User Reviews

People often say that major movie stars are just themselves in one role after another... Certainly many successful leading men and women do maintain a more or less consistent identity from one movie to the next...

Beatty's characterization of Barney Lincoln is full of subtle, precise detail... He is a trained professional, whose cheating methods is to mark high value cards...

Barney knows how to get the job done, and understands when things are getting a little too tough... But as an up-and-coming poker player facing a long-time master of the game, his cunning is tested through bluff and double bluff... Not only is there a huge fortune at stake, but also his status of being the luckiest gambler of them all...

Susannah York seems to have quite a flush of youthful beauty as the spirited blonde in pursue of a handsome young player chasing his win on the Baccarat table...

The film is not a complete bore, but you won't think too much about it once it's over...

A fun mod comedy starring Warren Beatty as a wealthy American gambling his way across Europe. Of course, he's cheating (in a very clever way) and raising the suspicions of Scotland yard Inspector Clive Revill and raising the interest of free-spirited Susannah York. Revill recruits Beatty to help him nab nasty drug kingpin Eric Porter. It's all cleverly made, fast moving and very fun. Beatty is terrific and York is a great match for him. They really click, showing much the same chemistry that Beatty would have with Julie Christie in the '70s. Directed with an extremely light touch by Jack Smight and featuring a score by Stanley Myers that mixes pop, jazz and Indian sounds together. Murray Melvin has a brief role as a very efficient policeman. A welcome piece of entertainment considering it follows Beatty's involvement in the lousy PROMISE HER ANYTHING and the head-scratching MICKEY ONE.

not one person complained about the ability to see ANY markings 6feet away on a 5card fan... oh well, no poker players reviewing here and the fact that he was always dealing in the "Bunko" game was problematic... very plodding angst less scene after scene save for the wondrous views of the famous world casinos, have been to many and savour the opulence with the crowning moments in that Dominion Castle!! where did they find that gem... Angel was cute not seXy like other Beatty co-stars ala Julie C. but intelligent design was uneven... i.e. throwing the gun away during a fight saying she just doesn't like guns, fighting, but death is just A OK???!!! with low expectations for any redeeming value in script excitement I can only recommend for location shots... superbe!

For the first 30 minutes of this movie, I wondered what the hell its makers were playing at. True, there is a satisfying sequence wherein printing machinery moves in time to Beatles' music (thank you, Walt Disney), but the film does not really engross our interest until the introduction of Eric Porter's character. At this point, everything seems to improve: The script becomes bright and witty, and even the sets, camera angles, photography and editing suddenly become more interesting. Of course, what really gives the move genuine flavor, is Eric Portman's performance. But it's sad to report that Miss York is not up to her usual high standard, Perhaps the blame resides with director Jack Smight whose over-fondness for close-ups is not always flattering. I can just see Smight arguing with the photographer, Chris Challis, right now: "Who cares if it's not flattering! It will look good on TV – and that's all that counts!" No wonder producer Jerry Gershwin declined a credit!

Kaleidoscope has an excellent premise, but most of the other aspects weak.

Beatty's basically a cardboard cutout or caricature, with nothing behind it in everything he does. That's part of why the romance doesn't work, that and Susannah York overdoing it. Not being able to see what Barney sees is a problem, as you're not in on the specifics and thus the fun. Clive Revill and Murray Melvin are woeful as the Scotland Yard Inspector and assistant. In the stud hand before they show, I assumed Dominion had quad 10's or at least the last King as one was folded, knowing Barney couldn't have it. He's re-raising with Dominion having trip 10's showing. They both hit 2 outers, but Dominion bets with Barney showing KK33, so he either has the last King, the last 3 or has nothing that can call as the three 10's showing already wins. The bet doesn't make any sense, he wouldn't have re-raised with the three 10's showing to chase the case King. Porter decent as Dominion though.

In "Kaleidoscope", a lovable rogue is dragooned into an unexpected mission. The police ask him to bring down a dangerous criminal, come what may. He is supposed to attack the man through his Achilles' heel, to wit his love for high-stakes gambling...

If you're thinking : "Hmm, sounds like the plot for 'Casino Royale'", then congratulations, you're right, there exists a remarkable similarity between the intrigue of both movies. Whether the resemblance is coincidental or not, is a question I gladly leave to the experts. The general atmosphere of "Kaleidoscope" is also reminiscent of the more light-hearted entries into the Bond, James Bond franchise. As a viewer you already get your manly quips, your picturesque castle/lair and your vicious archcriminal ; throw in a few spectacular action scenes - let's say a pursuit through a Tunisian souk and a generalized fight on an opera roof - and the illusion would be complete.

