Double jeu

Following his turn as the infamous Simon Templar but before the likes of Lord Brett Sinclair and 007, Roger Moore starred in the little-known Crossplot. A hugely entertaining late 60s Bond-esque clone that plays like a feature-length ITC drama crossed with a Hitchcockian thriller even if the writing is nothing special and often exceptionally convoluted. Still, the film has an undeniable charm to its antics, largely thanks to Moore's natural panache and delightful cast; on a personal note seeing Francis Matthews in anything delights me greatly. Ripping along at a breakneck pace, Crossplot is certainly a product of its time but with noble ambitions by director Alvin Rakoff, an upbeat Barry-esque score by Stanley Black and hilarious moments of havoc, the film is a mild-mannered mini triumph from Moore's then ongoing bid to play 007.

I know the stylings here are in part typical of some British films of the 60s in the first place, and in a broader sense of Euro spy flicks. So the notable parallels to a certain prominent franchise aren't necessarily direct imitation as they are simply reflective of convention at the time. Nonetheless, the echoes are substantial. Roger Moore stars, a few years before he'd take on the part of 007; Bernard Lee appears in a small role; the major supporting part goes to a beautiful young woman. The protagonist will of course be a rascal of a playboy generally, and a bit of a creep toward that woman specifically, and their romantic entanglement is inevitable. Flashy opening credits follow a cold open, the male protagonist is abetted by an older receptionist who adores him, and the circle of intrigue in the scenario grows piece by piece. All that would be necessary to complete the effect would be if Gary Fenn's name were James Bond and he worked at MI6 instead of an ad agency. I don't think it's unreasonable to say that one can assess how much this title may appeal to them based on how much favor they give Eon Productions' body of work.

None of this is to inherently pass any judgment on 'Crossplot' merely for the similarities to other movies we've watched, but the similarities certainly catch one's eye as the plot progresses. For what it's worth, the flourishes of film-making and storytelling are toned down compared to like fare, though the narrative is no less convoluted. It's the type of story that rather requires active attention, else one is sure to miss scenes and dialogue for how quickly some of it whips by. And for all that, it's duly engaging, keeping us watching to see just where the plot is going to end up, and pretty well made in every regard. The filming locations are fantastic, and the costume design, and hair and makeup work, look really great. Scenes are a fairly even mix at one point or another between silliness that provides levity and tension and action to provide minor thrills, and in either instance they are written and executed well. The stunts we get are swell, and it's clear there was no especial concern in sparing expense to tell the story in the way it required, particularly where the livelier moments are concerned.

I'd be lying if I said I didn't have mixed expectation as I began watching, but for whatever shortcomings, indelicacies, or outright flaws one may perceive, more so than not this is quite enjoyable. Stanley Black's score is strong and suitably varied, helping to carry the mood in any scene, and Alvin Rakoff's direction is sturdy. Moore turns in a fine performance as the lead, precipitating his best known part to come, and though relegated to second fiddle, Claudie Lange's acting as Maria is more than sufficient for the material she's given. On a side note, as a big fan of 1983's 'Krull,' it's a delight to see David Battley in a tiny part as a bridegroom. The cast at large are solid in helping to realize the tale. And while there perhaps isn't anything about 'Crossplot' so unique and essential as do demand viewership, when all is said and done it really is very entertaining, and Leigh Vance and John Kruse's screenplay quite robust.

Aside from some tired conventions of the genre (e.g. The womanizing), nothing specific really stands out as being a major weakness. It's worth noting a few instances of blue screen, at the climax not least of all, that are rather glaring, but this is just a limitation of capabilities at the time. As a matter of personal preference this won't appeal to everyone, and anyone who doesn't like the James Bond movies or their ilk will find nothing here to change their mind. On the other hand, the greatest indulgences of more renowned features are subdued in favor of more mindfully penned narrative, and by that measure maybe this could find broader favor after all. Ultimately 'Crossplot' is maybe not something you need to go out of your way to see, but if you have the chance to watch it, it's a fun thriller that stands up pretty well next to its cousins.

Crossplot rattles along at a breakneck pace and is a smart, ingenious and enormously entertaining adventure film. Roger Moore is great in a pre-Bond role as an advertising executive who hires a beautiful Hungarian girl to pose for some modelling shots. What he doesn't realise is that she has eavesdropped on an assassination plot and is the target of some killers.

The film reminds me a lot of a John Buchan novel, brought up to date in the swinging sixties. Moore runs from the villains and takes every conceivable route to escape their grasp, fleeing in a classic car, deliberately causing havoc at a wedding, and finally tracking his prey to the scene of their planned atrocity. It's a fast-moving ride!

The film has never been available on video in the UK, and I'm pretty sure that it's never been released in the States. Come on guys, what are you waiting for? Get this movie released! It's a corker!

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 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.