Tödlicher Salut

This movie came on right after The Saint one morning so I left it on, Sir Rogers foray into his six-year long audition for James Bond continues. This movie is fun because of him. The man was born with a natural panache. I love the sixties vibe but mostly "Moore" of the same.

This really wasn't a good movie.

Roger Moore in his pre-James Bond days, one can easily see him taking on Bond here. It is reminiscent of Pierce Brosnan waiting his turn for the role.

I've always enjoyed Moore's other roles. He was always charming. He is here too. Unfortunately, the script is weak.

There's lots of late-60s hair, fashion, and context here. For that, it is an interesting look back.

But if one is seeking high drama, a good caper, or anything particularly intelligent, this is not your movie.

Although I know that this film not meant to be like a prelude to Roger Moore playing James Bond, it sure looked like one...though the Bond role would come several years later. Like Bond, there are lots of hired killers, a murder plot involving a head of state as well as lots of adventure and a sexy woman. But unlike Bond, this character played by Moore is NOT so perfect. He often gets the snot beaten out of him, gets framed for evil stuff he never did and bumbles his way into all this! The results are fair--worth watching but a trifle too long.

When the film begins, like Bond you see Gary (Moore) in the arms of a sexy woman. Unlike Bond, however, he has a day job and soon realizes he must leave for work...leaving a very frustrated woman behind! You then learn that Gary is a playboy who works for an advertising firm. He's late for a big meeting and doesn't take time to go through his materials. And so, when he presents a big advertising campaign to the bosses, he suddenly discovers someone has substituted a woman for the model he had in mind. But the big boss (Bernard Lee of all people) is thrilled when he sees a picture of this mystery woman and insists they sing her asap. The problem is no one seems to know WHO she is! So, like a private eye, Gary goes in search of her--which is exactly what some unknown people want. They want him to do all the work and find her for them. Because she apparently knows something that could get her killed...or at least they think she knows something and they are more than willing to silence her for good.

In addition to going on just a bit too long, my biggest complaint was the extensive use of cheap and unnecessary rear projected scenes. For example, instead of going to a horse race, this is projected behind Moore and he acts in front of this screen. This is sloppy and it clearly looks as if he's acting in front of a screen...which is weird, as they later DID do a horse racing scene on site! Regardless, several times they employed this...and each time it was sloppy. There also is a VERY sloppy helicopter stunt that just looks bad. Overall, the film is worth seeing...but not nearly as good as a Bond flick.

This film, basically a vehicle for Roger Moore, is a 90 minute television-style action adventure film. Roger Moore plays an advertising executive who utilises an Eastern European girl in a promotional campaign who just happens to be sharing a house with spies and unwittingly discovers their darstadly plot. This now provides a perfect opportunity for Roger Moore to slip into his Simon Templar/James Bond persona and save the day.

This film lies somewhere between an extended Saint episode and an early James Bond movie, but as Roger Moore was the best James Bond, (as we all know), this film is nevertheless enjoyable just for his suave, Mr smooth 1960's London swinger acting. The original Austin Powers.

Nothing exceptional, however this film is reasonably enjoyable in a mild mannered way. You could certainly do worse.

A boyish pre-James-Bond Roger Moore plays advertising executive Gary Fenn in this preposterous tale about uncovering a sinister plot in London. "Crossplot," directed by Alvin Rakoff, is more 60s nostalgia than exciting movie-making. The dated costumes and hairstyles, the period dancing and songs, and the misfire mix of comedy and espionage seem like an early Bond film gone haywire. The presence of Bernard Lee, who distinguished himself as "M" in the Bond series, adds to the faux-Bond look, but adds little to the proceedings. The flimsy plot gets underway when a photograph is substituted in an advertising proposal, and Moore pursues an elusive model for his campaign. The writers were likely inhaling something stronger than Lucky Strike when they came up with this idea. Claudie Lange plays the exotic model as though she had studied under a drag queen doing Gina Lollabrigida, and she gives new meaning to wooden. Only her ample bosoms show any charisma. The scenes between her and Moore lack any chemistry, and the photo shoot destroys her supposed appeal for the advertising as she poses and grins embarrassingly for the camera. While Martha Hyer looks lovely, well coiffed, and classy as Claudie's aunt, she has little to do but make eyes at Moore and keep her hair in place.

The story wanders over London and the English countryside, but the sights offer little distraction from the nonsense. "Crossplot" does offer a pastiche of scenes culled from other, better movies. A sequence that takes place in an antique car and period costumes seems like it was lifted from "The Great Chase," but without the talent involved in that film. Like the Bond films, the villains all have lousy aim, and the mechanics of the plot when it unravels make no sense whatsoever. A helicopter chase has been included to remind viewers that "From Russia with Love" was a far better film and starred a far better actor. The scene in which Moore disrupts a wedding is more than an echo of Cary Grant's antics in the auction scene in "North by Northwest." Only die-hard fans of Roger Moore will relish this movie, although he was admittedly more appealing here than in much of his later work. Either "Crossplot" was made as an audition for Moore to play James Bond or as a tax write-off for its investors. Either way the audience suffers.