The Liquidator (1965)

The Liquidator is yet another 1960s spy spoof movie, this one being a British production. The problem with spy spoofs was to get the tone right. The Matt Helm and Derek Flint movies were straight-out spoofs which worked pretty well. Another equally valid option was to take the slightly tongue-in-cheek flavour of the Bond movies and push things just a little further.

The Liquidator shows what happens when the tone isn’t quite right. It’s not sure if it wants to aim for slapstick or sophisticated banter and at times it seems to be tempted to take a more serious line. The Bond movies managed to combine the tongue-in-cheek approach with decent spy movie plots and plenty of spectacular action. The Liquidator just doesn’t have enough action to succeed on that level. It’s still fairly entertaining although it has to be counted as more of a near miss than an actual hit.

The basic premise really would have lent itself very well to a black comedy approach but this avenue is never really explored.

During the war Sergeant Boysie Oakes (Rod Taylor) had saved the life of British intelligence agent Major Mostyn (Trevor Howard). Flash forward twenty years and Major Mostyn is now Colonel Mostyn, a senior officer in the Security Organisation. Colonel Mostyn and his boss (played by Wilfred Hyde-White) have a problem. There have been so many security leaks and so many spy scandals that their jobs are on the line. They have a rough idea who the potential security risks are but they can’t do anything until they have actual evidence and by that time it’s too late - there’s yet another spy scandal for the press to make a fuss about. That’s the trouble with being the good guys - you have to worry about annoying details like evidence and the legal rights of suspects. It would be so much easier just to have all the potential security risks killed quietly and without fuss. In fact the more the Chief and Colonel Mostyn think about it the better that idea sounds. Why not employ someone to do just that? Unofficially of course.

Mostyn now remembers that young tank sergeant who saved his life during the war. He does a bit of digging into the past of Boysie Oakes and he likes what he discovers. Quite a few of Boysie’s more irritating and inconvenient acquaintances seem to have met with fatal accidents. Colonel Mostyn draws the obvious conclusion - that Oakes is a cold-blooded and efficient murderer and is therefore just the man he’s looking for. He recruits Oakes as an ultra top secret assassin.

There’s only one problem. Boysie is not a cold-blooded killer. He’s a good-natured but rather clumsy fellow, so clumsy that he may well have been responsible for a few accidents, but Boysie is incapable of hurting a fly intentionally. Boysie doesn’t point out Mostyn’s error because he has no idea what he has actually been recruited to do until it’s too late.

Boysie is now a secret agent. He’s been set up in a luxury London flat, provided with a sleek sports car, he’s getting paid lots of money and it seems like a job that involves very little actual work. This should provide plenty of free time for Boysie to do the only thing he’s really good at - chasing women. It all seems like splendid fun. Until he discovers that his job is to kill people. That’s one thing Boysie just cannot do. It’s an awkward situation but Boysie discovers a solution - he pays a professional hitman to do the killing for him.

Of course we know that eventually Boysie will find himself having to play secret agent for real. And we know that he’s likely to get himself in a good deal of trouble.

Rod Taylor is reasonably well cast. He has the slightly bumbling amiability that the role demands. Trevor Howard is as reliable as ever. Jill St John is fine as Mostyn’s secretary (and the object of Boysie’s lust). Eric Sykes was one of the great English comedians but he was also quite capable in straight dramatic roles and he does very well as hitman Griffen. He’s the most interesting character in the film and should have been given a lot more screen time. What stands out about the supporting cast is that it’s composed overwhelmingly of great character actors who were particularly good at comedy - actors like John le Mesurier, Derek Nimmo, Eric Sykes and David Tomlinson. And yet they’re given remarkably few opportunities to display those gifts.

Peter Yeldham’s screenplay certainly seems to be the weak link here. 

The movie was directed by Jack Cardiff, a superlative cinematographer who directed a handful of features including Dark of the Sun (in which Rod Taylor gives his career-best performance). Cardiff’s movies always look good and this is no exception. One can’t help feeling though that maybe Cardiff wasn’t the right choice for a spy spoof.

