiving a Blu-ray release, I can’t help but wish the picture quality was better. I guess this is the best the film will ever look though, as I very much doubt this is a title that will see any further restorations in the future.
Roger Browne deserves a mention too (RIP!). I've only seen two of the titles you mention – Superseven Calling Cairo and Rififi In Amsterdam – bot of which I really enjoyed. They are not up there with the best Eurospy films has to offer, but he was a memorable leading man in both films, I think. Much more so than a lot of other leading men of the genre. I look forward to checking out more of his films.
A funny side note: Roger also featured in some reaction videos on Youtube not that many years ago. I had to laugh when an older Roger first popped up in my Youtube video suggestions. Here's one of them.
It can be a fine line sometimes, I may have been a bit jaded when I reviewed Assignment K, there's still plenty to like about it. It might rate as a strong episode of "The Saint" but I expected something a bit more from a bigger budget entry
More of Roger is available on Youtube
The Spy Who Loved Flowers
Kill Agent Gordon (very poor quality copy though)