Following a triple professional hit a U.S. agent arrives in Amsterdam to investigate a heroin smuggling ring. He finds a city rife with drugs and a police force unable or unwilling to do ... See full summary »
On the remote Norwegian Bear Island, used as a submarine base by the Germans during WW2, U.N. scientist Larsen sends a distress signal using an emergency NATO frequency and is received by scientific vessel Morning Rose.
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In a post-apocalyptic world divided between two groups called the Flockers and the Ravagers, an adventurer and his "pleasure girl" try to find their way to a rumored safe haven called the Land of Genesis.
Aboard the cargo vessel converted into a luxury cruise ship, S.S. Campari, somewhere in the Caribbean is lying in port, due to a succession of delays. Chief Officer Johnny Carter, who has to put up with a moody Captain, and the unwanted charms of the beautiful young Susan Beresford, realizes these delays are due to sabotage, and that there is something seriously wrong. When the Campari finally sails, a member of the crew is suddenly missing. An unsuccessful stem to stem search for the crew member, with violence suddenly erupting endangers the whole ship. The ship is then controlled by a master criminal, whose intention is not a simple hijacking and ransoming of the wealthy hostages on board. So, what exactly does he have in mind?Written by
Terrorists kidnap a nuclear scientist. Later a strange passenger and strange cargo are loaded aboard a tramp steamer which will pass within a few miles of a ship loaded with gold bullion. Coincidence?
THE GOLDEN RENDEZVOUS is one of those films which evokes "what ifs..." What if the producers had attached the prelude filmed when the show was broadcast on network TV? What if they had hired someone other than the thoroughly soused Richard Harris? What if Ann Turkel had been costumed in sexier outfits? And what if the producers hadn't hired a very overweight (and, at that time, very well known) Dorothy Malone for a throwaway role?
The prelude, added for TV does wonders for the films exposition. The film sans the prelude is much truer to the Alistair MacLean novel, but what is clever in novels is sometimes simply baffling on the screen. The ending is actually better than the novel; and, it would have been great if Harris hadn't resorted to some silly derring-do with dual submachine guns; and even better if he hadn't forgotten his lines in the denouement?
The best thing about this movie is the terrific (and I mean TERRIFIC) score by Jeff Wayne. The music adds a sense of urgency one never feels from what is up on the screen.
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