Aviation geeks will be excited by the prominent part played by a very cool Vickers Valiant bomber.

The Warner Archive made-on-demand DVD offers a generally good anamorphic transfer.

The Liquidator is harmless and reasonably enjoyable but with less sexual innuendo and more black comedy it could have been considerably better. Worth a look for hardcore spy spoof fans and spy movie completists.

The Brain Eaters (1958)

The Brain Eaters is a 1958 AIP science fiction/horror release based on Robert A. Heinlein’s classic paranoia novel The Puppet Masters. No-one at AIP bothered to get Heinlein’s permission and he promptly sued them and won. He received $5,000 and a promise his name would not be used on the credits since he hated the movie. Heinlein may have been right in feeling this was not much of a movie but like so many of AIP’s offerings it’s actually quite a bit of fun.

The small town of Riverdale Illinois is the scene of several murders after the landing of a mysterious spaceship. The spaceship, like all good 50s science fiction movie spaceships, is impervious to heat, explosive and in fact it’s impervious to just about everything. It does however have a circular entrance but when scientist Dr Paul Kettering (Ed Nelson) crawls inside to investigate he finds that the passageway just spirals around and comes back out at the same place.

The mayor of Riverdale is an early victim. He goes crazy and a sheriff’s deputy shoots him. The autopsy reveals something rather disturbing - something very strange affixed to the back of his neck. As well will learn later it’s a kind of parasite. We assume it’s from the spaceship but actually the story is a bit more complicated (and cleverer) than that.

The parasite turns a person into a kind of zombie and just as in Invasion of the Body Snatchers the scary bit is that these zombies seem quite normal. They could be anywhere!

Senator Walter K. Powers (Cornelius Keefe) has arrived on the scene determined to debunk the whole affair but he soon realises the spaceship scare is no hoax. He and Dr Kettering must find a way to defeat the parasites but although they recruit a few allies from the townspeople it’s soon apparent that the parasites have already taken over a lot of people so no-one can really be trusted.

The plot more or less follows the standard pattern for these kinds of “invaders amongst us” movies although it does slip in a couple of interesting twists. The basic idea was clearly lifted from Heinlein’s novel but the movie’s plot differs quite a bit from that of the book.

The big question is - what do the parasites want? The answer to that is not going to surprise anyone familiar with 50s American sci-fi.

Ed Nelson is quite adequate as the hero. Some of the supporting actors aren’t too great but they’re no worse than you expect in a low-budget movie. Look out for Leonard Nimoy in a small part. You won’t recognise him but you should recognise the voice.

The special effects are about as good as could be managed on the very very tight budget. The spaceship is quite interesting with its spiralling passageway. The sets are basic and there was certainly no money for spectacular set-pieces although the climactic scenes around the spaceship are fairly well done.

Bruno VeSota had a long career as a character actor and a much shorter one as a director. He did however helm one excellent little low-budget film noir, Female Jungle, in 1955. He obviously decided that The Brain Eaters was the type of film that would benefit from copious use of Dutch angles, a sometimes very effective technique that he does at times go rather overboard with. VeSota was however a competent director and within the limitations of the very very small budget he had to work with he does a fine job and he manages to pull off some effectively creepy and scary moments.

This is a movie that is obviously going to be compared to Invasion of the Body Snatchers. The premise is very similar and the atmosphere of paranoia is almost identical. Viewers do need to bear in mind that Don Siegel was a great director and had a bit more money to play around with. VeSota is no in the Siegel class but he gives it his best shot and he certainly doesn’t disgrace himself.

The Brain Eaters is available on DVD in Region 2 in the Arkoff Film Library series from DVD Rights. It’s barebones but the transfer is good.

The Brain Eaters is the sort of movie that trendy snarky film buffs love to rubbish but it’s actually not a bad little movie. It has a decent premise, it has a certain amount of atmosphere, it’s quite well-made and it has its creepy moments. Considering the minuscule budget it’s an entertaining and fairly effective sci-fi/horror tale and there’s no reason why fans of 50s sci-fi should not thoroughly enjoy it. Recommended.

