Taken as a trilogy, Hunebelle’s Fantomas films seem to hew closely to the spirit of those early serials that first brought Fantomas to the screen. You could even regard them as three unusually elongated chapters in such a serial. In keeping with that, Hunebelle doesn’t forget to spice Fantomas up with a generous helping of nostalgic, Saturday matinee style thrills.
Towering above all others in the realm of Bond cash-in albums, however, was British composer Roland Shaw, who released a series of James Bond cash-in records that featured arrangements of Bond themes and background music that were often just as good as the originals, and in some cases, perhaps even better.
Deadly Sweet was inspired by Blow Up, but it lacks that film’s disillusionment. Tinto Brass thinks Swinging London is still swinging. Thus he turns in a decidedly less somber film despite a somewhat downbeat conclusion.
In a sense, Antonioni has made a movie about the movie he is making, and his final conclusion, if it is indeed a conclusion, is a bit sad. Thomas chases the meaning of the photographs he has taken, but he never gets there. In the end, everything he has done vanishes.
Adam Diment created Philip McAlpine, a reluctant, shaggy-haired, dope-smoking spy in the latest Carnaby Street fashions. Like his creation, Diment was young, handsome, popular with the ladies, and knew how to dress. And then, just like that, he vanished.
When it came time for Mario Bava to turn in his version of a Hitchcock movie, he picked up on that underlying current of malicious giddiness and ratcheted it up. In Blood and Black Lace, Bava is a peasant let loose to demolish a nobleman’s home.
Nora ventures onto unfamiliar streets and is soon set upon by a purse snatcher and knocked unconscious. When she comes to, she is horrified to see a woman staggering toward her. The woman collapses, revealing a knife in her back.