Beba Loncar – The Magnificent 60s

Some Girls Do (1969) ****

Enjoyed this sequel to Deadlier Than the Male (1967) far more than I expected because it sits in its own little world at some point removed from the espionage shenanigans that dominated the decade. Hugh (nee Bulldog) Drummond (Richard Johnson) is neither secret agent nor involved in espionage high jinks, instead employed in the more down-to-earth domain of insurance investigator, albeit where millions are at stake. Although his overall adversary is male, the smooth-talking Carl Petersen (James Villiers), adopting a series of disguises for most of this picture, the real threat comes from a pair of villainesses in the shape of Helga (Daliah Lavi) and Pandora (Beba Loncar). If anything, this pair are a shade more sadistic than Irma and Penelope from the previous outing.

The sequel doubles up – or doubles down – on the female villainy quotient, Petersen having created a race of lethal female robots who spend their time dispatching scientists working on the world’s first supersonic airliner. Global domination is only partly Petersen’s aim since he also stands to gain £8 million ($134 million today) if the plane doesn’t launch on schedule. Livening up proceedings are Flicky (Sydne Rome), a somewhat kooky Drummond fan who has her own agenda, Peregrine “Butch” Carruthers (Ronnie Stevens), a mild-mannered embassy official assigned bodyguard duties, and chef-cum-informant Miss Mary (Robert Morley).

Villiers has found a way of turning an ultrasound device intended originally to aid cheating in a boat race into something far more dangerous. But, of course, for Helga seduction is the main weapon in her armory, and Drummond’s first sighting of her – a superb cinematic moment – is sitting on the branch of a tree wielding a shotgun. Equally inviting are the squadron of gun-toting mini-skirted lasses guarding Petersen’s rocky fortress.

The movie switches between Helga, Pandora and the robots raining down destruction and Drummond trying to prevent it. Dispensing with the boardroom activities that held up the action in Deadlier than the Male, this is a faster-moving adventure, with Drummond occasionally outwitted by Helga and calling on his own repertoire of tricks. Dialog is often sharp with Drummond imparting swift repartee.

The action – on land, sea and air – is a vast improvement on the original. The pick is a motorboat duel, followed closely by Drummond in a glider coming up against a venomous aeroplane and saddled with a defective parachute. And there are the requisite fisticuffs. Various malfunctioning robots supply snippets of humour.

Richard Johnson (A Twist of Sand, 1968) truly found his metier in this character and it was a shame this proved to be the last of the series. Although Daliah Lavi never found a dramatic role to equal her turns in The Demon (1963) and The Whip and the Body (1963) and had graced many an indifferent spy picture as well as The Silencers (1966), she is given better opportunity here to show off her talent. Beba Loncar (Cover Girl, 1968) is her make-up obsessed bitchy buddy. Sydne Rome (What?, 1972) makes an alluring debut. James Villiers (The Touchables, 1968) is the only weak link, lacking the inherent menace of predecessor Nigel Green.

There’s a great supporting cast. Apart from Robert Morley (Genghis Khan, 1965) look out for Maurice Denham (Danger Route, 1967), Adrienne Posta (To Sir, with Love, 1967) and in her first movie in over a decade Florence Desmond (Three Came Home, 1950). The robotic contingent includes Yutte Stensgaard (Lust for a Vampire, 1971), Virginia North (Deadlier Than the Male), Marga Roche (Man in a Suitcase, 1968), Shakira Caine (wife of Sir Michael), Joanna Lumley (television series Absolutely Fabulous), Maria Aitken also making her debut, twins Dora and Doris Graham and Olga Linden (The Love Factor, 1969). Peer closely and you might spot Coronation Street veteran Johnny Briggs.

The whole package is put together with some style by British veteran Ralph Thomas (Deadlier than the Male). Screenplay by David Osborn and wife Liz Charles-Williams (Deadlier than the Male) is based on the book by “Sapper”.

The Long Ships (1964) ***

Decent hokum sees Vikings ally with Moors to seek a mythical giant bell made of gold, “the mother of voices.” There are stunning set-pieces: a majestic long ship coming into port, superior battles, the Mare of Steel, the discovery of the bell itself, while a clever ruse triggers the climactic fight. There’s even a “Spartacus” moment – when the Vikings declare themselves willing to die should their leader be executed.

