Spy Girls

If you’ve not already come across Cinema Retro magazine – now celebrating 18 years of publication –  or its various Special Issues you are in for a treat. Spy Girls fell under its “Foto Files Special Edition” portfolio and includes over 200 illustrations of the actresses who dominated the wave of espionage pictures in the 1960s and to a lesser extent the 1970s.

As well as focusing on the leading female stars in every series film – James Bond, Derek Flint, Matt Helm, Bulldog Drummond, The Man from Uncle and Harry Palmer – the magazine also pay tribute to the wide variety of starlets who appeared in bit parts such as Zena Marshall (Dr No, 1962), Aliza Gur (From Russia with Love, 1963), Shirley Eaton and Margaret Nolan (Goldfinger, 1964) Molly Peters (Thunderball, 1965) and Gila Golan (Our Man Flint, 1966).

However, in the main the concentration is on the flood of European actresses who set Hollywood agog following multiple appearances in spy pictures. Beginning with original Swiss-born Bond girl Ursula Andress (Dr No and Casino Royale, 1967, the magazine features every actress who had a starring role in the mainstream spy films. Some, of course, seemed very comfortable in the genre with roles in several pictures.

Leading that particular parade were Italian Daniela Bianchi who, after her spy debut in From Russia with Love, was seen in Slalom (1965), Operation Gold (1966), Special Mission Lady Chaplin (1966), Requiem for a Secret Agent (1966) and Operation Kid Brother (1967). Matching her was Austrian Senta Berger, caught in The Secret Ways (1961), The Spy with My Face (1965), Our Man in Marrakesh (1966), The Quiller Memorandum (1966), The Ambushers (1967) and Istanbul Express (1968).

Not far behind came Israeli Daliah Lavi who lit up the screen in The Silencers (1966), The Spy with a Cold Nose (1966), Casino Royale (1967), Nobody Runs Forever (1968) and Some Girls Do (1969). German Elke Sommer was another regular, headlining The Venetian Affair (1967), The Corrupt Ones (1967), Deadlier than the Male (1967) and The Wrecking Crew (1968.) Also a regular in the genre was Yugoslavian Sylva Koscina with Hot Enough for June/Agent 8¾ (1964), That Man in Istanbul (1965), Agent X-77 Orders to Kill (1966) and Deadlier than the Male (1967)

Canadian Beverly Adams featured three times in the Matt Helm series, in The Silencers, Murderers Row (1966) and The Ambushers (1967). Czechoslovakian Barbara Bouchet turned up in Agent for H.A.R.M (1966), Casino Royale and Danger Route (1967) and Austrian Marisa Mell had top roles in Masquerade (1965), Secret Agent Super Dragon (1966) and Danger:Diabolik (1968). Another three-peater was Rome-born Luciana Paluzzi – To Trap a Spy (1964), Thunderball (1965) and The Venetian Affair (1967) – not forgetting Swede Camilla Sparv in Murderers Row (1966), Assignment K (1968) and Nobody Runs Forever (1968).

No study on the girls involved in espionage over these two decades would be complete without mention of Raquel Welch for Fathom (1967), Monica Vitti in Modesty Blaise (1966), Honor Blackman in Goldfinger and Britt Ekland in The Man with the Golden Gun (1974). The occasional American leavened the pot – Jill St John appearing in The Liquidator (1966) and Diamonds Are Forever (1971) and Lana Wood also in the latter. 

The extensive illustrations include stills, and photographs of the stars relaxing on set or setting up a shot, as well as a veritable archive of posters from virtually every country in the world, often with substantially different artwork to the originals. In addition, articles on the main actresses are included as well as snippets of information on the lesser stars.

Priced at just £6.95 / $11.99 this might make a nice Xmas filler.

http://www.cinemaretro.com/index.php?/archives/8048-COMING-FROM-CINEMA-RETRO-SPY-GIRLS-FOTO-FILES-ISSUE-1.html

Danger: Diabolik (1968) ****

Super-fun slick cult thriller as uber-villain Diabolik (John Philip Law) and sidekick Eva (Marisa Mell) outwit cops – and robbers – in a series of cunning heists. When not thieving they’re making love or pranking officialdom. Diabolik, hiding out in an underground cavern, out-Bonds James Bond in the fast-car and gadget department while Eva, smarter than the average Bond girl, leads the world in fashion or lack of it, her opening outfit looking as if it has either been cut to ribbons or made up of ribbons. Diabolik’s mask is cool and Eva is dressed to kill. Crime was never so fun, stylish, sexy – or lucrative.

Heist number one is the biggest shipment of dollars – $10 million – ever transported through Italy with a  massive convoy of outriders and an official plan to outwit the master thief. Already one step ahead, Diabolik, a master of the magnetic, whisks away the money in plain sight. Heist number two, an emerald necklace worn by the British ambassador’s wife high in an impregnable castle, involves Spiderman-type maneuvers. Heist number three: a 22-ton gold ingot.

A crackdown on criminal activity so endangers the Mafia that top cop Inspector Ginko (Michel Piccoli) finds a surprise recruit in the hunt to capture Diabolik – Mafia boss Ralph Valmont (Adolfo Celi). The criminal network proves more potent than the cops and Valmont hatches a plan to snare Diabolik and exact revenge. And so ensues an elaborate chess game as criminals chase criminals with cops hoping to pick up the pieces.

John Philip Law (Hurry Sundown, 1967) was the coolest villain by a mile until challenged by Steve McQueen in The Thomas Crown Affair the same year. His classic good looks are matched by a fabulous brain as he cooks up brilliant scheme after brilliant scheme. Marisa Mell (Masquerade, 1965) is sexy as hell and a worthy companion in the thieving stakes. Adolfo Celi (Thunderball, 1965) and Michel Piccoli (Belle du Jour, 1967) are clumps in comparison, even though they do their ingenious best and Celi has his own harem.

Although Mario Bava (Black Sabbath, 1963) was better known for horror, this is a cult tour-de-force that employs the outlandish to set the tone, from go-go dancers and face-painted nightclubbers to the psychelic, the uber-fashionable, gadgets decades ahead of their time and the outrageous heists. The whole picture, coated in a sheen of glamour, is irresistible. The couple make love on a bed of dollars, airplanes have trap doors, there is a parachute jump twist, suspended animation, psychedelia, radioactive tracking devices, high-speed chases and a fiendish statuesque climax. And where not bedecked in fabulous fashion or one-piece cat-suits, the pair scamper about naked or as close as.

Bava captures the spirit and the look of the comic books by Angela and Luciana Giussani that provided the film’s inspiration. But that eight names including Britain’s Tudor Gates (creator of television’s Vendetta, 1966-1968) were involved in the screenplay shows the work this required. Ennio Morricone created a superb score. All-time cult classic.

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