Tomorrow at Seven (1933)

The popularity of Old Dark House movie may seem slightly puzzling to modern audiences but there’s no question that  they enjoyed immense success in the 1930s. Tomorrow at Seven is a rather good example of the breed.

The formula for this genre was set very early. A group of people would be isolated in a decaying rather gothic old house and something would happen to ensure that their isolation fro the outside world was complete. A murder, or more usually a series of murders, would take place. There would be hints of the supernatural, or at the very least there would be hints of strange diabolical machinations behind the scenes. There would be a dash of romance and very generous helpings of comedy. From today’s perspective the formula might seem as creaky as the old dark houses themselves but when executed well such films can actually be highly enjoyable. Tomorrow at Seven is definitely well executed.

A mysterious figure known only as the Black Ace has been responsible for a number of daring murders. He always warns the victims of their fate in advance. Detective novelist Neil Broderick (Chester Morris) is planning a book on the murders and since Thornton Drake (Henry Stephenson) supposedly knows more than anyone else about the Black Ace’s activities he is anxious to get in touch with him. On the train to Chicago he meets Martha Winters (Vivienne Osborne), the daughter of Drake’s secretary Austin Winters (Grant Mitchell).

When Drake receives the customary warning from the Black Ace he decides to head for his retreat deep in Louisiana. Drake, Winters and his daughter, Neil Broderick and two hardbitten but delightfully inept Chicago cops (played by Allen Jenkins and Frank McHugh) set off for Louisiana by air. The first murder (in a slight departure from the usual formula) takes place in the air. On arrival at Drake’s remote Louisiana house the classic Old Dark House setup is complete. One of the people on the plane had to have been the murderer and now they are all in the obligatory decaying mansion in the bayous, and of course the telephone lines get cut and the co-pilot decamps with the aircraft. They are trapped in the house and one of them is a crazed killer!

Every Old Dark House movie cliché that you could wish for is here. That’s what makes this movie so much fun - it operates strictly within the conventions of its genre. Once you’re familiar with those conventions you know what to expect and much of the viewer’s pleasure comes from anticipation. It’s like a ghost train ride at a carnival.

Director Ray Enright had a lengthy if not dazzling career. He gets the job done in his customary workmanlike fashion and he keeps the pacing nice and taut. He’d started his career as an editor and when editors turn to directing they have the advantage of understanding that pacing is everything. The original screenplay by the extraordinarily prolific Ralph Spence contains all the necessary formula ingredients and as a bonus it’s quite witty.

Chester Morris was quite a big star in the early 30s. By the 40s he’d been relegated to B-movies but was rarely out of work. He had the kind of looks that allowed him to play tough guys or romantic heroes with equal facility and while he was no great shakes as an actor he was generally fairly reliable in not-too-demanding roles such as this. Vivienne Osborne was a striking actress who’d been successful in the silent era. Her career had faded by the early 40s which was unfortunate since she had a very definite screen presence and gave a superbly creepy performance in the excellent and underrated Supernatural (1933), a movie that can be considered a sort of second cousin to the Old Dark House movies.

Frank McHugh and Allen Jenkins as the wise-cracking big city cops provide the comic relief and they have one huge advantage over the usual run of comic relief actors - they are genuinely funny. They’re provided with decent dialogue as well so the comic relief in this movie actually enhances it.

The other cast members are solid enough.

The movie was clearly shot entirely in the studio on a decidedly limited budget but that was the film-making style of the early 30s and in fact that was one of the reasons Hollywood loved Old Dark House movies so much - the studio-bound feel adds to the atmosphere.

Alpha Video’s DVD release is even worse than their usual standard. The picture quality is quite acceptable but sound quality is atrocious. The dialogue can be understood but the amount of crackling and hissing can get quite distracting. On the other hand it is, like so much of Alpha Video’s catalogue, a movie that would otherwise be just about impossible to find and this one is entertaining enough to be worth grabbing despite the sound problems.

Tomorrow at Seven ticks all the right boxes for fans of this genre. Highly recommended.

