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6 out of 7 people found the following review useful:

"Keep the faith!"

9/10
Author: ShadeGrenade from Ambrosia
18 June 2009

*** This review may contain spoilers ***

At the conclusion of the first part of this story, Solo, Kuryakin, Azalea, Annie and Sebastian broke out of Dr.Kharmusi's desert fortress, the thermal prism in their grasp. Sebastian then made them hand it over, intending to put it into orbit so that 'The Third Way' can become the dominant super-force in the world.

Surviving a boat explosion, the U.N.C.L.E. duo return to the U.S.A, and set about finding Sebastian. Solo pays a call on his estranged wife Laura ( the sultry Julie London ). On leaving her home, he is attacked by two Third Way agents, and, after killing them, the idea occurs to him that by dying his hair white he might just be able to infiltrate the mystic sect...

A couple of points; firstly, the cliffhanger ( Solo falls unconscious trying to get free of his bonds ) at the end of episode 1 is not reprised at the start of the second. Secondly, when Solo checks a card belonging to a dead Third Way agent, it has a THRUSH insignia. Whoops!

Despite these problems, this is a good conclusion to the story ( I love a spy yarn with a 'countdown' climax ). Rather than launch the rocket from a sub-tropical island in the Carbibbean, Sebastian instead chooses an American office building with a hollow interior!

As 'Sebastian' himself, Bradford Dillman is good, even though he bears a disconcerting resemblance to Sacha Baron Cohen's 'Borat' character. The phrase 'The Third Way' would, incidentally, be employed ( briefly ) by ex-Prime Minister Tony Blair during his time in Downing Street. Draw your own conclusions.

H.M. Wynant plays ( though not at the same time ) four circus brothers known as the Askoys. Horror and B-movie actor John Carradine plays a mystic who, the legend goes, speaks only when 'The Third Way' inherits the world. 'Mom' is played by Kathleen Freeman, who graced many of Jerry Lewis' films.

The rocket hijack sequence is impressive for '60's television ( and outclasses a similar scene in the Matt Helm movie 'The Wrecking Crew' ), indicating a higher budget than usual.

The final exchange between Solo and Kuryakin ( quoted above ) is a classic.

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