In 1865, Timothee, a wanderer, arrives in a village in southern France pretending he is deaf and mute. There, he is struck by the beauty of a young woman, Josephine, and asks for ... See full summary »
Isild Le Besco,
Nahuel Pérez Biscayart,
L'Alpagueur is a free-lance spy from the French secret agency. He's put on the investigation about L'epervier, a serial-killer who employs young boys to help him robbing banks before ... See full summary »
The life of four best friends in Paris: Antoine (a gym school teacher), Jeff (director of a monthly journal), Alex (Jeff's associate in the monthly journal and a Don Juan) and Manu (owner ... See full summary »
An unsatisfied woman in her late 30s dreams about stealing the big cash and leaving the country. She meets a petty criminal ten years her junior who has the thing for her, and she asks herself is he the only true love of her life.
In the middle of Vienna stands an old tenement building, and time has left its mark both on the house and its inhabitants. Here, time passes at a strange pace. Floor by floor, the visitor ... See full summary »
The amount of money in the suitcase was two million dollars. See more »
During the mountain-road chase scene, the outside right brake light on the blue '64 Chevy is burnt out as it rounds one curve...but is then burning brightly and in good repair when the car pulls up on the truck crash. See more »
Exotic Harry Alan Towers effort with a good cast and bad script
Quickie producer Harry Alan Towers had a set routine when making films in the 1960s: he'd assemble an all-star cast, whisk them off to an exotic (typically hot) location and proceed to film a sub-par story designed to make maximum use of the familiar faces he'd gathered together. Such films are invariably disappointing, although film fans will probably want to watch them for the casts alone.
OUR MAN IN MARRAKESH is a case in point, a quirky caper that mixes together three different genres. The first is a spy flick, with the rubber-face Tony Randall playing a man mixed up with scheming villains and beautiful femme fatales (Senta Berger). The second is a Hitchcock 'wrong man' thriller, with plenty of nods to the director's output a la THE MAN WHO KNEW TOO MUCH. Finally, Towers can't resist adding a little 'whodunit' aspect to make the most of his famous cast members, although technically this is more of a 'who is it' as identity plays a key part.
Inevitably the script is disappointing and the various action sequences are routine to say the least, but the cast members make this worthwhile. Herbert Lom is the villain and Klaus Kinski his creepy henchman; also along for the ride are an out-of-place Wilfrid Hyde-White, Terry-Thomas, and John Le Mesurier, their upper lips stiff and quivering with indignation. OUR MAN IN MARRAKESH isn't particularly bad - although the comedy has certainly dated - but in comparison to Bond or Hitch it just looks dumb.
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