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This film is so real. It treats its characters with so much care and sensitivity.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Come with me to the wonderful world of 60s spy fiction. Emboldened by the success of the Bond books and movies (Fleming wrote his novels on the beach, literally, with hunt and peck typing) the world enjoyed the greatest variety of spy fiction ever seen, present day included. Two of the most popular and critically-praised tomes, the Matt Helm series by Donald Hamilton, and the consummately perfect Jonas Wilde series by Andrew York, were serially destroyed by producers who were more interested in showing how clever they were than trying to capture the essence of the story. Jonas Wilde, as written, was a spy so well drawn that, in a showdown, you might pick him over Bond. No gadgets, no women, just a physical zeal to get the job done, and a rare (perfected) judo move which allowed him to kill with one blow (most of the time, often his back went out which reduced him to a mere mortal). This was the one and only attempt to bring Wilde to the screen, based on The Eliminator (one of the Wilde series, they are all excellent) and it is nothing short of wretched. Badly written, badly directed, showing no appreciation for the uniqueness of the character, and the lead actor so badly miscast that you wonder if he ever stopped mugging for the camera long enough to actually put some personality into his role. A travesty.

I sought out this movie for one reason ... it has Carol Lynley in it. I first saw her when I was 14, she was a teenager in 1959's 'Blue Denim', a risqué teen pregnancy movie, but I just had the biggest crush on her. Something about her, her face, the way she moves, the way she delivers lines, to me she was the epitome of the girl you wanted to date.Anyway lots of years have passed, neither of us are young anymore, but it is fun to re-visit those memories.In this movie, set and filmed in England, Brit Richard Johnson is agent Jonas Wilde with a license to kill. And in fact he does kill a few targets. Sort of a poor man's James Bond without all the gadgets. But as the story develops he learns that he has become a target of his own organization, and he has to use his cunning to survive.His American girlfriend is Carol Lynley as Jocelyn . She doesn't have a large role, but an important one. She is pretty much the same girl as in 'Blue Denim', just about 8 years older.I enjoyed it as light entertainment, as a 'blast from the past', but it is nothing more than a 'B' movie.SPOILERS: As Jonas begins to learn of the plot against him, he is told someone very close to him is keeping an eye on him. He figures out correctly that it is Jocelyn and in their final encounter at the apartment they shared, she tries to poison him via ice he always uses for his drink, but he is wary, puts a cube in the fish tank instead, the fish die but he doesn't, and he is forced to kill her by breaking her neck.

To compare this film to 007 Bond films would to be lead readers astray.Bond films don't have tight plots - this film is far closer to the films and series based on John Le Carré's works. The film is never boring and seems to finish too soon - one would have liked more time for the denouement.And that is a sign of a good tight plot - when the viewer feels that the film has ended too soon.The film shows how without any gadgets and spectacular action a good plot can still hold the viewers' attention.There is action - fights and murders - but they are not spectacular - nor are they intended to be. They are cold, quick and quiet.It is an enjoyable secret service film from the 1960's - a predecessor for the excellent Le Carré films and series.Enjoy it!

A lacklustre British spy thriller which sets itself Here, There and Everywhere, puffing along in the hopeful wake of the success of the James Bond series. The 'plot', about Johnson becoming embroiled in murder and intrigue when called upon to bump off a defecting scientist, quickly becomes as coma-inducing as it does brain-scrambling for those paying enough attention to care. Seth Holt, along with his regular art director someone or other (check the credits), was responsible for some of Hammer's best 60s suspense films; apart from a few revelatory sequences on a train you'd be forgiven for overlooking this fact on the strength of what is presented here.