Buzz Rickson is a dare-devil World War II bomber pilot with a death wish. Failing at everything not involving flying, Rickson lives for the most dangerous missions. His crew lives with this... See full summary »
Shirley Anne Field
A lonely, mentally unbalanced woman invents a fictitious daughter and has the "daughter" write to a Marine stationed in the South Pacific. When the soldier returns back to the States, he ... See full summary »
War hero turned villain George Martin escapes from prison, but he is handcuffed to a naive young crook Willie Stannard. After using a clever plan to obtain railway tickets, and with the ... See full summary »
Double-agent Alexander Eberlin is assigned by the British to hunt out a Russian spy, known to them as Krasnevin. Only Eberlin knows that Krasnevin is none other than himself! Accompanying him on his mission is a ruthless partner, who gradually discovers his secret as Eberlin tries to maneuver himself out of a desperate situation. Written by
Principal photography production of this picture went over-schedule. See more »
I mean, if you want to turn this into a gun war, it's all right with us - but our reserves are closer.
Who do you think you are, Al Capone?
Who's Al Capone?
He was a megalomaniac gangster who murdered anyone who got in his way.
Really? Whatever happened to him?
He changed his name to Stalin and moved to Russia.
I thought he sounded familiar.
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The decorative details sparkle like mad...too bad the plot is a dated dud
Laurence Harvey plays a Russian-born spy based in London who is now working for both countries as a double-agent; he's assigned by the British to kill his alter-ego, and hopes to find a target to assume his alias. Opening with a wonderful credits sequence, "A Dandy in Aspic" looks initially to be an enjoyably old-fashioned Cold War excursion with such familiar elements as CIA operatives and the KGB. Unfortunately, though screenwriter Derek Marlowe adapted his own novel, the key ingredients of such a spy-drama appear to have gone missing; the film is all talky exposition and little pay-off. Mia Farrow continually pops up unannounced as Harvey's love-interest, probably in the faint hope we'll assume she's sneakily involved somehow. There are so many camera set-ups, verboten conversations, and obtuse face-offs that the overall effect is both exhausting and stultifying. Harvey took over the direction of the film after original director-producer Anthony Mann passed away unexpectedly. This must account for the funereal pacing and the cloudy character interaction, though the plot itself wasn't exactly timely--not even for 1968. Farrow (just prior to "Rosemary's Baby") adds quite a bit of gamine magic to the proceedings as an amateur photographer who appears to be following Harvey wherever he goes; it isn't much of a role, but Mia's beauty and youthful charm go a long way towards making the picture tolerable. Other assets: Quincy Jones' low-keyed score and the fine cinematography by Christopher Challis and Austin Dempster. ** from ****
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