Assassinato por Encomenda

Okay, so The Liquidator could be described by purist fans of the James Bond franchise collection as a compliment to the previous years 1964 release of James Bond's "Goldfinger" right down to having the classy Shirley Bassey singing the introduction score of both films as only Shirley Bassey can.

But The Liquidator does more than an admirable job of standing the test of time over the past 52 years such that Rod Taylor and Jill St. John's performances should always be remembered for being the feature stars of this tongue in cheek ode to the spy genre.

I really enjoyed it and I will be sure to be purchasing a copy of this grand action and fun filled film for my personal viewing pleasure so that I don't have to wait a few more years for TCM to re-run a series of all the Rod Taylor classic films that were box office successes.

Rod Taylor plays something of a combination of a poor man's James Bond who enjoys romancing a variety of beautiful women and even a funnier man's Inspector Clouseau with both charm and candor and a whole lot of gullibility. This film provides for fans of Rod Taylor why this Australian born actor could not be stereotyped as just a leading man, or as a dramatic actor in suspenseful roles as in THE BIRDS, or as a captain of a spaceship or as a cowboy. No, Rod Taylor is much like a chameleon who can change color or acting style as the film requires of him.

Ann-Margret also does an excellent job playing Iris MacIntosh, the administrative assistant to the Colonel Mostyn, played by Trevor Howard. The film is filled to the brim and overflowing with plot, romance, action and most importantly much humor and wit by Rod Taylor.

I liked The Liquidator and I believe you will too. I give this 52 year old film a very strong 8 out of 10 rating and I for one will be sure to be watching it again as this spy genre spoof has held up very well thank you.

Unfortunately his back was turned when Trevor Howard was helped out of a bad jackpot during the liberation of Paris by Rod Taylor. If he had actually seen just how Taylor saved his life, he might never have thought of him as a perfect candidate for being The Liquidator.

It's what British Secret Service needs as Wilfrid Hyde-White tells his number 2 who is now Howard and 20 years later after the end of World War II. At that time the British government was getting embarrassed routinely with the number of defections and the number of spies caught. The answer is forget those democratic trivialities like due process. When you have a suspect, just shoot them, no questions asked. And Howard thinks is wartime savior is the perfect candidate for the job.

Not that Taylor is all that hip to the idea. He's a bar owner in some rural part of the United Kingdom. But he reads those James Bond novels and sees those movies and he knows what perks come with being an operator. Certainly Howard knows them too and he provides generously even overlooking the fact that his secretary Jill St. John is being tapped by Taylor.

Taylor finds an interesting way of subcontracting the work which I won't go into. But in the end he finds he's being beautifully set up for a major score by the other side. If the bad guys succeed the United Kingdom will really learn what embarrassment is all about.

In the James Bond tradition with title song sung by Shirley Bassey, The Liquidator is an amusing spy spoof. Howard does a nasty slow burn in the tradition of Edgar Kennedy. Jill St. John who is also a Bond girl in good standing is just as beautiful with a role a lot more substantive.

Folks who like the espionage genre should like The Liquidator.

All the elements seem to be in place to make The Liquidator a success: a witty script, a strong cast, an over-the-top Shirley Bassey theme song, crisp cinematography in glorious 1960s Technicolor. But having said that, the whole package doesn't quite come off.

The basic idea is a clever one: to take the familiar secret agent movie premise and subvert it by making the central character a reluctant assassin who "wouldn't hurt a fly". The problem is, Rod Taylor is just too "straight" for the role. Like the Royal Air Force's new top secret spy plane, Taylor often seems to be running on automatic pilot.

The comic elements here should have been exploited for much greater effect. Comparisons with Connery's James Bond are wide of the mark, since this film does not aspire to match the serious thrill quotient of a Bond movie. But it does contain some delicious irony, and a couple of neat twists that even surpass the usual formula at times.

The scene in which Taylor, imprisoned in a cellar with his captor's floozy, is openly encouraged to escape, is neatly handled - until the poor girl is needlessly gunned down by another member of the gang to "silence" her. This provokes a cliff-top chase that culminates in a dangling moment of rare high tension, evoking the original Italian Job.

Younger fans of the Austin Powers series may enjoy seeing what actual swinging '60s films were really like. But where Mike Myers' films take the tiniest germ of a funny idea and magnify it over and over, The Liquidator does the reverse: a potentially promising humorous situation tends just to be left hanging in the air.

