There are a lot of directors who work with that special someone of an actor forging a partnership that becomes legendary within the cinematic world. Martin Scorsese had Robert DeNiro. ohn Ford had John Wayne. And German director Werner Herzog had Klaus Kinski. If you know anything about Klaus Kinski, this may seem a bit of a raw deal for Herzog. After all, as far as anyone knows, John Wayne never tried to knife Jon Ford to death on the set of a movie, and Robert DeNiro never insisted to Marty that he was the reincarnation of Jesus or the famed violin virtuoso Paganini. On the other hand, it’s equally unlikely that Scorsese has ever returned a knife fight with his own conspiracies to murder his favorite leading man. Although one has to question the authenticity of some of the wilder tales about the working relationship between Herzog and Kinski, there’s no doubt that some of it was indeed true and they had the sort of relationship that could be described, if one wanted to be tactful about it, as “dynamic.” The defining factor in the relationship between Herzog and Kinski was that Kinski was, to use a scientific term, bat-shit crazy while Herzog, in turn, was crazy as a shithouse bat. Yet somehow, you throw the two together, and the result was sheer brilliance etched from utter lunacy.
Of all the filmic subgenres to come out of Europe during the 60s, the Spaghetti Western is the most macro, containing multitudes. With literally hundreds of entries, it was inevitable that filmmakers would indulge in some hybridization to mix things up, with the results being, among many others, the comedy westerns of the Trinity series, gothic westerns like Antonio Margheriti’s And God Said to Cain, and the Bondian trappings of the Sartana series. Come the late 60s, such filmmakers began to experiment with style and content as well as genre, leading to some of the more “arty” spaghettis that are today among the best of the cycle, such as Robert Hossein’s Cemetery Without Crosses and Giulio Questi’s Django Kill! Arguably the best of all of these was The Great Silence, directed by Sergio Corbucci, who was one of the genre’s founders and trailblazers despite his repeated claim that he hated westerns.
I learned two important things from this psychotronic adaptation of Edgar Wallace’s novel, Die Blaue Hand. First, you can’t casually watch one of these Edgar Wallace movies from Danish film studio Rialto. Turn away for five seconds, and when you turn back to the television, you will be completely lost. They are so fast moving, and so insanely convoluted, that you have to concentrate on them with an intensity usually reserved for deriving the Unified Field Theory. The second thing I learned is that while quantity doesn’t equate to quality, featuring double the Klaus Kinski in your film is a sure thing. He shows up here as twin brothers, and unfortunately, that lead to the aforementioned distraction as I started daydreaming about what Crawlspace would have been like if Klaus Kinski was slinking around, peeping on…Klaus Kinski!
I expounded recently, in my review of Throne of Fire, on the fact that I am still a sucker for cool cover/poster art, even though I know full well that the movie being advertised is rarely as good as the illustration advertising it. So let me now explore another of my sundry weaknesses: I have a weakness for cool-sounding team-ups. It probably started back when I was a wee sprout camped out in front of the television late at night, watching old Universal horror films. Frankenstein and the Wolfman, in the same movie? Boss! And while the high concept team-ups were generally slightly more dependable than poster art, that didn’t mean that they still weren’t, by and large, a bit disappointing most of the time. But still, come on! Frankenstein versus the Wolfman! Dev Anand versus hippies! And in the case of Our Man in Marrakesh, Tony Randall versus Klaus Kinski. Tell me that one isn’t epic sounding. And while my gullible faith in the high-concept team-up often let me down, I was certain that Tony Randall versus Klaus Kinski in a lighthearted Eurospy adventure would live up to the promise. I’m happy to say that, unlike Throne of Fire, I was pleasantly rewarded this time around.
The Cold War produced a lot of great films, or at least a lot of enjoyable ones. It also produced some godawful dreck, though even some of that dreck was at least entertaining. Cold War paranoia films took on many forms. In the 1950s, there were a lot of those “realistic” atomic war movies that consisted mainly of a group of people sitting around in a bar discussing matters until an atom bomb fell and blew everyone up. The more creative films let giant red ants or some such creature stand in for the commies. Some of the more outlandish entries even had secret plots by the Chinese to tunnel under the Pacific Ocean and pop out in California ready for an invasion. During the 1960s, the Cold War sci-fi film gave way to straight-up espionage thrillers inspired by the success of the James Bond films that always involved the Reds trying to steal some terrible device we never should have invented in the first place. Luckily, there’s always a square-jawed G-Man on the case, ready to dish out some beat-downs and bed some Eastern Bloc babes. The best Cold War films of the 1960s were most definitely coming from Italy, Spain, and Germany. The Eurospy film was born, and it was probably one of the greatest achievements of the Cold War era.