By the time The Silencers was in theaters, producer Irving Allen was already kicking off production on the next Matt Helm film. Originally planned to be The Ambushers, for whatever reason (and not that it mattered, given how thin the connection between books and movies was) Allen moved things around, and Murderers’ Row became the second Matt Helm movie. Although I can’t imagine any fan of Donald Hamilton’s books holding out hope that the movies would be anything like the novels after the drunken hijinks of The Silencers, it still must have given readers pause to hear that Murderers’ Row was the next to get the swingin’ cocktail treatment. The fifth book in the series, published in 1962 immediately after The Silencers, it is among the bleakest and angriest of the Helm stories.
It’s hard for us today to imagine what life must have been like for the human race in a more primitive age. But the astonishing fact remains that there was indeed a time when a movie like When Women Had Tails could not only gain international theatrical release, but also merit a sequel. Thus was born When Women Lost Their Tails, a film which today comes to us as an archaic remnant of that ancient folk tradition known as the Italian sex comedy.
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.