The Mad Doctor of Market Street (1942)

While their 1942 release The Mad Doctor of Market Street is a distinctly lesser entry in the Universal horror canon it does have Lionel Atwill in mad scientist mode and one or two other features that make it worth a look.

Several titles were considered when the project was being developed, including Terror of the Islands and Terror of the South Seas. This suggests it was initially conceived as a kind of tropical jungle romp. It ends up being a horror movie with not quite enough actual horror although the premise is promising enough (if not exactly startlingly original).

Ralph Benson (Lionel Atwill) is, like so many mad scientists in books and movies, trying to conquer death. He believes he can bring the dead back to life. The problem is that Benson is not the typical mad scientist, who usually starts out as a good man who ends up perverting his genius by pushing too far into dangerous areas of research. Right from the start he is a charlatan, a pseudoscientist with no real understanding of medical science. He might really believe he can restore life to the dead but that’s because he is not a real scientist. His research is a mishmash of garbled ideas he has stolen from others. He is not a good man who becomes evil through hubris or misfortune - he is dishonest, scheming and unscrupulous from the beginning. This is the most interesting thing about this movie and its main claim to originality.

There is a potential problem here. In most mad scientist movies we feel at least some sympathy for the mad scientist - we feel he could have been a great man if only he’d had slightly better judgment. We don’t feel any sympathy for Ralph Benson. He’s a fake, he’s dangerous and he is motivated purely by the lust for power and money (especially power). In this respect Lionel Atwill can be said to have made the right choices in his performance. Benson is a phony but he’s plausible and charming. Atwill’s performance is initially fairly restrained - he makes us feel that this is a man who could successfully fool people. As the story progresses Atwill’s performance becomes progressively more extreme (and delightfully so). As things start to go wrong we see Benson more and more as a psychopathic madman.

The story opens (moodily and stylishly) in San Francisco as an unfortunate and rather unwise young man, desperate for money, agrees to be used as a guinea pig in Benson’s experiments. The experiments go badly awry and Benson is soon on the run, wanted for murder.

He takes passage on a steamship, the S.S. Paradise, bound for New Zealand. The ship is destined never to reach its destination. It is shipwrecked and a small group of survivors find themselves on a remote Pacific Island. Among the survivors is Ralph Benson.

Benson soon convinces the natives he is a god. His scientific knowledge might be limited but he gets lucky and the natives believe he really can raise the dead. He continues his experiments, which is not good news for his fellow survivors, or for the natives. Since Benson’s science is no more than pseudoscience it’s inevitable that sooner or later he will stumble and once the natives start to doubt his godlike powers things are bound to get rather tricky for him. He is accepted as both god and absolute ruler of the island but his reign depends entirely on his ability to continue to perform miracles and of course miracles  turn out to be not so easy to perform.

There are enough good ideas here to make an excellent horror movie but by the early 1940s Universal’s horror films were tending more and more towards parody and light comedy so the ideas are not really developed sufficiently and the tone of the movie is too self-consciously comedic.

The casting is a problem. Atwill is excellent of course. The two romantic leads, Patricia (Claire Dodd) and Jim (Richard Davies), are adequate. Una Merkel was a fine comic actress but as Patricia’s Aunt Margaret she’s playing for pure comedy. She does this well enough but her performance pushes the movie too far in the direction of a lighthearted comic romp. This leaves Atwill as the only member of the cast actually trying to make a horror movie.

Despite these deficiencies there are some compensations. Joseph H. Lewis, later to become the darling of film critics for crucial entries in the film noir canon such as Gun Crazy and The Big Combo, is the director. As always his approach is stylish and imaginative and as always Lewis demonstrates his ability to make a cheap B-movie look good. It also has to be said that even though Universal’s 1940s horror movies were mostly very inferior to their 1930s masterpieces the studio still had technicians with the skills to make these movies look great. Lewis gained the nickname Wagon-Wheel Joe for his penchant for shooting scenes through the spokes of wagon wheels in his early B westerns. It’s amusing to see him using some similar techniques here. 

