Modesty Blaise

You saw people shot with an umbrella? No? You will see here. Going to see also a guy strangled in between the legs of a lady-killer, Mrs. Fothergill(Rosella Falk) (29 years before Famke Janssen is trying to do the same thing to Mr. Bond Pierce Brosnan in "GoldenEye"), you'll see also another guy exploding with an entire house in Amsterdam only by pressing the button of the ring bell... OK, well, we have here a few absolutely exceptional actors, Monica Vitti, Terence Stamp, Dirk Bogarde, Harry Andrews, plus a great director Joseph Losey, but the film is nothing but a pretentious crap, really now, it's excitingly boring... it will feel like you'll need to watch another film, or films, specifically: "Noi donne siamo fatte così"(1971), with Monica Vitti," The Collector "(1965), with Terence Stamp, "Our Mother's House" (1967), with Dirk Bogarde, "The Ruling Class" (1972), with Harry Andrews. These are real films, this one is just a waiste of time. 3 out of 10 only for the beauty of Monica Vitti.

I've never read the Modesty Blaise comics. What inspired me to rent this DVD was a love of 60's kitsch fashions, and an immense respect for Monica Vitti. And while I was baffled by the events in the film -- it didn't seem to make a DAMN bit of sense the first time around -- I still found myself loving it. And on repeated viewings I love it even more.

What's to love? Primarily, the quirkiness of EVERYTHING in the film: the direction is off-kilter (so many things happen in parts of the screen that you're not looking at, and the pacing is bizarre to say the least: a constant string of anticlimaxes that I found refreshing), the acting is deadpan and weird (Bogarde's shifty, psychopathic, and slightly flaky villain...Stamp's disgruntled but cheerful anti-hero...Rosella Falk's twitchy, wide-eyed, barely-restrained violence -- she is a stand-out highlight in the movie...and Monica Vitti, expressing herself mostly through strangely-timed gestures and facial expressions...just check out her "How do you get this off?" routine), the sets are gorgeously dressed (Gabriel's atmospheric island, and the fantastic cell with the spiral staircase), and the plotting is all over the place. Who's double-crossing who? Why are they doing that? WHAT THE HECK IS GOING ON? On first impression, I felt the film was just "winging it," making it up as it went along. But far from it...it's elaborately plotted, just strangely presented.

Really, I love this film, and I'm so glad it's seen re-release. It's sloppy, crazy, irreverent, and fun. If you view it as a weird little film -- not as a spoof, or an adaptation of the comic, or a reflection of the times, or as an attempt to be hip or strange -- I think you'll enjoy it as much as I did.

And yes, the clothes ARE fantastic.

This is a parody is based on a British comic strip, and the film came off as another one of the James Bond spoofs that littered the screen in the 1960's (The Matt Helm series, the Dr. Goldfoot series, etc).

The movie is about superspy Modesty Blaise (Vitti), who can change her appearance just by snapping her fingers. She is hired by the British government to protect a shipment of diamonds, which international thief Gabriel (Bogarde) is after. Blaise only accepts the job if Willie Garvin (Stamp) is allowed to work with her. Film goes on its way from there.

Script is infuriating because it misses opportunity after opportunity for satire. It assumes that just because Blaise is a woman superspy, that alone is hilarious. Vitti does her best, and sounds like a smoky voiced Garbo, but the script leaves her high and dry. She gets most of her laughs from intonation, sight gags, and the glint in her eyes. Stamp is on the sidelines, although his appearance changes at will also. Bogarde as Gabriel is the funniest person in the film, whether he's refusing an egg because it's overcooked or reminding a potential killer that it's rude to point.

This one does have Bogarde, and Blaises' changes are spectacular, and so are the sets. There are setpieces that are homages to famous directors, which I found amusing. However, it just goes on too long for what little it is trying to do, there are too many dry spells without laughs, and Bogarde and company are off-screen for too long. Still worth a watch--maybe.

A delicious phantasmagoria of feathers, frolics, fashion, false eyelashes, frivolity, fol-de-rol, foppish frothiness and all that was mod and mad in that giddy year, nineteen-sixty-six. Monica Vitti is nothing like the comic book character created by Peter O'Donnell and Jim Holdaway--the original stories have been reprinted and are worth checking out. In his memoirs Terence Stamp recalled that Vitti was so clumsy it was hard for her to get through even simple stunts. The film is in reality a paean to style and to the triumph of presentation over substance which was a lot of what Sixties fashions were about. Vitti's wigs pretty much steal the show--Dirk Bogarde, in blond toupee as evil mastermind Gabriel, and Rosella Falk as Mrs Fothergill (a sort of sadistic Emma Peel) clean up on what's left. The music is a lot of fun--indeed fun is the operative word here. Serious squares can keep their dull movie critic vibes out!

Fox pinned hopes on 'Modesty' becoming a franchise to rival Bond, but these were cruelly dashed as Joseph Losey's film played to mostly empty theatres in the U.K. and U.S.A. ( it did rather better on the Continent ). Taken on its own terms, its not too bad. Jack Shampan's production design is superb, as is John Dankworth's music, there are a couple of decent performances ( Clive Revill, Harry Andrews, and a wonderfully camp turn from Dirk Bogarde ) and some good moments such as Modesty finding herself trapped in an op art cell. But as an adaptation of Peter O'Donnell and Jim Holdaway's comic-strip, its a non-starter. Monica Vitti fails to project warmth and charm as Modesty, while Terence Stamp sounds like Michael Caine on an off-day. The scene where they sing a romantic duet whilst under fire is just painful. Losey was clearly not the right director for this project. Fox made a rather more successful 'girl power' Bond thriller a year later - 'Fathom', starring Raquel Welch.