In this, the first Matt Helm movie, we see Matt Helm coaxed out of semi-retirement by an attractive ex-partner. It seems that the evil Big O organization has a nefarious plan called "... See full summary »
At first, Dr. Sidney Schaefer feels honored and thrilled to be offered the job of the President's Analyst. But then the stress of the job and the paranoid spies that come with a sensitive ... See full summary »
Theodore J. Flicker
The handsome top agent Matt dies a tragic death in his bath tub - the women mourn about the loss. However it's just faked for his latest top-secret mission: He shall find Dr. Solaris, ... See full summary »
A government space saucer is hijacked mid-flight by a powerful laser beam under the control of Jose Ortega, who then proceeds to rape the female pilot, Sheila Sommars. ICE sends agent Matt ... See full summary »
Circuit-riding Texas lawyer Timothy Higgins defends a former girlfriend against a murder charge stemming from an extortionist's threat to reveal her shady past. Through adroit courtroom ... See full summary »
A cold hearted American hit man goes to Europe for 'one last score'. His encounter with a beautiful young woman casts self doubt on his lifeblood, and influences him to resist carrying out the contract
The count has stolen enough gold to cause a financial crisis in the world markets so I.C.E. sends in ace spy Matt Helm to stop him. As Matt works alone, the British send in Freya to aid ... See full summary »
Former secret agent Robert Elliot (Coburn) will be promoted to government advisor. In order to make sure no-one will ever know about his dirty past, he has invented a very ingenious plan to... See full summary »
Duffy is a cunning aristocrat of criminals who is hired by Stefane, a young playboy, to hijack a boat carrying several million dollars of his father's fortune. The plot succeeds, with a ... See full summary »
Robert Culp plays Bracken, whose life seems perfect until his wife Ellen and their children are kidnapped by terrorists one day. After failed attempts to capture them back by the police, ... See full summary »
The world's weather seems to have changed dramatically with violent storms everywhere and long dormant volcanoes suddenly erupting. No one is sure what is happening or why but when American intelligence chief Cramden loses yet another team of agents, there appears to be only one man who can do the job: Derek Flint, former super spy, incredibly rich and the ultimate ladies man. Despite Cramden's concerns, Flint is on the job and soon discovers that the Earth's weather is under the control of a secret organization known as GALAXY whose scientists are looking to pacify the world and devote humankind to scientific pursuits. Written by
The odd, discordant guitar part played throughout the movie, which is used almost note for note nearly 20 years later by an up and coming band, is a testament to the enduring quality of the composer's music. The band, Wall of Voodoo, best known for its early 1980s hit "Mexican Radio", uses that strange note progression in its updated remake of the Johnny Cash hit, "Ring of Fire." Their version, however, is a nearly ten-minute-long experiment in what would later be termed as techno music. Its mechanical programmed background rhythm and synth-heavy adaption paved the way for later bands. But its use of the riff from this film performed nearly musically verbatim, that makes their version so intriguing. See more »
One shot of Flint swimming - where he pauses to spit out water - is shown twice. See more »
Your code book.
If you don't mind, sir, I prefer to use my own personal code.
But I would rather you use the government code.
I already know mine. It's a mathematical progression, 40-26-36. It's based on...
I can imagine what it's based on.
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Having read all the James Bond novels by Britain's Ian Fleming -- most of which were written in the 1950s long before the watershed 1960s era of sexual promiscuity, recreational drug use, proud individuality, rock and roll, anti-establishment protest, etc. -- I think that tracing the evolution of the original Bond to the outrageous Derek Flint in so few years might actually make a fascinating sociological Ph.D. thesis. In each of Fleming's novels, the 6', 170-lb. Bond was little more than a glorified policeman (as Dr. No so aptly described him) who used thought, skill, courage, and gritty determination to plausibly accomplish his mission and survive torture, all while falling for a single woman who usually died in the end. In his way, he was practically monogamous and faithful, in addition to being deadly serious. Fleming picked the name James Bond to connote a bland, rather unremarkable cog in the wheel of Her Majesty's Secret Service, albeit with a license to kill. The first Bond film, "Dr. No", remained fairly faithful to the novel, except that actor Sean Connery oozed an almost animalistic and sexual charisma which Fleming found inappropriate. By the second film, "To Russia With Love", Bond was becoming a swashbuckler capable of fighting off a dozen men in hand-to-hand combat without getting winded. In subsequent films over the next 40 years, Bond became more and more sexually promiscuous while performing increasingly implausible feats of daring-do, all while the plots and gadgets and bad guys became more and more outlandish. But in the mid-1960s, when "Our Man Flint" was released, the cinematic Bond was still largely grounded in reality, and his tongue was only occasionally in his cheek. Flint, on the other hand, wasn't so much a parody of Bond as the quintessential expression of what so many male, American Baby Boomers secretly wanted to be: adored by harems of gorgeous young women; multi-millionaires without having to work for it; quick, witty, and gifted with devastatingly high IQs; super-athletes and sportsmen; ultra-skilled in all forms of hand-to-hand combat without losing a fight or getting hurt; Renaissance men equally at home amid fine art, fine wine, eclectic music, sophisticated gadgets, Zen masters, foreign cultures, and powerful weapons. In other words, the comparatively "boring, nose-to-the-grindstone Bond" of the 1950s had, by the mid-1960s, become the "ultra-fantastic fantasy figure of Flint". One of the reasons Bond (in the novels) smoked so many cigarettes and didn't care, was that he was convinced he was going to be killed soon; his body was already covered with scars. Flint, on the other hand, seems to feel he's going to live forever in his prime -- exactly what many Baby Boomers wanted (and still want, in some cases). The Bond of the novels was a former naval commander and dedicated government agent almost 24/7; Flint is a playboy who probably contributes articles to "Playboy" and saves the world when it suits him because he unexpectedly has a few hours to kill. In many respects, Bond and Flint are opposites, just as the mid-1950s and mid-1960s were. Each character speaks volumes about the societies in which they first appeared. On a lighter note, I found "Our Man Flint" a hysterical hoot led by the outrageous, scenery-chewing James Coburn, and I recommend the movie to those who want to take a lighthearted look at the "pop Sixties" while chuckling and shaking their heads at the silliness.
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