There are a few quite effective and chilling images. The flower soaked in chloroform with which he subdues a native woman is a nicely creepy touch.

The Mad Doctor of Market Street is included in TCM’s five-movie Universal Cult Horror DVD boxed set. The transfer is very good and there are at least a few token extras.

This is by no means a classic of the genre but Atwill’s performance, Lewis’s direction and the slightly unusual approach to the mad scientist stereotype are enough to make it worthwhile viewing. Recommended.

Asylum (1972)

Hammer’s great rival in the British horror movie market in the 60s and 70s was Amicus Productions. Amicus specialised in horror anthology films, all of which are worth seeing, but in my view the best of all their films was their 1972 release Asylum.

Asylum was written by Robert Bloch, best known as the author of Psycho but an excellent and versatile writer of fiction in various genres. The director was Roy Ward Baker, one of the top British directors of the period (and a man who did some notable horror movies for Hammer as well).

Asylum benefits from a particularly strong framing story. Young psychiatrist Dr Martin (Robert Powell) has applied for a position as a houseman at an insane asylum. On arrival he discovers that the director of the hospital is now a patient. The assistant director sets Dr Martin a challenge. He has to interview four patients, one of whom is the asylum’s former director. If Dr Martin can correctly identify which patient is the former director he gets the job. Each of the four patients then tells his or her story, these stories being the movie’s four segments.

In the first of these, Frozen Fear, Bonnie (Barbara Parkins) is a young American having an affair with a middle-aged Englishman, Walter (Richard Todd). Since Walter’s wife (Sylvia Sims) controls the money and refuses to give him a divorce they plot to kill her. This proves to be more difficult than they expected, which may or may not be because the wife is a student of voodoo. It’s a nicely macabre story, very much what you expect from Robert Bloch. Parkins was a competent actress. Richard Todd’s career may have been on the downslide but he was an excellent actor and he does well here.

In the second part, The Weird Tailor, Barry Morse plays a tailor name Bruno desperate for money who is delighted when the mysterious Smith (Peter Cushing) offers him a huge fee for a rather unusual suit. The suit is in fact very unusual indeed. Cushing is delightfully creepy and, as he so often did, he makes Smith a figure who is both terrifying and tragic. Barry Morse (a fine and underrated actor) is able to make Bruno almost pathetic but not quite and he does a fine job in emphasising Bruno’s desperation for money which warps his judgment.

The third segment, Lucy Comes to Stay, involves a young woman named Barbara (Charlotte Rampling). Barbara has been released from a mental hospital after a breakdown but her brother George (the delightfully smooth and urbane James Villiers) is not convinced that she has fully recovered. He employs a nurse to keep an eye on her. He had hoped that they had heard the last of Lucy (Britt Eckland) but his hopes are to be sadly disappointed. Rampling was not yet a star but she already has that slightly odd quality that always made her so interesting. Britt Eckland has rarely received much respect as an actress and that’s a trifle unfair. Her performance is more than competent.

The fourth segment (Mannikins of Horror) features the inimitable Herbert Lom as Byron, a man who believes he can transfer his mind into a toy robot. 

One of this film’s major asset is the stellar cast. Apart from those already mentioned there’s Geoffrey Bayldon as the hospital’s unctuous porter and Patrick Magee as the assistant director, Dr Rutherford. This is a movie in which everyone is so perfectly cast that it’s hard to pick a single standout performance. They’re all so good.

Asylum is an example of just how good a modestly budgeted movie can be with the right people involved. Director Roy Ward Baker, cinematographer Denys N. Coop, editor Peter Tanner and art director Tony Curtis were all professionals and the results are very good indeed. 

Camera tricks like Dutch angles generally need to be used judiciously but in this case, given the subject matter and the asylum setting, they’re entirely appropriate and are used to good effect. While much of the movie was made as Shepperton Studios there’s a considerable amount of location shooting as well. Amicus, like Hammer, were able to make cheap movies that looked more expensive than they were.

Amicus, very wisely, did not try to copy the Hammer style directly. Hammer were the masters of gothic horror so Amicus concentrated on contemporary chillers. This gives Amicus’s movies their own distinctive flavour.

