I have read that Robert Wagner was not pleased with this film. It shows. His low energy delivery makes you wonder if he understands his role: an intelligence agent. Mumbling his lines seemingly without moving his lips. Rarely more than a blank face. Though he had some diverse mid-century roles as career highlights, he is generally not known for standout performances. Never mind. His good looks, wit, and charm turned him into a first-rate celebrity who could do no wrong.
In this unexciting tale of Communist espionage, mundane conversation and the attempt to stop an assassination plot, is Wagner’s equal-billed co-star, Joan Collins. She’s an airline travel receptionist who cannot understand why Wagner is secretive and aloof. Neither that interested in one another any more than the audience is interested in finding out what happens next. Somehow, after only three days and as many conversations, she confesses her love for Wagner. Happens all the time to RJ. I expected Wagner to say, “Terrific” at least once. His favorite word as Alexander Mundy some eleven years later.
Reiko Oyama, in her only screen role, is cute as the daughter of Wagner’s Japan contact. He finds it difficult to tell her that her father will be gone for a long time. He starts a bedtime story that in a subtle way may help explain her father’s murder. He never finishes the story. She falls asleep. Wagner is that boring.
Edmond O’Brien, as he often can, delivers an over-the-top performance. It is pretty embarrassing to watch his character, which never develops into anything threatening. He is nearly a buffoon in one particular scene. Buffoons are rarely on the CIA’s most-wanted list.
Note: Filmed in CinemaScope, this one-hundred-minute film was directed by Richard Breen, in his only directing assignment, and produced by Walter Reisch for 20th Century Fox. Perhaps because of its beautiful cinematography of Japan and its two attractive co-stars, the film did make a small profit. This final, thinly disguised Mr. Moto novel by John P. Marquand, might be one to remember for the aforementioned attributes but Mr. Moto's character was completely dropped from the script. Probably for the best. Peter Lorre never got a casting call.
In this unexciting tale of Communist espionage, mundane conversation and the attempt to stop an assassination plot, is Wagner’s equal-billed co-star, Joan Collins. She’s an airline travel receptionist who cannot understand why Wagner is secretive and aloof. Neither that interested in one another any more than the audience is interested in finding out what happens next. Somehow, after only three days and as many conversations, she confesses her love for Wagner. Happens all the time to RJ. I expected Wagner to say, “Terrific” at least once. His favorite word as Alexander Mundy some eleven years later.
Edmond O’Brien, as he often can, delivers an over-the-top performance. It is pretty embarrassing to watch his character, which never develops into anything threatening. He is nearly a buffoon in one particular scene. Buffoons are rarely on the CIA’s most-wanted list.
Note: Filmed in CinemaScope, this one-hundred-minute film was directed by Richard Breen, in his only directing assignment, and produced by Walter Reisch for 20th Century Fox. Perhaps because of its beautiful cinematography of Japan and its two attractive co-stars, the film did make a small profit. This final, thinly disguised Mr. Moto novel by John P. Marquand, might be one to remember for the aforementioned attributes but Mr. Moto's character was completely dropped from the script. Probably for the best. Peter Lorre never got a casting call.
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