Explosive international intrigue results when British Intelligence Agent John Shay (George Peppard) suspects Adam Booth (Keith Michell), a colleague, of being a double-agent. Although Shay's superiors warn him against an investigation, he travels to Greece and Turkey in order to check out his suspicions. There, Shay becomes involved with the beautiful Sarah (Dame Joan Collins), who was once his lover, and is now Booth's wife. Before long, Shay realizes that he is being used as a Communist pawn, and has fallen into grave danger.Written by
During the closing credits, in the background is the final scene showing a tower with a light that rotates, shining alternately green and white light. The credits change colors repeatedly as if the tower light is shining on them. See more »
1970 was about the time that spy movies became nonsense, as this one shows.
Nonsense was in earlier movies. A lot of noir movies were based on this. No plot, no motivation, no story, just one liners and writers contriving excuses to kill people in a movie for no reason, and then claim there was a reason.
That's pretty much what happens in this spy movie. George Peppard suspects the husband of a girl he loves to be a spy. We have no idea why, and we have no idea why the characters in the spy ring do what they do. Merely for effect. Once you get past this, that the plot doesn't exist and there is no motivation, the rest is easier to watch.
It is full of almost every spy cliché there is, and these were already clichés well before 1970.
The "personal" motivations of private lives plays out better than the "plot" angle, and that's what you would watch this one for.
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