Crossplot

Although I know that this film not meant to be like a prelude to Roger Moore playing James Bond, it sure looked like one...though the Bond role would come several years later. Like Bond, there are lots of hired killers, a murder plot involving a head of state as well as lots of adventure and a sexy woman. But unlike Bond, this character played by Moore is NOT so perfect. He often gets the snot beaten out of him, gets framed for evil stuff he never did and bumbles his way into all this! The results are fair--worth watching but a trifle too long. When the film begins, like Bond you see Gary (Moore) in the arms of a sexy woman. Unlike Bond, however, he has a day job and soon realizes he must leave for work...leaving a very frustrated woman behind! You then learn that Gary is a playboy who works for an advertising firm. He's late for a big meeting and doesn't take time to go through his materials. And so, when he presents a big advertising campaign to the bosses, he suddenly discovers someone has substituted a woman for the model he had in mind. But the big boss (Bernard Lee of all people) is thrilled when he sees a picture of this mystery woman and insists they sing her asap. The problem is no one seems to know WHO she is! So, like a private eye, Gary goes in search of her--which is exactly what some unknown people want. They want him to do all the work and find her for them. Because she apparently knows something that could get her killed...or at least they think she knows something and they are more than willing to silence her for good. In addition to going on just a bit too long, my biggest complaint was the extensive use of cheap and unnecessary rear projected scenes. For example, instead of going to a horse race, this is projected behind Moore and he acts in front of this screen. This is sloppy and it clearly looks as if he's acting in front of a screen...which is weird, as they later DID do a horse racing scene on site! Regardless, several times they employed this...and each time it was sloppy. There also is a VERY sloppy helicopter stunt that just looks bad. Overall, the film is worth seeing...but not nearly as good as a Bond flick.

This story of a suave ad exec (Roger Moore) getting caught up in an assassination plot never reaches great heights. As well, the film is blighted by cheap special effects, especially the regular use of obvious rear projection that makes scenes like the death of the chief villain in the action finale laughable instead of captivating. Despite all that, the film is a fun timewaster. This is partly because the film's plot is fast-paced and inventive enough to keep one interested and the location footage of London (when they're not using rear projection) right at the end of the Swinging Sixties is fascinating to see. But the film's main asset is Moore. While he was never perceived as a great actor, he always had plenty of charisma and charm and he utilises that to be a likable roguish hero who helps keep one interested throughout. While no classic, 'Crossplot' is a pleasant diversion and especially interesting to see why the producers of James Bond thought Moore would be a good fit for the role.

While this has been likened to a James Bond adventure (which star Roger Moore was still four years away from first tackling), it actually plays more like a tenth-rate copy of an Alfred Hitchcock suspenser – and, specifically, NORTH BY NORTHWEST (1959)-meets-THE MAN WHO KNEW TOO MUCH (1956). In fact, Moore is an advertising executive who unwittingly runs into a person involved in deadly political games – model Claudie Lange (who, amusingly, is depicted as being constantly famished!). Incidentally, her equally attractive aunt (Martha Hyer) is revealed to be the chief villainess of the piece (along with Bond-Moore's future superior 'M' himself, Bernard Lee!) intent on assassinating a visiting South African leader – as always in the most public of places (in this case, Hyde Park) and synchronized to take place during the customary 21-gun salute. Two other very obvious borrowings from NORTH BY NORTHWEST are a helicopter chase (imitating the legendary crop-dusting sequence) and the rather funny disruption of a church wedding recalling the auction scene in the Hitchcock classic where Cary Grant was similarly drawing attention to himself in order to stall his pursuers! Also in the cast are Alexis Kanner as a would-be decadent lord who actually advocates peace and ultimately emerges to be on the side of the good guys, as well as Hammer regular Francis Matthews playing a hit-man for Hyer {sic}. Moore having just come off "The Saint" (a series in which director Rakoff was also involved), this still has that bland TV look to it – despite the rather incongruous Swinging London backdrop. The film includes mild dollops of style, wit, sexiness, action and suspense – all of which were prime features of NORTH BY NORTHWEST in particular, but which were also part and parcel of the Bond saga. In the long run, taken on its own merits, CROSSPLOT is a harmless time-waster but one that has added value if seen as a transition between Moore's trademark personae i.e. Simon Templar aka "The Saint" and James Bond aka 007.

