Two thieves who rob high-profile targets wearing special bulletproof costumes are joined by a third member for their latest heist. Their plan to rob a foreign embassy of millions of dollars goes off without a hitch, until they realise that their new colleague has his own agenda…
Cheerful 1960’s comedy-adventure that combines elements of the Superhero genre, James Bond and the caper movie. Producer-Director Gianfranco Parolini (hiding under his usual alias of Frank Kramer) had previously teamed actors Tony Kendall and Brad Harris in decent Bond knock-off ‘Kiss Kiss, Kill Kill’ (1966). That movie launched them in the successful ‘Kommissar X’ spy film series, which ran until 1971, but, in the meantime, Parolini put the performers together again here.
Kendall (real name Luciano Stella) is the leader of this criminal enterprise, always ready with a knowing smirk, smart chat for the ladies, and a useful pair of fists. Sidekick Aldo Canti is an acrobat who can’t speak but giggles hysterically throughout, in what is a somewhat puzzling artistic choice. Their schemes are backed by boffin Carlo Tamberlani, who has invented their bulletproof suits (and capes!), a self-driving car and a ‘Universal Reproducer’ (of which more later). He also has a pretty young niece, of course, played by Bettina Busch, which gives rise to all sorts of kidnapping possibilities for chief bad guy Jochen Brockmann and his gorgeous sidekick Sabine Sun. Kendall also runs a spy school for beautiful women, and may be an English nobleman working for British Intelligence (although, like a lot of plot points, that isn’t exactly clear).
When our heroic duo become a trio for their latest blag, they’re joined by American Brad Harris. Unfortunately, it turns out he’s an FBI Agent and he’s after their swag because he suspects it to be counterfeit (and a little bit radioactive). That’s because it’s been created by Tamberlani’s ‘Reproducer’ which has ‘fallen into the wrong hands’ as these great inventions always do. The villainous Brockmann doesn’t want to stop at such petty larceny though, conscripting Tamberlani (through the unexpected medium of kidnapping his pretty niece) to modify his device to create copies of people. Yes, he needs zombie soldiers for his army so he can conquer the world!
This is all supremely silly, of course, and the film proceeds at the sort of helter-skelter pace designed to both maximise the entertainment value and paper over the gaps in the screenplay, which is sometimes more than a little incoherent as well as deliberately ridiculous. Unfortunately, Parolini doesn’t have the sort of budget necessary to achieve the swashbuckling style he’s aiming for, with both fight choreography and action set pieces lacking in execution and thrills, although there is some decent stunt driving.
Perhaps the most surprising aspect is the presence of Canti. Most of his acrobatic feats are performed in a mask, so it could have been a stunt double, but it does seem he had at least some gymnastic ability. Why is this a surprise? Well, apparently, Canti was a real-life criminal with ties to the Mafia. ln fact, he was a full-time resident of the local prison during production but was allowed out during the day to film his scenes!
Two sequels followed; ‘3 Supermen in Tokio’ (1968) and ‘Supermen’ (1970). Kendall didn’t appear in either, but Harris showed up for the last of the short series. Unsurprisingly, Canti was a no-show on both occasions too, his role being taken by Sal Borgese, who turns up here as an FBI Agent with a bazooka!
Good, undemanding fun if you can look at the other way and forgive the technical deficiencies.