Post by Eddie Love on Oct 12, 2010 21:15:27 GMT -5
For all the talk of James Mason or David Niven, at the end of the day there were only two actors in the final running for the role of 007 before DR NO went in front of the cameras -- some Scottish unknown from the chorus of SOUTH PACIFIC, and the more accomplished English actor Richard Johnson. It’s easy to see why Johnson was in the mix, as he looks a lot like the Bond of the daily comics and many a paperback cover. Perhaps luckily for all of us, they went with the less likely choice of the unpolished Scot. But Johnson would have a short-lived espionage franchise of his own in the wake of Bond-mania. And in addition to dabbling in 60s spy spoofery, he also starred in some darker, grittier spy fare.
The character of Hugh “Bulldog” Drummond had been around for some time. Originally featured in a series of novels by someone calling themselves “Sapper” the books told the tales of a British veteran of The Great War, bored with his Clubland life who takes out an advertisement seeking excitement in the aid of whatever cause he can find. These books – along with the novels of John Buchan and Sax Rohmer – served as the templates for a lot of the spy adventures that were to come – chief among them Ian Fleming’s secret agent. Drummond had already been the star of a series of increasingly minor programmers after debuting on the big screen in the guise of Ronald Coleman in a lavish early talkie. Since his adventures had served as one of the inspirations for Bond, why not resurrect the character now that Bond was all the rage?
The first of two features to do so is DEADLIER THAN THE MALE. It’s essentially one of the many tongue-in-cheek spoofs of the era, and possibly one of the very best of its sort.
The plot concerns two gorgeous assassins whose killings serve various business ends. One of their crimes comes under investigation by Hugh “Bulldog” Drummond who is now an investigator with for an insurance company. He’s also a more than proficient martial artist as well as a footloose ladies man, although his young American nephew who lives with him cramps his style in that department. Eventually, Drummond’s investigation takes him to Spain where he comes face to face with the Mr. Big behind the female killers and discovers his larger plans.
Johnson is good, if a little effete as Drummond. He has lots of quips, but rather than sounding nonchalant or cool, they often come off as a little self-satisfied and dandy-ish. The actor who plays his nephew could have dropped in from some square campus comedy of the era. He’s a real drag at first, but I liked him more as the story progressed and he got in on the physical action.
Elke Sommer is the main villainess and in addition to showing off her sensational upper physique, she gives a really witty performance. The other women in the killer harem are a refreshingly racially diverse group. Elsewhere the supporting players included the always delightfully disdainful Nigel Green as well as the beady-eye comic delight Leonard Rossitter. The same actor Roger Moore pushes of the Egyptian rooftop in THE SPY WHO LOVED ME plays one of the –literal – heavies.
The production isn’t especially lavish. There’s a tense fight scene shot in what may well be the same underground garage as THE IPCRESS FILE, and the climax takes place on a giant chessboard that wasn’t likely to have kept Ken Addams up at night. (That final set piece really feels like something out of an episode of The Avengers.) All of this set to a brassy score and introduced by a title tune sung by the cult legend Scott Walker when he was still with The Walker Brothers.
For a campy outing, though, I must say that DTTM is pretty solidly involving plot-wise and has some good details to the investigation. All told it’s an amiable picture, dated, but charmingly so. (I once saw this introduced on a cable channel by Quentin Tarrentino and he made the convincing case that the opening scene was remarkably similar to the beginning of the first CHARLIE’S ANGELS picture.)
Johnson returned as Bulldog, in a follow-up picture called SOME GIRLS DO – alongside BitD HOFH Dahliah Lavi. Unfortunately, it’s a film that appears to have been lost to time. Rats.
However, the same year that DEADLIER THAN THE MALE came out, Johnson starred in another spy yarn from our friends at Amicus called DANGER ROUTE. It’s a darker, more somber and realistic take on the espionage thriller and its altogether first rate. You might think you’re in for a typical, overwrought 60s spoof during the main titles as the theme plays. It’s a very quirky, yet memorable number penned by Lionel Bart. But once the action starts, things are squarely more in the realm of Le Carre than Dino’s Matt Helm.
The plot concerns a British agent played by Johnson who is tasked with killing a defecting Russian before he can give information to the US that Johnson’s handlers feel is worthless. Johnson agrees to do the mission, but it’s likely to be his last as he wants out and he has just the dreamy bird back at his flat to entice him into retirement. (She’s played by that spacey 60s sex kitten Carol Lynley, employing a very credible English accent.) But wouldn’t you know it? Double-crosses, and betrayals complicate his plans as the twisty, but not so much that can't enjoy it, plot unfolds.
Johnson is better suited to this hard-edged take on the spy film than he is at the earlier lightweight spoof. He’s very believable when he goes undercover and we see him employ a working-class accent to insinuate himself into the manner house where his target is being held. There are moments, by the way, where he strikingly resembles Connery, although Johnson has these oddly bright pink-ish white lips.
I wouldn’t exactly call DANGER ROUTE a feminist take on the spy genre, but all the female characters are strong portraits. They each seem to embody a different prototype from the genre: the girlfriend; the femme fatale; the useful, unknowing accomplish; the resourceful ally, and the bystander, shanghaied into service. They’re all well played; none of them are caricatures or mere eye-candy, though they don’t disappoint in that regard either.
