‘What Could Have Been’ is a continuing look into the reels of film history, analysing movies that could have been something special, but due to script, production, budgetary, or any other type of issue, did not reach its full potential.
In 1962, one film changed everything. No, not a big budget spectacle, or an Academy Award winner (for those of you interested, the Best Picture was West Side Story), but rather a low budget action B movie, which somehow helped spawn one of the most successful (and longest running) film franchises of all-time. . . you guessed it, Dr. No.
Soon, From Russia with Love (1963) and Goldfinger (1964) were released – proving that Dr. No was no anomaly. . . rather, this was an all out craze. And, with millions of cinemagoers flocking to see them, other studios soon sought to capitalize on this unique combination of an action spy picture with cheeky comedy by developing their own Bond knock-offs. For the most part, they paled in comparison – though in my books, O.K. Connery deserves some credit for its attempt to exploit the films (starring Sean Connery’s lookalike brother Neil, they also cast Bond stars like Thunderball’s Adolfo Celi, From Russia with Love’s Daniela Bianchi, Dr. No’s Anthony Dawson, both M and Moneypenny – Bernard Lee and Lois Maxwell, as well as Gina Lollobrigida’s cousin Guido) – talk about trying to piggyback on the situation (title and all).
Generally speaking, there were two distinctive styles of spy film that spawned soon after Dr. No – imitators and spoofs. One such example of the latter is Modesty Blaise (1966). Released at a time when these spy features were placing females in the lead roles (the next year alone would see Fathom, Caprice, and Come Spy with Me hit theatres – and this is just from 20th Century Fox, which released Blaise), Monica Vitti plays the titular character – in her first English language role.
Her name is more than a touch ironic (as she is most definitely not modest), Blaise is a well renowned criminal (with a distinctive Scorpio tattoo on her right leg) who has just been hired by the British government to help foil evil mastermind Gabriel (Dirk Bogarde – The Night Porter), a recently thought to be deceased foe of Blaise’s who is planning on nabbing a diamond shipment that is being sent to an oil sheik ally of the Brits, Abu Tahir (Clive Revill). And, like any maniacal genius (though this one is genteel and a touch squeamish), he is surrounded by two loyal henchmen, the wise note-taker McWhirter (also played by Clive Revill) and the freakishly strong and rigid psychopathic taskmaster that is Mrs. Fothergill (frequent giallo actress Rossella Falk – Seven Blood-Stained Orchids).
Unwilling to take the job without her Willie, that is, Modesty’s sidekick extraordinaire (Terence Stamp), the pair constantly attempt to stay one step ahead of the jewel thief (who lives in a lavish island castle). . . and, while on the trail, the team run into their respective former flames, Paul Hagen (Michael Craig) and Nicole (Tina Aumont) – leading to two memorable scenes.
When you look at Modesty Blaise on paper, it should have worked. Based on a popular comic strip of the same name, you cannot argue with the talent onboard – each performer either an Italian or British star or excellent character actor. Likewise, it used the Bond model of filming in exotic locations – starting out in London, it moves to the Netherlands and then Sicily, Naples, and the Italian waterways around them. Combining the historic setting with psychedelic wallpapers and lighting from the era, it really does pop. . . and you can’t beat the eccentric getups Vitti finds herself in (two of my favourites are an almost South Park-like coat and an ancient Roman inspired ensemble).
Yet, it is the story that falls flat. A rambling spoof that lacks excitement or danger, it is an action movie without much action, a spy film without the craft (aside from a few inventive gadgets – and the ‘sonic’ seagull isn’t one of them), a comedy without the laughs (a few visual gags aside). Its plot plodding, Modesty and Willie never really seem to be in much trouble – despite lacking the talent of a James Bond. . . and, with a runtime just shy of two hours, you’d expect more to happen.
Funnily enough, one of my favourite parts of this film was an absolute blunder of a scene in which Modesty and Willie assemble a makeshift bow and arrow after escaping their rooms in Gabriel’s villa abode. Firing at a guard, you can clearly watch the arrow zip off to the right – yet the guard is struck in the gut on the left (I couldn’t help but burst out laughing). There are also some nice shots of the cartoon strip seen throughout – perfect for eagle-eyed viewers.
Though politically progressive (suggestive of the time it was made – some may actually be surprised at how subtle Modesty’s role is, she is strong-willed and almost man-like, always in control of her body and mind – even further, she is never paraded around simply for men to ogle), Modesty Blaise is not the most exciting spy adventure. It is a film of its time though, not only part of a burgeoning genre, but also a prime example of swinging sixties fashion and design. Watching it is an experience, to say the least. So, escape the late summer sun and enjoy this diamond (that needed a bit more polishing), there is no point being modest.