Modesty Blaise

Mediocre adaptation based on character of Modesty Blaise who was created in 1963 by Peter O'Donnell , realized in 60 pop-arty style and far from original image . A two-fisted babe spy (embodied by attractive Monica Vitti in his first English language role) , the world's most lethal female secret agent , and her colleague , the dark-haired , brawn Willie Garvin (the British Terence Stamp) confront a dangerous international delinquent usually wielding his endless collection of parasols and perfumed wig named Gabriel (Dick Bogarde) and aided by his right-hand (Clive Revill as twitching Scots helper) . The tough secret agent is watching out for a diamond shipment , which is the target of her arch-rival enemy .

Colorful but failed rendition , not taking any situation seriously ; being based on famous strip-cartoon thriller by Peter O'Donnell who retired himself and Modesty Blaise in 2001 . However , Peter O'Donnell complained that of his original screenplay, only one line remains . This very campy picture contains thrills , action , phantasmagoria , tongue-in-cheek , absurd situations , but being badly developed . The main and support cast -with everyone having fun- is frankly good , but is really wasted . Monica Vitti as tough British spy, the world's deadliest and most dazzlingly female agent, is miscast and is hardly ideal actress in the title character . Joseph Losey found it difficult to work with Monica Vitti, as she would invariably be accompanied onto the set by director Michelangelo Antonioni, in whose films she had become famous ; Antonioni would often whisper suggestions to her, and she would take direction from him rather than Losey. The best of the interpretations results to be Dick Bogarde as a cunning villain , including some enjoyable moments as when he is staked out in the desert and he croaks : I'm thirsty , Champagne . Furthermore , a sympathetic Clive Revill and Rosselle Falk as as a villainess who cruelly murders his victims . And special appearance of notorious British secondaries such as Harry Andrews , Alexander Knox and James Craig . This movie was one of four 20th Century Fox pictures featuring female spies that were released during 1966-1967 , the movies were Fathom (1967), Caprice (1967) and Come Spy with Me (1967)

There is another version about this character titled ¨My Name Is Modesty: A Modesty Blaise Adventure¨ , 2004 , by Scott Spiegel with Alexandra Staden as Modesty Blaise , Nikolaj Coaster-Waldau and Raymond Cruz ; it was produced as a prequel to the popular spy comic strip, plans call for this film to be followed by more Blaise movies taking place during the timeframe of the comic strip . In addition , a TV version : Modesty Blaise (1982) by Reza Badiyi with Ann Turkel as Modesty Blaise and Lewis Van Bergen as Willie Garvin .

Atmospheric original music by John Dankworth including a catching leitmotif . Gliimmer as well as glamorous cinematography by Jack Hildyard . The motion picture was middling directed by Joseph Losey . Director Losey was originally compelled to release movies under pseudonym Victor Hansbury because he had blacklisted by Hollywood where he shot The boy with the green hair , Prowler, Sleeping tiger, among others , during the 50s red scare . Losey exiled England where directed good films as The servant , King and Country , Accident , Romantic Englishwoman and other European countries as France where filmed Mr Klein at his best .

Truth be told, I hated this movie on first viewing many years ago and, in fact, I only just now purchased the utterly bare-bones Fox DVD for three reasons: the disc is now out-of-print; I found it very cheaply (surprisingly) at a local retailer; and, most importantly perhaps, I was prepared to give it another chance thanks to my ongoing (and very rewarding) Losey-thon.

To say that Joseph Losey was a strange choice to helm this picture would be a massive understatement. In his previous films, very rarely (if at all) had he shown that he had any sense of humor, much less the kind of campy, knowing and irreverent one essential for successful comic strip adaptations. As it happens, the film was not well-received and both leads - Monica Vitti (who apparently phoned Michelangelo Antonioni everyday during the shoot) and Terence Stamp - were unhappy making it; there are those who even go so far as to consider it not just Losey's nadir but quite simply one of the worst films ever made! Well, based on that first TV viewing of it, I probably would have endorsed such sentiments myself...

However, my re-acquaintance with it proved something of a minor revelation: while still as uneven as I recalled, I couldn't now deny that there were some delightful elements which, on the whole, made the film palatable and, at times, even endearing: Evan Jones' script was occasionally quite witty, Losey's own trademark odd compositions (usually so overpowering in his melodramas) suited the "anything goes" mood of the material, Jack Hildyard's glossy cinematography of attractive Mediterranean locations, outrageous outfits and groovy production design was top-notch and Losey's frequent composer Johnny Dankworth provided an infectious score.

And what about that cast? Monica Vitti (who would have guessed that she could ever be as attractive and sexy as this judging by her work for Antonioni?), Terence Stamp (gleefully throwing knives, bedding women and engaging in a charming, impromptu singing duet with Vitti while driving up a mountaintop and reprising it for the action-packed finale), Dirk Bogarde (ironically named Gabriel, he was never campier - or gayer - than as the silver-wigged, self-proclaimed "villain of the piece"), Michael Craig (as Vitti's ex-lover and pursuing British agent), Harry Andrews (as a top British Secret Service official firing away bullets from his umbrella), Alexander Knox (as a bumbling British MP forever mispronouncing names and giving out the wrong information), Clive Revill (for no apparent reason in a dual role: as Bogarde's right-hand man who keeps the accounts even on the field of battle and as Vitti's "father", an Arabian Sheik!), Rossella Falk (as the lethal Miss. Fothergill, Bogarde's manly assistant, who keeps a regiment of mostly aging men in shape through arduous physical exercise), Saro Urzi (as a lowly, opera-singing henchman of Bogarde's), Tina Aumont (as an ill-fated conquest/informer of Stamp's) and real-life magician Silvan (as a duplicitous circus performer).

Ultimately, while the plot is too convoluted to follow at times and the film itself may not be in the same league as Mario Bava's DANGER: DIABOLIK (1968) or even Roger Vadim's BARBARELLA (1968), it's certainly an engaging spy spoof and far better than its reputation suggests.

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.

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!