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Madame Sin (1972)

Not Rated | | Adventure, Crime, Thriller | April 1972 (UK)
A CIA agent is used as a pawn in an insane woman's plan to steal a Polaris submarine.



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Cast overview, first billed only:
Madame Sin
Anthony Lawrence
Malcolm De Vere
Commander Cavendish
Nikko (as Pik-Sen Lim)
David Healy ...
Alan Dobie ...
Al Mancini ...
Charles Lloyd Pack ...
Mr. Willoughby
Dr. Henriques


Bette Davis is Madame Sin, a sinister-looking, totally evil, half-Chinese woman who indulges in endless machinations. Ensocnced in a Scottish castle that is packed with an array of spy gadgetry, she runs afoul with counter spy, American CIA agent Anthony Lawrence (Robert Wagner), who is out to counter her plots for control of a Polaris submarine. Written by alfiehitchie

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Even Doctor No would say "yes" to Madame Sin!


Not Rated | See all certifications »




Release Date:

April 1972 (UK)  »

Also Known As:

Madam Sin  »

Filming Locations:


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Aspect Ratio:

1.33 : 1
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Did You Know?


Opening credits: All characters and events in this film are fictitious. Any similarity to actual events or persons, living or dead, is purely coincidental. See more »

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User Reviews

Bette Davis' spies.
18 December 2016 | by See all my reviews

My DVD describes Madame Sin as 'a prime example of the camp spy genre'; how misleading! Yes, there are some crazy futuristic inventions used by the baddies to achieve their nefarious goal, but the film as a whole is actually rather sober affair, especially considering the impact of the unexpectedly bleak ending.

Bette Davis plays the titular character, a criminal mastermind who lives on a remote Scottish island from where she conducts her wicked money-making schemes. Robert Wagner is ex-CIA agent Anthony Lawrence, who is abducted by Sin's henchmen and used as a pawn to assist in the stealing of a Polaris submarine, which the villainess intends to sell to revolutionaries.

Rather than a garish, cheezy romp full of outrageous set pieces and witty one-liners from the hero, writer/director David Greene plays much of the film surprisingly straight, even going so far as to add an avant-garde vibe to early scenes, taking the film firmly out of the realm of Matt Helm or James Bond. A bizarre electronic score only adds to the off-beat atmosphere.

Depicted as such, the film sometimes feels frustratingly dreary and uneventful: one longs for an exotic location, a desperate shootout or an exciting car chase to alleviate the tedium that occasionally sets in as Lawrence tries to thwart Sin's plans.

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