‘Welcome to the headquarters of the Green Hounds, Captain Rowland!’
A New York City police captain is delivering a canister of specially doctored LSD to allied forces in Turkey for safe keeping. Meanwhile, his erstwhile colleague Joe Walker is also in town, and has the local drug kingpins in his sights.
The fourth movie in the ’Kommissar X’ series sees the franchise leaving its ‘Bond on a Budget‘ origins behind, and making a definite move from the ’Eurospy’ genre to the ‘Euro-crime’ arena. It must have seemed a smart decision after tatty 3rd entry ‘Death Be Nimble, Death Be Quick’ (1966), and the gamble paid off, giving the adventures of suave Tony Kendall and sidekick Brad Harris a much needed shot in the arm. Sure, things eventually deteriorated to a rotten finish with ’Kommissar X Jagt Die Roten Tiger/The Tiger Gang/FBI: Operation Pakistan (1971), but that was still to come and, in the meantime, this film is certainly the best in the series since opener ‘Kiss Kiss Kill Kill’ (1965).
There are several reasons for the higher level of quality, although it’s certainly not the script, which is hopelessly muddled in the early stages, as per usual. Nor is it theme song ‘I Love You, Joe Walker’ which had already overstayed its welcome by the previous film. Neither is it the science, which informs us this new strain of deadly LSD will put a whole city to sleep when introduced into the local water supply.
What raises this above many contemporary entries of a similar stamp is the action sequences. The fight choreography is endlessly inventive and quite witty, although obviously far removed from reality. This is the only real echo of the franchise’s more fantastic beginnings, but it really works, helping to provide a nice balance of humour and thrills.
Local colour is also allowed to play its part without looking like a mini-advert for the local tourist board, and the location manager deserves huge credit for finding places for the company to shoot that are both visually interesting, and inform the action. Indeed, the climactic scenes and stunts in ‘The Valley of a Thousand Hills’ are simply the best work of the entire series by quite some margin.
Female lead Olga Schberovà seems to be cosying up to Harris rather than Kendall, which is a bit of a surprise, until you realise that she and Harris actually married in real life shortly afterwards. Schberovà enjoyed a brief spell of fame in the late 1960s as the first international star from Czechoslovakia, which even led to her appearance (as Olinka Berova) in the title role of Hammer’s ‘The Vengeance of She’ (1968). Unfortunately, Ursula Andress was an impossible act to follow, and the film was generally panned. It was a shame it killed her overseas career, as she’d certainly displayed some talent with comedy in the Czech Science Fiction gem ‘Who Wants To Kill Jessie?’ (1966).
Director Rudolf Zehetgruber is helped out by series regular Gianfranco Parolini (uncredited), and together they deliver a fast paced, undemanding and fun ride. It’s not a triumph by any means (and the U.S. dub track doesn’t help) but, amongst the sea of mediocre Euro-pudding of the 1960s, it certainly sits above the fold.