I 4 volti della vendetta

Entertaining thriller,part adventures and part whodunit; nice cinematography with a good use of wide screen; the photograph trick is a variant on the "and then there were none" pattern but it provides private eye Barker with vital clues ;some scenes are pretty good for a B-movie: the prologue where the butler is pursued by three masked men who look like clowns is effective ;besides the directing takes advantage of the magnificent caves and the shadows on the wall increase the suspense ; on the other hand ,the cable car sequence is not fully exploited. The official cop serves as a foil to sleuth Lex.,then very popular in Germany thanks to the "Winnetou " movies.

Here we have another fine script by the very talented Peter Yeldham. The dialogue is crisp and often witty. As for the actors, they are all good. As an American, I noticed a lot of European accents, but that was interesting, not a flaw.

The plot has good action and it never drags. And, there is great South African scenery throughout the movie! The music is also very good, bouncy and zestful. Lex Barker does very well in the lead role. Having just watched a superb blu-ray print, and having really liked the movie, I have no hesitation in recommending it. The action, mystery and love interest elements are nicely balanced. This is a very watchable movie.

Considering most 1960s movies are cinemgraphic garbage, this movie is beautiful in color and action. Capetown is a gem and the scenes grab as much scenery as possible. Although the story develops slowly, viewers wanting to see Rex Barker get what they want. Lots of hot girls, him kissing them, him in a swim suit and watching one hot hot man, in action. He had James Bond beat in my book. His early passing a true loss.

With a title that sounds more like the final score of a computer corporation's soccer match than a spy movie, CODE 7, VICTIM 5 takes the then-Sean Connery/James Bond blueprint into b-movie territory under flowing direction from Robert Lynn but more importantly with creatively maneuvered and vibrantly colored cinematography by future legendary auteur Nicolas Roeg, providing former Tarzan (Johnny Weissmuller's replacement) actor Lex Barker on a case to discover who murdered a millionaire's servant at a bizarre South African parade...

But Barker's character Steve Martin (also Raymond Burr's name in GODZILLA before THE JERK comic became famous) is more busy with two lovely dames, equally alluring in their own right while following neo-noir cinema tropes...

As in, there's a good girl and bad (ie naughty/flirtatious)... with the millionaire boss's professionally-pretty assistant Ann Smyrner, who our handsome hero instantly takes-to like they've been in a five-year relationship, and scene-stealing cherub-faced Véronique Vendell, who previously appeared with Peter O'Toole in BECKETT...

The latter is the big man's extremely progressive niece... and while it's predictable that Barker (partnered with quirky woman-loving British cop Ronald Fraser) was hired by a not-so-honest client, what's truly entertaining are the creative ways he gets in and out of trouble in the African and British locations... from almost driving off a cliff to dodging bullets in an ancient cavern to dangerously snorkeling in a blue-green reef to avoiding an ostrich stampede... proving that the action/espionage genre's neglected vehicles can sometimes equal (or exceed) the blockbusters they're emulating.

Woeful title aside, CODE 7, VICTIM 5 is a would-be, South African-set detective story from prolific B-movie producer Harry Alan Towers, who also wrote the thing under his 'Peter Welbeck' pseudonym. It stars man-of-the-moment Lex Barker as a private eye who's commissioned to investigate a mysterious murder among the upper crust in South Africa.

The best - and only good thing - about the movie is the location photography, captured in stunning detail by famed cinematographer Nicholas Roeg. This is a sunny, great-looking movie which allows you to see plenty of areas of the country usually missing in films; those drives around Table Mountain are particularly fine. A shame then, that the rest of the film is so sloppy.

The worst thing is undoubtedly Towers' script, which is mundane to say the least. Despite a few shoehorned-in fight scenes, this is dull, by-the-numbers stuff in which little happens to lift the story out of its lethargic gloom. Barker tours the country for a while, indulges in some light romance with a string of Euro-crumpet in scenes reminiscent of a Connery Bond flick, and finally tackles the villain whose identity is revealed at the climax.

The cast put in strictly ordinary performances and Barker fails to show even an ounce of charisma, so you end up wondering why was such a star of his day. He looks a little like a young Stephen Baldwin to me. Some of the action sequences are okay, like an impressive car chase early on, but for the most part this is a chore and rightly forgotten.