Robert Bloch’s screenplay adapted four of his own earlier short stories. Lucy Comes to Stay was a story that he considered to be a kind of dry run for Psycho.

Dark Sky’s DVD presentation includes a brief but quite informative featurette on the history of Amicus Productions and an audio commentary with Roy Ward Baker and camera operator Neil Binney. Their recollections of the making of the film are still vivid and they are clearly (and with reason) quite proud of it. The transfer is good although not outstanding.

There’s no gore but there’s plenty of suspense and a nicely creepy atmosphere of crazed weirdness. You just don’t need gore in a horror movie if you know what you’re doing. Asylum is one of the most enjoyable of all British horror movies of this era. Very highly recommended.

The Magician (1926)

The Magician is a 1926 horror melodrama based on W. Somerset Maugham’s novel of the same name. It’s a movie that deserves to be better remembered - in fact it’s one of the best American horror movies of the silent era.

Maugham’s novel tells the story of magician Oliver Haddo. The character was based on Aleister Crowley. Maugham had met Crowley and taken an immediate dislike to the man. Crowley was of course a charlatan, although a rather interesting one. 

In the movie Haddo (played by Paul Wegener), an occultist, pseudo-scientist, hypnotist and would-be alchemist, is searching for a magical formula that will enable him to create life. Having found the formula all he needs is the heart blood of a pure maiden, and he finds a suitable victim in the person of sculptress Margaret Dauncey (Alice Terry). Margaret is part of the Parisian artistic avant-garde and moving in such circles it’s perhaps not surprising that she should encounter a dangerous madman like Haddo.

Margaret is engaged to a brilliant young American surgeon, Arthur Burdon (Iván Petrovich), who has saved her from paralysis after a freak accident in her studio. One of her statues, a rather grotesque faun, fell on her and crushed her (in a wonderfully bizarre scene that sets the tone of the picture rather well). Oliver Haddo is determined to prevent this marriage and he uses his hypnotic gifts to persuade Margaret to marry him. Dr Burdon, along with Margaret’s guardian Dr Porhoet (Firmin Gémier), is equally determined to win her back and to save her from the grisly fate Haddo has in store for her.

Irish-born Rex Ingram was one of the great silent film directors. He was never particularly happy with the Hollywood approach to film-making and made many of his movies (most of which starred his wife Alice Terry) outside the US, although still under the MGM banner. Ingram’s career more or less ended with the introduction of talking pictures. 

The Magician features a good deal of location shooting and despite being a silent film it has a surprisingly modern feel to it. Those who avoid silent movies because of the exaggerated acting styles of the period need have no fears with this movie - the acting is extremely naturalistic. 

Even Paul Wegener as the villain resists the temptation to indulge in histrionic gestures and his character is all the scarier for his restraint. Wegener was most famous for his roles in classics of German Expressionist cinema such as The Golem. Alice Terry underplays as well, and does so very effectively.

It’s the visuals that are the heart of the film and Ingram proves himself to be a master in this department. He avoids the extremes of German Expressionism but this film has an abundance of superbly atmospheric and subtly sinister images. The one sequence in which Ingram really lets himself go is a hypnotic dream sequence but despite its excessiveness it works very well without becoming merely silly.

The Magician has all the themes that would soon become such familiar ingredients of the classic horror movie - a mad scientist villain who tries to play God in time-honoured Dr Frankenstein style, with the sort of laboratory that all self-respecting mad scientists should have, a wonderfully gothic sorcerer’s tower, a ghastly experiment carried out at the height of a raging thunderstorm, a damsel in distress, a noble hero determined to save said damsel, a malevolent dwarf assistant for the mad scientist,  and plenty of creepy gothic atmosphere. It’s also remarkably well-paced.

The sets are terrific and the art direction in general is magnificent.

Like so many silent movies this one makes good use of tinting, a technique that sadly went of fashion after the end of the silent era. 