Rolfe (Richard Widmark) is the wily Viking, second cousin to a con man, demonstrating his physical prowess although he does appear to spend an inordinate amount of time swept up ashore after shipwreck. Moorish king Aly Mansuh (Sidney Poitier) is his rival for the legendary bell. The diminutive Orm (Russ Tamblyn), Rolfe’s sidekick, appears to be in a constant athletic duel with the Viking.

Although handy with a sword, both are equally adept at employing seduction, Aly Mansuh making eyes at Viking princess Beba Loncar (in her Hollywood debut) while Rolfe targets Poitier’s neglected wife Rosanna Schiafffino (Two Weeks in Another Town, 1962). The story is occasionally put on hold to permit the Viking horde to pursue their two favorite pastimes – sex and violence – and they make the most of the opportunity to frolic with a harem.

One of the marks of the better historical films is the intelligence of the battle scenes. Here, faced with Muslim cavalry, the Vikings steal a trick from The 300 Spartans by lying down to let the horses pass then rising up to slaughter their riders. But there is also an unusual piece of intelligent thinking. Realising, as the battle wears on, that they are substantially outnumbered and have their backs to the sea, Widmark takes the sensible option of surrendering.

Richard Widmark (The Secret Ways, 1961) makes the most of an expansive role. Instead of seething with discontent or intent on harm as seemed to be his lot in most pictures, he heads for swashbuckler central, with a side helping of Valentino, gaily leaping from high windows and engaging in swordfights. Sidney Poitier (Duel at Diablo, 1966), laden down with pomp and circumstance rather than immersed in poverty as would he his norm, is less comfortable as the Islamic ruler. (Widmark and Poitier re-teamed in The Bedford Incident, 1965, also reviewed in the blog.)

The puckish Tamblyn (The Wonderful World of the Brothers Grimm, 1962) almost steals the show. Both Loncar and Schiaffino have decent parts.

Director Jack Cardiff, Oscar-nominated for Sons and Lovers (1960), brings to bear his experience of working on The Vikings (1958) for which he was cinematographer. He is clearly at home with the action and equally there is some fine composition. However, the story in places is over-complicated, and he fails to rein in the mugging of one of the industry’s great muggers Oscar Homolka (Joy in the Morning, 1965) and there is a complete disregard for accent discipline. Edward Judd (The Day the Earth Caught Fire, 1961), Scotsman Gordon Jackson (The Great Escape, 1963) and Colin Blakely (The Private Life of Sherlock Holmes, 1970) have supporting roles.

Berkely Mather (Dr No, 1962), Beverly Cross (Jason and the Argonauts, 1963) and, in his sole movie credit, Frans G Bengtsson, collaborated on the screenplay.

Good fun and great to see Widmark and Poitier turning their screen personas upside down.

Some Girls Do (1969) ****

Enjoyed this sequel to Deadlier Than the Male (1967) far more than I expected because it sits in its own little world at some point removed from the espionage shenanigans that dominated the decade. Hugh (nee Bulldog) Drummond is neither secret agent nor involved in espionage high jinks, instead employed in the more down-to-earth domain of insurance investigator, albeit where millions are at stake. Although his overall adversary is male, the smooth-talking Carl Petersen (James Villiers), adopting a series of disguises for most of this picture, the real threat comes from a pair of villainesses in the shape of Helga (Daliah Lavi) and Pandora (Beba Loncar – the latter, yes, having her own deadly Box. If anything, this pair are a shade more sadistic than Irma and Penelope from the previous outing.

Villiers has found a way of turning an ultrasound device intended originally to aid cheating in a boat race into something far more dangerous. But, of course, for Helga seduction is the main weapon in her armoury, and Drummond’s first sighting of her – a superb cinematic moment – is sitting on the branch of a tree wielding a shotgun. Equally inviting are the squadron of gun-toting mini-skirted lasses guarding Petersen’s rocky fortress.

The movie switches between Helga, Pandora and the robots raining down destruction and Drummond trying to prevent it. Dispensing with the boardroom activities that held up the action in Deadlier than the Male, this is a faster-moving adventure, with Drummond occasionally outwitted by Helga and calling on his own repertoire of tricks. Dialogue is often sharp with Drummond imparting swift repartee.

