The Return of Mr. Moto

One of the interesting things (looking back) about the original Mr. Moto series is its timing relative to WWII. It was also quite well written and, like many classics, provides some good commentary on society of that time. I think a post-WWII Moto film would be a good idea, but not this one. Poorly written and poorly acted, this film certainly does not do justice to a fine old classic. With the original Mr. Moto played by a German and Charlie Chan by a Swede, one would think that our enlightened 1960's society would at least come up with a proper Japanese-descent actor to play Moto. They certainly didn't pay a lot for the script and even less for sets. The feeble attempt with two folding screens and a cheap print of a Geisha on the Moto's wall didn't quite make us believe Moto's "orientalness". I hope someone takes another, better, stab at bringing back Mr. Moto.

Any mst3k fan knows what Lippert means. Super cheap, lots of car driving, stock footage and talk rather than show. Moto character is unrecognizable to 30's Moto. For 1965 the plot to control oil is the most interesting aspect of this bore. The 5 is for sharp b&w photography.

I saw this film, as many probably do, because it is included as an extra on the Fox release of "Mr. Moto Takes A Vacation." The dvd print is fairly sharp' the 1965 film is in black and white.

The best moments of the film are a couple of action scenes, which are handled pretty well. Otherwise, it's just not very engaging. To me, that has two main causes: the film has virtually zero humor, and in Henry Silva's characterization, Mr. Moto seems a totally American person. There aren't even any little moments to indicate he's Japanese! Not in his taste in food, or dress, or habits, or manners, anything!

So, it seems like we're watching an American agent, who for some reason is named Moto, and who, rather oddly, everyone talks about as being Japanese. As for the plot of the film, it's like one of those early episodes of the Saint: frankly, it's a yawn.

Henry Silva's Moto is sort of likeable, but he's also super serious nearly all the time. His Moto just doesn't have much charm, which Peter Lorre always had in ample supply. I guess it comes down to, this movie is very much about the plot, and the plot has been done so many times on old TV shows that it's dull, and there's no humor to keep one engaged.

Suzanne Lloyd as the attractive woman character is good; I wish she had been in more scenes. Martin Wyldeck, who played the bad guy assassin, was very good; that part of the movie, involving him, was fine, but the film is a vehicle for Moto, and in that regard, the film is flat and under-powered. I'd say, it's OK to watch once if you have the Fox dvd.

Mr. Moto (Henry Silva) goes undercover to find out who has been blowing up oil wells and trying to gain total control of all the oil leases from a petroleum-rich Middle Eastern country.

The previous series of eight films was in the late 1930s and starred Peter Lorre, but Moto faded away for a number of reasons. The biggest probably being WWII. Was the character gone forever? Nope. Finally in the 1960s, director Ernest Morris brought the character back after his long absence. It was a one-off, but a decent one. Silva's Moto is very subtle compared to Lorre's in his speech and appearance, but it is still effective. Why a new series did not spring from this is unclear.

Right from the start I thought it was a young Jack Palance in the title role. It took me ages to realise it was Henry Silva who'd picked up the mantle investigating just who was up to no good in the oil-rich Middle East. The Foreign Office and the oil company are both worried that this is all part of a plan to destabilise the oil markets and to see the latter forced into bankruptcy when it's leases expire and are not renewed. "Moto" quickly smells a rat and that sees him start to sport a delicate pencil moustache and impersonate a Japanese industrialist in the hope that he can smoke out the perpetrator before political turbulence in the tiny emirate causes chaos. I'm afraid that though it was worth a go, Silva hasn't the charm or the glint in his eye of Peter Lorre and that really makes this struggle. The concept is formulaic and the supporters - Terence Langdon and Suzanne Lloyd - don't do much to help. Nor does the unlikely casting of Marne Maitland as an embattled Sheikh in charge of his desert kingdom (in Ealing, West London). It does pass the time amiably enough, but there is a question about why resurrect the character if the plan was to put this little creative effort (and cash) into it. Disappointing, sorry.