For connoisseurs of British pictures of the period, there are little treats on offer too, in the appearance of familiar faces like Trevor Howard, Eric Sykes, Wilfred Hyde White and Richard Wattis - although again, their talent is mostly wasted. The delightful Jill St. John (who would go on to do the "real thing" in Diamonds Are Forever) is eminently watchable throughout, and her performance raises the whole tone; indeed she and Howard are the best things on view here.

Overall then, whilst The Liquidator is certainly an enjoyable film, with the right leading actor, or perhaps a director with a keener eye for comic possibilities, it could have been a much funnier romp through contemporary spy film clichés. So while it must go down as something of a missed opportunity, for me it's better fun than Casino Royale - either the new version or the 1967 one.

"The Liquidator" was such an amusing film. I loved the fact that Shirley Bassey sang the theme song a la James Bond. It was great to see a spy whose hormones were far more potent than his efforts with a gun. A particularly funny part occurs when Trevor Howard is rescued by Boysie, as Paris is being liberated. Howard thinks that Boysie is a killing machine when, in fact, he is a hopelessly clumsy young man. Rod Taylor is deliciously sexy in the film and displays his flair for comedy.

MASTER PLAN: Assassinations. More assassinations. There was only one Liquidator film, unlike the duo of 'Flint' films and the Matt Helm film series, but it preceded both of them in jumping on the super spy spoof trend of the sixties - a trend instigated by none other than James Bond. This one even has the familiar teaser, a quirky origin skit for the hero, followed by a bombastic song over the titles which is quite evocative of the standard Bond style - and well it should be, for the song is belted out by Shirley Bassey, she who did sing the famous "Goldfinger" song. The plot sort of re-imagines the way Bond might have started in the spy/license-to-kill business: the title character (Taylor) sort of stumbles into the killing trade at the end of the war (the Big One, in Paris), making a long-lasting impression on his future boss (Howard). Despite this supervisor's long experience in espionage, reading people and so on, his assessment of the soldier, womanizing Boysie, is completely off-base. He's convinced that the man is a killing machine when, in fact, the soon-to-be code-named L hates even the thought of killing anyone. The whole thing's a more direct satirical jab at the secret agent genre than the later spoofs because the central 'hero' is a total fraud, unlike, say, Matt Helm, who may indulge in too much booze, but can still kill effectively and even effortlessly. Unfortunately for the relatively harmless Boysie/soon-to-be-known-as-L, the head of British Intelligence, years later, abruptly decides on a new policy: dispense with the standard bureaucracy and simply eliminate enemies of the state (Queen & Country) behind-the-scenes, without the usual rules. Such a new radical procedure needs the skills of a particular individual, someone in the blunt instrument/James Bond-mold. They couldn't have selected a more inappropriate fellow.

Now, the actor Rod Taylor is actually better suited for straight action roles; he comes across as genuinely rough-&-tumble and I remember him from quite a few effective tough-guy roles in the sixties. Even here, though he's a nice, inoffensive guy, he can still beat up bad guys if he has to. But, he also projects a likable if slightly-dopey persona and you find yourself buying into this clumsy, somewhat goofy character he creates here. After the groundwork is laid out, as far the hero's new digs and requisite, if brief, training, the story really diverts into outrageous territory when the supposedly lethal L gets the idea to subcontract his assignments to a real assassin (who doesn't look nearly as heroic). Though this may be a sly commentary on the overly-involved nature of shadow operations in government, the story also slows down to a crawl, with much of the focus on L's attempts to make time with his boss's secretary (Jill St.John). Things pick up when the new couple go away to Monte Carlo for R&R and still get involved in spy intrigue. There's an amusing sequence after L is captured & locked up, and then the villains are forced to let him escape, but one of the henchmen isn't in on this change of plan. The comedy is also gallows in nature, pretty dark, since intense espionage usually involves death. The climactic action also features a revelation about who a criminal mastermind really is, though the finale also lacks any grand set-pieces, further diverting from the expected over-the-top fantastic endings of such thrillers. I admit I was disappointed when I saw this many years ago, probably because it was such a sharp deviation from an expected formula, but this film has grown on me and I thoroughly enjoy much of it now, mostly Taylor's and Howard's performances, as well as Tomlinson as a sneaky villain. Hero:8 Villain:7 Femme Fatales:6 Henchmen:7 Fights:6 Stunts/Chases:6 Gadgets:4 Auto:6 Locations:6 Pace:6 overall:6+