The Warner Archive made-on-demand DVD features a pretty decent print. There’s some print damage but on the whole the image quality is clear and crisp. Considering the age of the film and the fact that it has not been subject to a full-scale restoration it has to be said that it looks exceptionally good.

The Magician is visually stunning and very entertaining. While it’s a genuine horror movie it’s pure melodrama in tone, which is fine by me. A true neglected masterpiece of silent cinema. Highly recommended.

Our Man in Marrakesh (1966)

Our Man in Marrakesh (also released under the title Bang! Bang! You're Dead!) is a low-key spy spoof from prolific producer Harry Alan Towers whose spectacularly uneven output   embraced just about every exploitation genre one can think of. This particular production can best be described as innocuous but fairly entertaining.

Mr Casimir (Herbert Lom) is a spymaster anxiously awaiting a courier bringing two million dollars to buy some sensitive documents that he’s obtained by presumably rather nefarious methods. He knows the courier is one of six people catching a bus from Marrakesh but unfortunately he has no idea which one is the courier. Compounding the problem is that not one of the six people is what he appears to be.

Andrew Jessel (Tony Randall) has come to Marrakesh to build a hotel but he’s masquerading as an oilman. Krya Stanovy (Senta Berger) has half a dozen explanations for her presence in Morocco, none of them true. Mr Fairbrother (Wilfred Hyde-White) claims to be selling bathroom fittings while Mr Lillywhite (John le Mesurier) claims to be a promoter of package tours.

Jessel and Krya are thrown together when a dead body is found in Jessel’s hotel room. They have the police after them and Casimir’s men as well, led by the sinister Jonquil (Klaus Kinski). After being chased over half of Morocco they encounter an unlikely chieftain of a band of Arab bandits - the Eton-educated Al Caid (Terry-Thomas).

The plot is not exactly strong on originality but it doesn’t really matter. Don Sharp’s typically energetic direction ensures that the action doesn’t flag. And there is quite a bit of action.

This movie’s biggest asset is the delightful cast. Tony Randall might be an unlikely hero for a spy movie but this is hardly a serious spy movie and in any case Andrew Jessel is the archetypal innocent caught up in a web of espionage that he finds utterly bewildering and Randall has no difficulty playing that sort of character. In fact he’s rather good.

Senta Berger manages to be slightly ditzy, glamorous, mysterious and appealing which is exactly what her rôle calls for. Herbert Lom oozes smooth sinister charm in the inimitable Herbert Lom manner. Klaus Kinski was always well cast as a colourful heavy while Margaret Lee is fun as Casimir’s dotty girlfriend. John le Mesurier and Wilfred Hyde-White are wonderful as ever while Terry-Thomas sparkles as the old Etonian brigand leader. It’s a superb cast perfectly suited to the material.

While it was the Bond films that caused the 60s spy movie craze Our Man in Marrakesh is not, unlike the Derek Flint movies (such as Our Man Flint) or the Matt Helm movies (such as The Wrecking Crew), a spoof of the Bond movies. It’s a spoof of an earlier generation of spy movies - movies like Hitchcock’s North by Northwest - which typically featured an ordinary guy who gets mixed up in espionage very much against his will.

Don Sharp was a logical choice to direct. He could always get good results on a limited budget and he was more than competent when it came to action scenes (and this one includes a couple of pretty decent action set-pieces).

The location shooting in Morocco certainly paid off, giving the movie the ideal atmosphere of intrigue in exotic locales.

While this is a spoof it’s a gentle kind of spoof. Don’t expect the outlandishness of a Matt Helm movie. This is a much more low-key sort of movie. There’s plenty of amusement to be had but then it throws in a moderately serious spy movie climax with a bit of real excitement. 

This DVD is typical of Network’s releases - a good anamorphic transfer, no extras, and fairly reasonably priced.

Our Man in Marrakesh is the sort of movie that could never be made today. It’s innocent gently tongue-in-cheek good-natured fun with zero social comment and zero irony, absolutely no graphic violence and barely a hint of sex. It aims to do nothing more than deliver light-hearted entertainment and it succeeds admirably. It also has a simply wonderful cast. Highly recommended.