Richard Johnson (A Twist of Sand, 1968) truly found his metier in this character and it was a shame this proved to be the last of the series. Although Daliah Lavi never found a dramatic role to equal her turns in The Demon (1963) and The Whip and the Body (1963) and had graced many an indifferent spy picture as well as The Silencers (1966), she is given better opportunity here to show off her talent. Beba Loncar (Cover Girl, 1968) is her make-up obsessed bitchy buddy. Sydne Rome (What?, 1972) makes an alluring her debut. James Villiers (The Touchables, 1968) is the only weak link, lacking the inherent menace of predecessor Nigel Green.

The whole package is put together with some style by British veteran Ralph Thomas (Deadlier than the Male).

CATCH-UP: Chart through the Blog how Richard Johnson’s career went from supporting player to star via The Pumpkin Eater (1964), Operation Crossbow (1965), Khartoum (1965) Deadlier than the Male (1967), Danger Route (1967) and A Twist of Sand (1968). Conversely, see how Daliah Lavi went from European star of The Demon (1963) and The Whip and the Body (1963) to Hollywood supporting player in Lord Jim (1965).

Network has this on DVD currently at a bargain price in a double bill with Deadlier Than the Male.

And you can also catch Some Girls Do on YouTube.

The Long Ships (1964) ***

Richard Widmark as a wily Viking, second cousin to a con man, makes the most of an expansive role. Instead of seething with discontent or intent on harm as seemed to be his lot in most pictures, he heads for swashbuckler central, with a side helping of Valentino, gaily leaping from high windows and engaging in swordfights although he does appear to spend an inordinate amount of time swept up ashore after shipwreck. Sidney Poitier, laden down with pomp and circumstance rather than immersed in poverty as would he his norm, is less comfortable as the Islamic ruler. Fresh from winning the Oscar for Lilies of the Field (1963) it surely must have the chance of a big payday that lured him into this role. (Widmark and Poitier re-teamed in The Bedford Incident, 1965, previously reviewed in the blog.) The diminutive Russ Tamblyn, as Widmark’s sidekick, is easily the most athletic of the trio.

British production company Warwick could hardy believe their luck in landing an Oscar-winner. They had gone down the swashbuckling route before with The Black Knight (1954) and had made films with big Hollywood names like Robert Mitchum and Rita Hayworth in Fire Down Below (1957). This was a trade advertisement in “Box Office” magazine (April 27, 1964) – in the same issue was an advert for Poitier’s triumph in Lilies of the Field.

Although handy with a sword, both are equally adept as employing seduction, Poitier making eyes at Viking princess Beba Loncar (in her Hollywood debut) while Widmark targets Poitier’s neglected wife Rosanna Schiafffino (The Victors, 1963). The story is occasionally put on hold to permit the Viking horde to pursue their two favorite pastimes – sex and violence – and they make the most of the opportunity to frolic with a harem.

One of the marks of the better historical films is the intelligence of the battle scenes. Here, faced with Muslim cavalry, the Vikings steal a trick from The 300 Spartans by lying down to let the horses pass over them then rising up to slaughter their riders. But there is also an unusual piece of intelligent thinking. Realising, as the battle wears on, that they are substantially outnumbered and have their backs to the sea, Widmark takes the sensible option of surrendering.

Director Jack Cardiff, Oscar-nominated for Sons and Lovers (1960), brings to bear his experience of working on The Vikings (1958) for which he was cinematographer. He is clearly at home with the action and equally there is some fine composition. However, the story in places is over-complicated, he fails to rein in the mugging of one of the industry’s great muggers Oscar Homolka and there is a complete disregard for accent discipline. Edward Judd (The Day the Earth Caught Fire, 1961), Scotsman Gordon Jackson (The Great Escape, 1963) and Colin Blakely (The Private Life of Sherlock Holmes, 1970) have supporting roles.

Many of the films from the 1960s are to be found free of charge on TCM and Sony Movies and the British Talking Pictures as well as mainstream television channels. But if this film is not available through these routes, then here is the link to the DVD and/or streaming service.