Also in the supporting cast is the American blacklistee living in exile in the UK at the time Sam Wanamaker as a CIA agent who captures and interrogates Johnson at one point. They have a tense exchange that’s basically a 15 minutes monologue by Wanamaker that is commandingly played.
All told DANGER ROUTE is a solid, serious and very satisfying entertainment.
These two pictures serve up both sides of the 60s spy crazy: sweet and sour, the goofy and the taut and they both succeed in their efforts.
The character of Hugh “Bulldog” Drummond had been around for some time. Originally featured in a series of novels by someone calling themselves “Sapper” the books told the tales of a British veteran of The Great War, bored with his Clubland life who takes out an advertisement seeking excitement in the aid of whatever cause he can find. These books – along with the novels of John Buchan and Sax Rohmer – served as the templates for a lot of the spy adventures that were to come – chief among them Ian Fleming’s secret agent. Drummond had already been the star of a series of increasingly minor programmers after debuting on the big screen in the guise of Ronald Coleman in a lavish early talkie. Since his adventures had served as one of the inspirations for Bond, why not resurrect the character now that Bond was all the rage?
The first of two features to do so is DEADLIER THAN THE MALE. It’s essentially one of the many tongue-in-cheek spoofs of the era, and possibly one of the very best of its sort.
The plot concerns two gorgeous assassins whose killings serve various business ends. One of their crimes comes under investigation by Hugh “Bulldog” Drummond who is now an investigator with for an insurance company. He’s also a more than proficient martial artist as well as a footloose ladies man, although his young American nephew who lives with him cramps his style in that department. Eventually, Drummond’s investigation takes him to Spain where he comes face to face with the Mr. Big behind the female killers and discovers his larger plans.
Johnson is good, if a little effete as Drummond. He has lots of quips, but rather than sounding nonchalant or cool, they often come off as a little self-satisfied and dandy-ish. The actor who plays his nephew could have dropped in from some square campus comedy of the era. He’s a real drag at first, but I liked him more as the story progressed and he got in on the physical action.
Elke Sommer is the main villainess and in addition to showing off her sensational upper physique, she gives a really witty performance. The other women in the killer harem are a refreshingly racially diverse group. Elsewhere the supporting players included the always delightfully disdainful Nigel Green as well as the beady-eye comic delight Leonard Rossitter. The same actor Roger Moore pushes of the Egyptian rooftop in THE SPY WHO LOVED ME plays one of the –literal – heavies.
The production isn’t especially lavish. There’s a tense fight scene shot in what may well be the same underground garage as THE IPCRESS FILE, and the climax takes place on a giant chessboard that wasn’t likely to have kept Ken Addams up at night. (That final set piece really feels like something out of an episode of The Avengers.) All of this set to a brassy score and introduced by a title tune sung by the cult legend Scott Walker when he was still with The Walker Brothers.
For a campy outing, though, I must say that DTTM is pretty solidly involving plot-wise and has some good details to the investigation. All told it’s an amiable picture, dated, but charmingly so. (I once saw this introduced on a cable channel by Quentin Tarrentino and he made the convincing case that the opening scene was remarkably similar to the beginning of the first CHARLIE’S ANGELS picture.)
Johnson returned as Bulldog, in a follow-up picture called SOME GIRLS DO – alongside BitD HOFH Dahliah Lavi. Unfortunately, it’s a film that appears to have been lost to time. Rats.
However, the same year that DEADLIER THAN THE MALE came out, Johnson starred in another spy yarn from our friends at Amicus called DANGER ROUTE. It’s a darker, more somber and realistic take on the espionage thriller and its altogether first rate. You might think you’re in for a typical, overwrought 60s spoof during the main titles as the theme plays. It’s a very quirky, yet memorable number penned by Lionel Bart. But once the action starts, things are squarely more in the realm of Le Carre than Dino’s Matt Helm.
The plot concerns a British agent played by Johnson who is tasked with killing a defecting Russian before he can give information to the US that Johnson’s handlers feel is worthless. Johnson agrees to do the mission, but it’s likely to be his last as he wants out and he has just the dreamy bird back at his flat to entice him into retirement. (She’s played by that spacey 60s sex kitten Carol Lynley, employing a very credible English accent.) But wouldn’t you know it? Double-crosses, and betrayals complicate his plans as the twisty, but not so much that can't enjoy it, plot unfolds.
Johnson is better suited to this hard-edged take on the spy film than he is at the earlier lightweight spoof. He’s very believable when he goes undercover and we see him employ a working-class accent to insinuate himself into the manner house where his target is being held. There are moments, by the way, where he strikingly resembles Connery, although Johnson has these oddly bright pink-ish white lips.
I wouldn’t exactly call DANGER ROUTE a feminist take on the spy genre, but all the female characters are strong portraits. They each seem to embody a different prototype from the genre: the girlfriend; the femme fatale; the useful, unknowing accomplish; the resourceful ally, and the bystander, shanghaied into service. They’re all well played; none of them are caricatures or mere eye-candy, though they don’t disappoint in that regard either.
Also in the supporting cast is the American blacklistee living in exile in the UK at the time Sam Wanamaker as a CIA agent who captures and interrogates Johnson at one point. They have a tense exchange that’s basically a 15 minutes monologue by Wanamaker that is commandingly played.
All told DANGER ROUTE is a solid, serious and very satisfying entertainment.
These two pictures serve up both sides of the 60s spy crazy: sweet and sour, the goofy and the taut and they both succeed in their efforts.
