Le coup du lapin

The director had come down considerably in the world by the time he made this potboiler in colour for Amicus, but it does reflect the fatalism of his directorial debut 'Nowhere to Go' and is far from the dog's dinner Betty Box & Ralph Thomas made of their two films featuring Richard Johnson as Bulldog Drummond.

By this time the more squalid side of espionage was already becoming a commonplace - even if Johnson drives a car with personalised number plates and it boast a title song sung by Anita Harris and rather exotic sitar score by John Mayer - so in Holt's hands the violence is both far messier and more intimate than usual.

The title song for this movie reminds one of the middle James

Bond films--a catchy title woven into an incomprehensible song. Happily, things improve quickly. Jonas Wilde, the licensed killer, is dour and taciturn, but I was empathizing with him before too long. Jonas uses no outrageous stunts, no silly gadgets, and the movie was almost over when I was struck by the realization that there was not a single chase scene. Jonas does not even use a weapon, killing rather with a sharp blow to the neck (I would call it a Judo Chop, except I know nothing of Judo) This film was written so as to leave the way open for sequels; it is a loss none were made.

To compare this film to 007 Bond films would to be lead readers astray.

Bond films don't have tight plots - this film is far closer to the films and series based on John Le Carré's works. The film is never boring and seems to finish too soon - one would have liked more time for the denouement.

And that is a sign of a good tight plot - when the viewer feels that the film has ended too soon.

The film shows how without any gadgets and spectacular action a good plot can still hold the viewers' attention.

There is action - fights and murders - but they are not spectacular - nor are they intended to be. They are cold, quick and quiet.

It is an enjoyable secret service film from the 1960's - a predecessor for the excellent Le Carré films and series.

Enjoy it!

. But worth noting for its star Richard Johnson and director Seth Holt. A former Royal Shakespeare Company actor, Johnson was Bond director Terence Young's original choice to play 007 and might have proved much closer to author Ian Fleming's concept of him. Indeed, Johnson was briefly groomed by the Rank Organisation in the late Sixties as their answer to Sean Connery, hoping to ride the Bond slipstream (but the two films Deadlier Than the Male and Some Girls Do were too cynically packaged to work as either imitation or spoof).

Johnson's brand of worried suavity found a better vehicle here. A minor addition to the murkier side of the genre, it remains most notable for Holt. A former editor, Holt's deft cutting room skills had made two suspense films he directed for Hammer (Taste of Fear and The Nanny) unusually seamless and subtle.

Alas, in Danger Route, even his assured touch failed to enliven an intractable plot about Cross-Channel espionage. But an exceptionally strong support cast - Harry Andrews, Diana Dors and Gordon Jackson - and a certain casual ruthlessness, lift this film above the totally routine. And Carol Lynley and Barbara Bouchet are truly gorgeous.

Trite cynicisms and a trashy title-song date Danger Route unsympathetically. But Holt's admirers will discern enough in its minor virtues to compensate.

Given Danger Route's lackluster 5.7 IMDb rating, I really wasn't expecting to like it as much as I did. In the movie, Jonas Wilde (Richard Johnson) is a successful government operative who handles more sensitive cases (he's an assassin). Recently returned from a mission, he's immediately sent on another. This time, his handlers really don't care if he's successful or not. Either way, they want him dead. Coincidentally, Wilde wants out of the game altogether and has taken steps in that direction. His steps, however, do not include his own death.

Most of the spy movie I watch tend to feature comedy or some other craziness. They may not be out and out spoofs or something like that, but they do include their share of humor. These spy movies generally feature crazy gadgets, over-the-top villains, exotic locations, and scads of beautiful women. Not here. Danger Route is deadly serious stuff. And while it does feature enough beautiful women for a Bond movie, there are none of the other trappings normally found in a spy film. I wasn't sure how this would play with me, but worked almost flawlessly. I appreciated the serious tone and the real tension it created. There's still plenty of action, but it's more subdued and realistic. I also thought the film had a nice flow to it. Never was I bored. I'll give credit to the brilliant Seth Holt who directed Danger Route. It's really too bad he died so young and after directing less than a dozen films. I'd like to have seen what a longer career might have produced. Finally, the writing is strong as well. The plot is filled with twists and turns. Most of these twists, including the final one, worked as intended on me. Overall, Danger Route is fine filmmaking.

The acting in Danger Route warrants a mention. Richard Johnson never gets enough credit as a rock solid actor. Whether it's a more comedic film like Some Girls Do or he's running form zombies in Zombi, I always seem to enjoy his work. He's joined by a very capable cast that includes Carol Lynley, Gordon Jackson, Diana Dors, and Harry Andrews. My only complaint with the cast is Barbara Bouchet. It's not that she's bad or anything, just terribly underutilized.

I really have nothing negative to say about the movie. It's a solid film with nice direction, writing, and acting. And, as is always key for me, I was thoroughly entertained. Danger Route gets an 8/10 from me.