Sel, poivre et dynamite

Rat Packers Sammy Davis Jr. And Peter Lawford went to London to produce and star in this swinging, puke-a-delic spy spoof -- although their real aim, no doubt, was to make whoopee with all the mini-skirted dollybirds their middle-aged testes could stand.

Here's hoping the dear boys got their jollies; I know I did (metaphorically speaking, that is) watching them do the Frug, hit on chicks, and dodge bullets as they make like Matt Helm times two, commit fashion crimes unto God and Armani, hit on some more chicks, get cheeky with the coppers, and smoke, smoke, smoke themselves silly as if courting lung cancer was a badge of coolness.

Written by the great Michael Pertwee (LAUGHTER IN PARADISE, LADIES WHO DO) and directed by Richard Donner, who would later attempt to re-work the Salt and Pepper formula in LETHAL WEAPON, minus the groovilicious trappings. (Danny Glover in love beads? Perish the thought!)

I find every movie by the Pack, or any of their subset, other than Sinatra alone, to be a sad waste of film.

This is yet another, where Sammy Davis, Jr and Peter Lawford pilot this shameless, dopey vehicle at missile speed right through the middle of my IQ. Gosh, please make this stop, or at least, make Peter Lawford stop smoking cigarettes for one second and stop ashing his butt on the nightclub floor.

There's one funny scene where Sammy performs a song and dance number with some go-go girls. He pretends not very well to play the guitar.

I couldn't get through the entire movie. Its on a low par with the dreadful Ocean's 11.

Salt and Pepper (1968)

** (out of 4)

Charles Salt (Sammy Davis, Jr.) and Christopher Pepper (Peter Lawford) are friends who own a nightclub in Soho and after a woman is found dead there they are held on suspicion. Pretty soon the two are working as undercover spies to try and track down why so many other agents are being killed.

The 1960s were full of various spy movies and Rat Pack member Dean Martin was having a major success with his series. It was an obvious idea to try and get others into the mix and with SALT AND PEPPER both Davis and Lawford got to get back up on the big screen. Sadly, the end result isn't nearly as good as one would have hoped for.

For the most part SALT AND PEPPER is a mildly entertaining film that works largely because of the two leads and their performances. There's no question that they've got a nice chemistry together and their timing bouncing off each other is quite good. Davis is given an extended music sequence and Lawford gets to be that classic British charmer. The two of them make the film worth watching and especially if you're fans of theirs.

With that said, outside of them there's really not too much going on here. The plot itself is rather routine, boring and it never offers up any fresh or original. I'd also argue that the direction is rather lackluster and there's not really much humor to be found in the screenplay. Technically speaking the film is well-made but there's just not enough entertainment here to make it worth recommending.

I thought this movie was pretty hep and funny, given its age (came out in 1968). You can't go wrong in this goofy spy film set in swinging 60's London. Sammy plays Charles Salt and Lawson plays Chris Pepper, nightclub owners of the Salt and Pepper Club by night and spies by day. There's pretty girls and Sammy and Lawson getting into all sorts of trouble while still looking cool. Sammy is working his usual swinging self with numerous wardrobe changes and Lawson being the brains of the group. The duo work well together, especially during exchanges to each other. Some folks might not like this lighthearted film so it's not to be taken too seriously. Davis's song "i like the way you dance" features.

This is just too goofy and corny to rate well. The editing and continuity are clunky, but that's not the worst of it. The goofy 50s sitcom musical cues are beyond cliche, the dialogue is fit only for 50s sitcoms, and the movie is so stupid that it can only be enjoyed by cultural deficients or hipsters who like their fare drenched in superficial ironies.

It has historical merit as an exaggerated view of fashions, looks and behaviors of London's famous swingin' 60s. This film was meant to be hip at the time, so it can be viewed by modern eyes as a window into what director Donner thought would sell as 'cool.'