The Spy Who Loved Flowers (1966)

The Spy Who Loved Flowers (1966)‘l’m quite sure there’s a contact underneath based on magnetic frequencies…’

A spy is sent to assassinate three men who supposedly hold knowledge of a secret weapon that is in danger of falling into the hands of the other side. Unhappy with his role as a paid killer, he soon finds out that everything is not as it seems…

Roger Browne returns as Secret Agent Mark Stevens, although this time he’s dubbed by an actor with a German accent, which is a little distracting. It’s a sequel to the fairly slick ‘Super Seven: Calling Cairo’ (1965) which may not have been a classic, but obviously was a winner at the box office. ‘Bond On A Budget’ movies in the 1960s seemed less a licence to kill, and more like a licence to print money.

Everything is a slight step down in quality from the first movie and that was little more than a standard Eurospy outing, although there are many inferior examples of the genre. But there’s less action here, the story develops more slowly and female leads (Emma Danieli and Daniele Vargas) can’t compete with the luminous Rosalba Neri from the first film. There’s more useful information for the prospective tourist, though, with Browne’s mission taking him to Paris and Geneva before the drama plays out in Athens. Villainess Yoko Tani does display some martial arts moves, but the fight choreography is not particularly good, and the low budget is betrayed by the lack of stunts and big set pieces. Some of the supporting cast return from the first film, although in different roles.

The Spy Who Loved Flowers (1966)

‘Loop your own dialogue or else!’

The director was Umberto Lenzi, who made a number of these pictures before graduating to the horror genre and upsetting the British Censors during the ridiculous, trumped-up ‘Video Nasty’ scandal of the early 1980s. Of course, Browne also starred in ‘The Fantastic Argoman’/The Incredible Paris Incident (1967), a much funnier and surreal take on 1960s spy/superhero/comic book culture.

This film isn’t in that league, and simply takes its place amongst the endless parade of unremarkable Eurospy flicks of the 1960s.

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