This movie came on right after The Saint one morning so I left it on, Sir Rogers foray into his six-year long audition for James Bond continues. This movie is fun because of him. The man was born with a natural panache. I love the sixties vibe but mostly "Moore" of the same.

A British comedy spy adventure; A story about an advertising executive who hires an exotic woman to model for a campaign but she is in grave danger after overhearing details of an assassination plot, and both are forced to go on the run to avoid the killers on their trail and prevent the death of a notable African politician. While it is a markedly pale imitation of films like "North by Northwest" and "The 39 Steps" mainly due to its low budget, with Roger Moore at the helm it is engaging. The film's fast pace saves it a little because the plot is convoluted and the direction and composition is dated.

Roger Moore hits the swinging 60s as Gary Fenn, an advertising executive, a Lothario and a charmer. A promotion for a major client backfires as the photo of his model gets switched. He now has to find a Hungarian model Marla Kugash (Claudia Lange). It is all a rouse to smoke Kugash out into the open so she could be killed. Kugash's aunt is part of a shadowy group which is out to cause riots and destabilise the existing world order so they can take over themselves. Kugash knows too much of their plans which includes assassinating a visiting African dignitary. This spy comedy caper quickly becomes too silly. Despite some action scenes such as a helicopter chase scene, it is also rather inert. Although comparisons are made with James Bond, a role Moore would later fill, this films has more of The Avengers dash about it. However the shenanigans between Kugash and Fenn gets tedious and the plot is convoluted. Moore does turn on his easy charm though.

I must confess that I watched this movie with the sound down, whilst chatting on the phone, but the helicopter chase across the English countryside was fabulous. Roger Moore was driving a vintage/veteran car across farmland, and the chopper was skimming across the wheat fields, only two or three feet from the ground. Most impressive! The opening of the movie was reminiscent of 28 Days later, in that there was a curiously quiet Westminster Bridge, with the Houses of Parliamnet and Big Ben in view. This was evidently very early on a midsummer morning for it to be so bereft of people and traffic, but to be so well lit. Only watchable for the helicopter sequence, which should be a classic.

Set in 1960's London and full of girls in miniskirts and hip young gunslingers who work in advertising - quicker than you can say 'Hey Swinging London!' this lighthearted romp through the world of Espionage and babes sees Roger Moore's womanising character pursuing a Hungarian model across London not realising that he isn't the only person who wants to find her. Basically an extended episode of 'The Saint' it's fun but not the kind of film you could watch too many times. The main reason I sought it out is to see a post-'Prisoner' acting performance by the late Alexis Kanner and his performance, whilst not demanding of his acting skills, is the most memorable of any of the characters. One to watch when it's shown on television late at night but don't get too excited.

This film, basically a vehicle for Roger Moore, is a 90 minute television-style action adventure film. Roger Moore plays an advertising executive who utilises an Eastern European girl in a promotional campaign who just happens to be sharing a house with spies and unwittingly discovers their darstadly plot. This now provides a perfect opportunity for Roger Moore to slip into his Simon Templar/James Bond persona and save the day. This film lies somewhere between an extended Saint episode and an early James Bond movie, but as Roger Moore was the best James Bond, (as we all know), this film is nevertheless enjoyable just for his suave, Mr smooth 1960's London swinger acting. The original Austin Powers. Nothing exceptional, however this film is reasonably enjoyable in a mild mannered way. You could certainly do worse.

Following his turn as the infamous Simon Templar but before the likes of Lord Brett Sinclair and 007, Roger Moore starred in the little-known Crossplot. A hugely entertaining late 60s Bond-esque clone that plays like a feature-length ITC drama crossed with a Hitchcockian thriller even if the writing is nothing special and often exceptionally convoluted. Still, the film has an undeniable charm to its antics, largely thanks to Moore's natural panache and delightful cast; on a personal note seeing Francis Matthews in anything delights me greatly. Ripping along at a breakneck pace, Crossplot is certainly a product of its time but with noble ambitions by director Alvin Rakoff, an upbeat Barry-esque score by Stanley Black and hilarious moments of havoc, the film is a mild-mannered mini triumph from Moore's then ongoing bid to play 007.