Porte de Chine

On this evidence, Fuller is a strident and uncompromising anti-Communist anti-racist. You heard me. This is a late-50s movie about 'Indochina' - a little ahead of the curve there! - which takes the USA to task for not leaping right in there with their French pals; the enemy has Stalin all over the wall of their lookout posts. So it's more than a little silly, to put it nicely. But given this, the racial issues it confronts are above and beyond the call of duty - the espionage tour our heroes embark on is really an opportunity for dynamite expert Gene Barry to smarten up after abandoning his distinctly Asian-featured kid from his liaison with half-white Lucky Legs (Angie Dickinson). Along the way there are exciting scenes, surprisingly well-modulated performances, and a budget-conscious stylistic trick I've never seen before: shot almost entirely in wide master shot, Fuller constantly pans-and-scans the black-and-white Scope image to approximate camera movement. Here's a guy who's smart enough to know that grainy (not to mention silly) won't matter if the damn thing MOVES.