A biochemist escapes from deep behind the Iron Curtain and settles near San Diego to carry on his (unsupervised!) research into deadly bacteriological weapons. When his assistant dies in mysterious circumstances, the government send top agent Adam Chance to investigate.
Oh dear. Sub-James Bond TV pilot that didn’t sell and was sent out briefly to die on cinema screens. Peter Mark Richman (a familiar face if not a name) heads up matters as our 007 substitute and Wendell Corey plays his boss. Unfortunately, what Richman probably intended as suave sophistication merely comes across as smug and Corey remains resolutely office bound, which seems to have been a contractual requirement at the end of his career. The lust interest is provided by the gorgeous Barbara Bouchet but the acting plaudits (such as they are) go inevitably to Martin Kosleck as the villain of the piece.
We realise we’re in for a pretty rough ride fairly early on. Chance is hanging out on the training ground with sexy Aliza Gur (‘From Russia With Love’ (1963)) when he suggests she had ‘better get back to the Judo range.’ Later on, he displays brilliant tactical awareness when he garrottes one bad guy from behind whilst the villain is driving, sending their vehicle crashing down a cliff side. He’s just as useless at the romantic stuff too, allowing Bouchet to exchange guns whilst they’re enjoying some extended tonsil hockey. However, it doesn’t help that her secret 3rd arm provides particularly useful for this purpose.
In the only vague piece of invention in the script, the enemy agents use spore guns, which literally fire a lethal disease at their victims. Chance takes them on because he works for H.A.R.M., which stands for ‘Human Aetiological Relations Machine’. Fair enough, but shouldn’t the fight against biological weapons have some scientific input, rather than just be left to a bunch of spies occasionally pointing guns at each other?
Action sequences are limited to a shootout at a private airport near the end (when we are just sooo past caring) and Richman flouncing around on his motorbike a bit. Gadget play is just some hidden microphones and the plastic spore guns. There are no big set pieces and very minor stunt work. All these are elements that could be considered crucial to this kind of an enterprise. Director Gerd Oswald also made the excellent noir ‘A Kiss Before Dying’ (1956) but obviously 10 years is a long time in Hollywood. It all makes for a seriously dismal 84 minutes.
Adam Chance never returned in something or other. Bloody good job too.