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The Spy with a Cold Nose (1966)

| Comedy | 1967 (Austria)
A dog with a spying device under its skin is sent to the Russian government as a present. When the Russians send the dog to a veterinary, British spy must get to the dog first and retrieve the spying device.

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(story), (story) | 2 more credits »
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Nominated for 2 Golden Globes. See more awards »
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Cast

Cast overview, first billed only:
...
...
Princess Natasha Romanova
...
Stanley Farquhar
...
Wrigley
...
British Ambassador
...
Pond-Jones
...
Russian Prime Minister
Robert Flemyng ...
Director of M.I.5
June Whitfield ...
Elsie Farquhar
...
Russian Intelligence Chief
Robin Bailey ...
Man with Aston Martin
...
American General
Nai Bonet ...
Belly Dancer
Michael Trubshawe ...
Braithwaite
Bruce Carstairs ...
Butler
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Storyline

A dog with a spying device under its skin is sent to the Russian government as a present. When the Russians send the dog to a veterinary, British spy must get to the dog first and retrieve the spying device.

Plot Summary | Add Synopsis

Taglines:

This is a Riot for Every Tom, Dick and Mata-Hari

Genres:

Comedy

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Details

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Release Date:

1967 (Austria)  »

Also Known As:

Der Spion mit der kalten Nase  »

Company Credits

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 »
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Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

Color:

(Eastmancolor)
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Did You Know?

Trivia

Paul Simon was asked to write songs for this movie, but turned down the job. See more »

Quotes

Stanley Farquhar: Do you know what I got in there?
Dr. Francis Trevelyan: Not until you open it.
Stanley Farquhar: No, of course not.
See more »

Connections

References Bonanza (1959) See more »

Soundtracks

Bonanza
(uncredited)
Written by Ray Evans and Jay Livingston
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User Reviews

 
Classic British comedy
1 July 2007 | by (London, England) – See all my reviews

This is hilarious and I think one of my favourite films ever. Reasons to see it: It was written by Galton and Simpson, writers of 'Hancock' and 'Steptoe and Son', on top form.

It stars British comedy super-god Lionel Jeffries, and is his finest hour and a half (apart from directing 'The Railway Children').

It co-stars two other absolute gods of British cinema, Laurence Harvey and Eric Portman. I don't think I've seen either of them in a comedy apart from this, and I don't know why not because they're brilliant in it. Also Colin Blakely as the Russian premiere. And Denholm Elliott and Eric Sykes, both of whom I'd completely forgotten about until I re-watched it, which is a measure of how good the others are. And holding up the American end, the colonel out of Bilko, briefly.

In a nutshell, Jeffries is a downtrodden suburban family man and low-grade spy with James Bond fantasies who masterminds a cunning scheme to obtain intelligence by surgically implanting a radio transmitter in a dog presented to the Russian leader (the cold-nosed spy of the title), aided by Harvey as a high-tone society vet with a terrible secret. Perhaps it's just Jeffries' ballpark resemblance to him, but I was reminded a bit of some of S. J. Perelman's stuff, that character he created for himself of the put-upon shlub with delusions of grandeur and dreams of romance, yanked out of his golden reveries by the banal importunities of wife and kids. But of course it's also a recurring character in British comedy - similar to the ones Galton and Simpson wrote so gloriously in Hancock and Steptoe but with an added dash of irritability - that character of the neurotic, frustrated Napoleon of Suburbia - growing up everyone in Britain had a friend with a slightly scary Dad like this. Jeffries nails it here. Perhaps the funniest of the early scenes are the ones with him at home, the tetchy paterfamilias overrun by his noisy children and wife June Whitfield ('Can't you control your spawn?' he snaps).

While most of the comedy comes from the Jeffries character, as I say Laurence Harvey is a comic revelation as a suave combination of gigolo and quack and the clash between them is great. It is very British and I suspect a bit old-fashioned for some people's tastes. Connoisseurs of Groovy London films should look out for one of those gratuitous pop-music and dance scenes the American producers insisted on inserting

  • in this case a completely unexplained sequence of Daliah Lavi dancing


energetically by herself - but the swinging 60s elements are really just superimposed on a film that for the most part harks back to an earlier era.

Anyway, I found it hysterical, and have no idea why it isn't better known. If you like this kind of thing, then this is the kind of thing you'll love.


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