recommended

Charming and brutal

It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

Usually I'm not a fan of old movies, not by a long shot. I consider them cheesy and unbearably boring. But this is one of the exceptions to that rule.This is a lighthearted comedy, even though it works with very serious theme. But it does it wonderfully, I never felt that it was inappropriate. The lightheartedness is there through the entire 110 minutes. I guess I could compare it to the Great Race from 1965. It uses the same road movie style, with a little bit of romantic side story. Some could even go as far to say it's a rip off, but that's not entirely true. It could've gotten some inspiration there, but It's different in just enough ways for the resemblance to be a plus rather than a minus. But maybe it's just my bias talking as the Great Race is one of my other favorite old movies.The acting is of course typical sixties, over the top, stage play style. But in comedies that is even beneficial as it makes the punchlines hit that much harder.

There actually was an assassination Bureau, centered in London, steered from behind the scenes by the Monarchy, British Intelligence, and the Fabian Society. Its operational head was the exiled Russian prince, Peter Kropotkin, who fled Russia, and then Switzerland, and then suspiciously escaped from jail in Paris to find asylum in England. He was on the lam for his role in the assassination of Czar Alexander II, and as a leader of the "People's Will" anarchist organization, he was under a death sentence. He was the international head of the anarchist movement, replacing Bakunin, and steered the organization which assassinated 19 heads of state, Kings, Queens, Princes, Dukes and Archdukes, Prime ministers, and a President, during the years preceding WWI. Kropotkin was the controller of Emma Goldman (who lived with Kropotkin for a time in London) whose disciple, Czolgosz, shot McKinley. Kropotkin was with Emma Goldman when she met with Czolgosz at Jane Addams "Hull House" in Chicago in the week before Czolgosz made his way to Buffalo to shoot McKinley. King Umberto of Italy was shot the year before by Antonio Bresci, member of Goldman's anarchist chapter in Paterson NJ. Goldman met with Bresci weeks before he went to Italy to shoot the King, financed by money raised by the members of the chapter. Go through the history of the political assassinations during the run up to WWI, mostly done by anarchists, supposedly acting alone. It was all organized by British Intelligence out of London, directed by Kropotkin and his networks.There are many allusions to the actual real story in the film, for those, who, like a previous reviewer who touched on this, actually know some history.

Perhaps it's the effect of vibrations from all the bombs in the story, but the intended comic souffle of `The Assassination Bureau' never rises beyond mild amusement. While the movie doesn't crash and burn, it also doesn't take full advantage of the ingredients at hand, including a story co-written by Jack London. In the hands of director Basil Dearden and writer Michael Relph, what should be lighter than air becomes a lead zeppelin.That said, `The Assassination Bureau' does have its moments, and won't actually kill brain cells like much current summer fare. Things start off promisingly enough. Diana Rigg seems well-cast as a prim, proto-feminist trying to break into journalism by exposing the nefarious bureau. Oliver Reed is suitably bemused as the bureau's idealistic head, embarrassed by too polite to demur when Rigg suggests his own murder. Telly Savalas isn't very British, but he does have fun as the real villain. He's that epitome of evil, a Fleet Street press lord (some things never change). Morose Vernon Dobtcheff and corrupt Philippe Noiret have amusing turns as two of the bureau's henchmen, who are all represented as national stereotypes. Unfortunately, the repeated misfire attempts on Reed's life lack panache, they become predictable and repetitious.Mid-way through, glamorous Beryl Reid is brought in to sex things up a bit as a Borgia-like Venetian bella donna. There's a brief cross-cut scene contrasting the curvaceous Reid with the boyish Diana Rigg as they lace themselves into corsets. But this is a tame movie, an action-comedy as opposed to a romance. Beryl Reid is quickly dismissed. Despite their off-screen reputations, Rigg and Oliver Reed generate no sparks on it. Indeed, once Beryl Reid is gone, the movie becomes a sort of ripping yarn for boys. Oliver Reed buckles his swash well enough, but Rigg is marginalized. `The Assassination Bureau' is worth renting on an otherwise idle evening, but you might want to read Jack London instead.

This is the kind of movie made with care and respect for the audience:lavish sets,dazzling costumes,and a very attractive cast including Diana Rigg,Telly Savalas -both teamed for "on her majesty's secret service" the same year-,Philippe Noiret,Curd Jurgens and the sadly missed Oliver Reed.The screenplay is often full of wit and humor,with such lines as "if there's a war,people will kill each others for a penny,and we will have to shut up shop (our "assassination bureau").Actually the whole movie is a long chase through a chocolate-box Europa with a lot of traps,bombs and disguises.Diana Rigg's appearances run the whole gamut from a Victorian prude resembling Mary Poppins to a femme fatale,from a widow in deep mourning to a nun,she's astonishing.So does (and is )Oliver Reed,who plays some British Arsène Lupin.History is given a rough ride when Francis-Ferdinand is murdered in Vienna (instead of Sarajevo) but who cares?Best scene:Diana Rigg is alone in her hotel bedroom in Venice,Italy:she can hear a ticking.No,it's not the clock.So she rushes into her bathroom where a tap(faucet) is dripping.But when it's closed,the noise still remains.Is-it a bomb? .The brothel scene where Rigg is mistaken for a hooker is also great fun!Two movies made in the seventies might have been influenced by Basil Dearden's amusing comedy:Douglas's Hickox's "theater of blood" (1973) also starring Rigg- a treat that should not be missed-and Ted Kotcheff's "who's killing the great chefs of Europe?" (1978)-Jacqueline Bisset cooks a bombe glacée here-.The people who liked this movie could do worse than picking those delightful black comedies.