Although his murdered friend was by all accounts a scoundrel a true "bounder" Edward Wales is determined to trap his killer by staging a seance using a famous medium. Many of the 13 seance ... See full summary »
Up and coming, young lawyer Anthony Lawrence faces several ethical and emotional dilemmas as he climbs the Philadelphia social ladder. His personal and professional skills are tested as he ... See full summary »
Two smart marketing people resurrect some old films starring cowboy Smoky Callaway and put them on television. The films are a big hit and the star is in demand. Unfortunately no one can ... See full summary »
A comedy-drama about a Black American female philosophy professor and her insensitive, philandering, and flamboyant artist husband who are having a marital crisis. When the wife goes off on... See full summary »
Clarence Branch Jr.
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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