Unsuccessful singing bullfighter Juan arrives in Barcelona to try his luck in a big town. He finally persuades a devious local impresario to book him, but only on the condition that Juan ... See full summary »
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To prove that he still is strong and powerful, Philippe Douvier decides to kill Clouseau. Once news of his "death" has been announced, Clouseau tries to take advantage of it and goes undercover with Cato to find out who tried to kill him.
Man-eating businesswoman, Angela Barrows is sent by her US company to Edinburgh to investigate export opportunities. She meets businessman Robert MacPherson en route and he persuades her to... See full summary »
Unsuccessful singing bullfighter Juan arrives in Barcelona to try his luck in a big town. He finally persuades a devious local impresario to book him, but only on the condition that Juan first manages to spend an evening with Olimpia, a "shrewd merciless beauty" who seems effortlessly to collect apartments and Maserati sports cars while leaving a trail of broken hearts behind her. Juan approaches the challenge by pretending to her he is an emissary for a rich count. Written by
Jeremy Perkins <email@example.com>
Mostly for Sellers-completists...a slow-moving sex comedy with some good visual gags
In order to get a booking in Spain as a 'singing matador', Peter Sellers must first spend one hour alone with ravishing Britt Ekland, the local tease who has developed a bad reputation-in-reverse due to the fact she spurns all the men who desire her. Screenwriter David R. Schwartz adapted his own play, which began as the novel "Olimpia" by Burt Cole, but seems to have left out the heart of the story. Sellers and Ekland (real-life marrieds at the time) are both good, though neither has much of a character to play. The low-keyed film is so restrained, it may confound viewers hoping for a European farce. There are minor compensations: some of Peter's shtick, including a pantomime bit on the street, is funny, also the affected way Sellers pronounces 'Barcelona'. The sight-gag in the final act is successfully rendered, and Francis Lai contributes a beautiful bossa nova score. Still, the picture never really takes off, remains a rather glum and meandering vehicle for its star. ** from ****
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