Sentencia para un Dandy

I am not sure why this film gets a bad rap -- I thoroughly enjoyed it. Wonderful locations of an impossibly glamorous late-60s London, Lawrence Harvey suitably mysterious, a seeping sense of doom which won't give you nightmares but will make you appreciate the story arc even more.

Yes there are plot holes but nothing major. The character of Mia Farrow remains a cipher, but maybe it's intentional.

Watch out for two then future telly stars in minor roles: Richard O'Sullivan (of Man about the house) and Mike Pratt (of Randall and Hopkirk).

Recommended.

It was somewhat of a feature of the late 1960s to make bleak and world weary spy movies. This film is in this mould. I saw the film upon it's release and quite enjoyed it, albeit it is slow and a little dull. Still, I think that it is an interesting piece of film making and enjoyed the performances of Laurence Harvey and Tom Courtenay who play British agents who do not like each other. (Harvey is in fact a double agent). There are some good locations shots of 1960's London (mainly bleak) and Berlin (not so bleak). Harvey trudges around both capitals after been given an assignment to kill a Russian Spy - who is in fact himself. Mia Farrow is a trendy young thing (tho' a bit on the thin side)and adds love interest. However, as she keeps turning up wherever Harvey goes, is she as innocent as she appears? A young Peter Cook also stars as a rather irritating junior British agent. John Bird and Lionel Stander add a little humour into an otherwise humourless film. Definitely worth a look.

This is the last film directed by Anthony Mann, whose 'Raw Deal' (1948) was the perfect noir film, and who was a man of immense talent. But he died while shooting this, and Larry Harvey finished the job. This resulted in an imbalance and a lack of conception and tone. What is mostly wrong with the way this turned out is that the film is 'so VERY late sixties' in its depiction of the bowler-hatted old school tie mandarins and spy chiefs as arch, coy, and menacing in a prep sort of way. Mia Farrow is also completely hopeless as 'the girl'. She is supposed to be an irresistible little elf of a thing, but she merely looks like she is dying of anorexia (her arms are as big as knitting needles, though less strong) and about as much elfin charm as a cockroach. Farrow may be a fine actress now, but she was terrible when young. Her failure, of course, took all the zing out of the picture. Larry Harvey is absolutely fascinating as a double-agent going to pieces in private, with a constipated desperation. Larry actually had that enigmatic, super-cool manner a lot of the time. He had cultivated it so well that it became ingrained and a part of him, and it had ceased to be affectation long before I knew him towards the end of his life. I had several long chats with him alone, when he dropped his guard very much indeed, and underneath any patina of persona he had made for himself, he was at heart a very genuine person. And he WAS as fascinating as he seems in his movies. He didn't know why either, but then true stars never do. This film is worth seeing for him, and for a hysterically funny cameo by John Bird. Clearly, Larry thought it was so funny he refused to restrain him, on a 'what the hell' basis, and a good thing too, as it made a rather pedestrian film come alive a bit. Lionel Stander, however, hammed up his part of a Russian so much he deserved an apple in his mouth. Per Oscarsson was wan and Ingmar Bergman-like, just as you would expect. Peter Cook floats around cheerily not knowing what to do and never did find out. Oh yes, this whole thing is about spies and betrayal and double-agents and all that sort of thing. Hardly matters. Tom Courtenay, that pipsqueak, cast here as a 'heavy', does not work. One does not believe in the rifle he is always carrying as a shooting stick, not his ability to use it. One strange aspect of this tale is that the double-agent is disillusioned and wants to return to Russia, but they won't let him and keep turning him back at the German border: a variation on Thomas Wolfe's 'You Can't Go Home Again'? Just joking. This film is past is 'view by' date.

There were All Kinds of Secret Agent Movies in the 1960's Spinning Off the Success of the James Bond Series.

Spoofs, Satires and Super-Serious Stuff.

But this is one Odd Duck Among the Proliferation. It Starts with a Marionette Title Sequence that is a Color Saturation Stunner.

There is a Psychedelia to it that will Continue through the Running Time.

The Movie Employs Editing and Camera Tricks that were somewhat "New" at the Time and Adds to the Overall Surreal, Detached from Reality Tone.

It's Complicated and the Dry Delivery is Contrasted by some Visual Vibes that are Bizarre and make the Viewing Disjointed and Decidedly Different.

Legendary Director Anthony Mann Died Suddenly During Filming.

He and Star Laurence Harvey were in Close Consultation Regularly.

So Harvey Finished the Movie in the Director's Chair and Probably Continued with Mann's Vision. Accounts Differ.

It is one of the Most Awkward Takes on the Cold War Zeitgeist with an Ambiance of Confusion and Disarray.

Mia Farrow's Love-Interest Character is Inserted with Incomprehensible Regularity. Just One More of the Off-Beat Ingredients that make this an Experience Like No Other of its Ilk.

Be Advised it's a "Long Strange Trip".

Worth a Watch for the Quirk of it All.

The 1960s, for want of a better word, "vomited" knock-off spy thrillers in the wake of the success of the James Bond films with Sean Connery. Such titles included: Daniel Mann's Our Man Flint (1965); Ralph Thomas's Deadlier Than The Male (1967); and David Miller's Hammerhead (1968), to name but a few. However, this little number, A Dandy In Aspic (1968), based on the novel by Derek Marlowe, has passed through time relatively unnoticed, despite its direction by Anthony Mann, a filmmaker renowned for his work on Westerns and Film Noir thrillers. Moreover, this film boasts quite considerable acting talent of the day. The haunting Laurence Harvey plays the protagonist secret agent, Eberlin, who is given a mission to assassinate a KGB agent, and who is repeatedly haunted by past and present moral crises, very much in the tradition of the characters of John Le Carré and Ian Fleming. The love interest of the film is Caroline (in my opinion, the fairly talentless) Mia Farrow, playing the stereotypical role of a "swinging sixties" photographer, who, rather irritatingly, gets herself caught up in the spy game.

British acting stalwart, Tom Courtenay, plays the very understated character of Gatiss, a rival British spy who distrusts Eberlin. Look out for appearances by Richard O' Sullivan, of '70s televisual fame in the comedy series, Man About The House. The audience is also treated to a few guest appearances by British satirist, Peter Cook, for once unaccompanied by his partner-in-crime, Dudley Moore. Cook plays a comical womanising spy, Prentiss, who delivers such sexist lines they would make a millennial audience wince. Discussing with Eberlin the fact that his latest sexual conquest is "Eine kleine raver", in her company, is one of them. Still, the film is, naturally, indicative of its time.

The action sequences in the film are gritty and the film has a suitably brooding atmosphere which is, ironically, sometimes offset by the rather vibrant costumes the characters wear, supplied by veteran stylist, Pierre Cardin. Furthermore, the cinematography by Christopher Challis is tactful and it is accompanied by the appropriately minimalist score by veteran Jazz musician, Quincy Jones, whose scoring work for Sidney Lumet's adaptation of the Le Carré spy thriller, The Deadly Affair (1968), I equally enjoyed. After the film's recent premiere on Blu-Ray by Powerhouse Films, I thought it was timely to unearth this nearly fifty-year-old curio. If anything, watch it for Harvey's performance alone. That is, if you can simultaneously support Farrow's frequently sickly and mopey character.