Anyway, "Kaleidoscope" is competently made but unremarkable entertainment meant to brighten a rainy Saturday afternoon. It's one of those movies which perpetuate the myth that casinos overflow with beautiful, glamorous and fascinating people. Crikey ! Gambling dens, whatever their name or price range, tend to attract the bored, the disagreeable, the vulgar, the misguided and the addicted. In terms of classy joie de vivre one might just as well go and rejoin the visitors' parlor for one of her Maj's prisons.

The thing that struck me the most about the main villain was his disastrous choice of wallpaper. That black-and-white pattern ! As if being a traitor, a gang boss, a dope peddler and a sadist weren't enough ! One grows faint when considering other aesthetic turpitudes the man may have committed. Did he surround his swimming pool with plastic replicas of Nelson's Column ? Did he swathe his bathroom in velvet draperies ? Is his doorbell shaped like a frog and does it release a whiff of myrrh when pressed ? The mind boggles...

At least it wasn't a stupid heist film!

The entire card-rigging sequence would have been right at home in one of those idiotic movies, but this one improved when Dominion showed up.

I'm not sure what was more ridiculous; Lincoln knowing exactly what tools and/or gadgets he needed in the opening scene, or him consistently standing around by the factory and delivery guys afterwards. Terrible writing, always assuming the audience is full of morons.

Forgettable, blah movie.

Robert and Jean Carrington wrote this story and the movie version is directed by Jack Smight. It tells the story of handsome Barney Lincoln (Warren Beatty) a suave and debonair playboy who creates a most ingenious plan to rob the most prestigious European casinos in Europe. He does this by 'marking' the original manufacturing plate design for playing cards. Thus when he plays in the very best casinos, he has an edge. Unbeknown to Mr. Lincoln, British police Inspector 'Manny' McGinnis (Clive Revill) has discovered his secret and convinces him to help bankrupt Harry Dominion (Eric Porter), a dangerous and notorious drug smuggler by playing cards with him. Risking his life and that of Angel McGinnis (Susannah York) his ditsy girlfriend, both play dangerously close to a man quite capable of murdering them. What Lincoln does not anticipate is that Dominion will play with Unmarked cards. This charming and delightful film is one of Beatty's best and one which is certain to become a fun Classic for all audiences. Easilly recommended. ****

When producer Charles K. Feldman was asked why his 1967 film of 'Casino Royale' deviated so wildly from the source material, he replied that the Eon movies had already swiped most of it. He could have said instead that Jack Smight's 'Kaleidoscope', released the year before, was an even more blatant steal of Fleming's first book. Warren Beatty plays 'Barney Lincoln', an American playboy who devises the perfect 'get rich quick' plan. Breaking into the Kaleidoscope playing card factory in Geneva, he carefully marks the printing plates. The doctored cards head for Europe's top casinos. With the beautiful 'Angel McGinnis' ( Susannah York ) in tow, Lincoln breaks the banks, and soon amasses a considerable fortune.

But his unlawful activities bring him to the attention of New Scotland Yard. 'Inspector Manny McGinnis' ( Angel's father ) wants him to bankrupt the sinister head of a narcotics ring called 'Harry Dominion' ( Eric Porter ). The means? A game of poker. Facing a lengthy jail sentence, Barney reluctantly agrees.

Robert and Jane Howard-Carrington's script is a more faithful version of Fleming's book than either the 1967 all-star spoof or Martin Campbell's 2006 retread. Porter gleefully hams it up as 'Dominion', a villain straight out of Bond, particularly as he has a Napoleonic complex. There's a tense scene as he teases his men with the revelation that there is a traitor in their midst. Taking one of them ( George Murcell ) to a cellar, he retreats as the unfortunate man is incinerated with a flame-thrower.

Beatty has never been one of my favourite actors ( and no, I'm not just jealous of his legendary sexual conquests ), but the role of 'Barney' at least allows him to be funny and charming in a Cary Grant sort of way. As sexy boutique owner 'Angel', Susannah York makes the most of a stock 'love interest' character. For me the real star is Clive Revill as the steam engine-loving police officer McGinnis. an 'Avengers' style eccentric to be sure. Murray Melvin ( from 'A Taste Of Honey' ) is also good as sharp shooting 'Aimes'. The fine supporting cast includes the late George Sewell, Yootha Joyce, Peter Blythe, and John Junkin. Jane 'Blow-Up' Birkin puts in a 'blink and you'll miss it' appearance.

'Kaleidoscope' is one of those American-funded ( Winkast Productions also made Alistair Maclean adaptations such as 'When Eight Bells Toll' ) pictures which exploited the Swinging London phenomenon of the time. Maurice Binder's title sequence offers a picture postcard view of the capital seen through the afore-mentioned novelty toy. Fortunately, arch scenes like the one in which Barney romances Angel in a field at night while she is perched on a cow are few and far between. Stanley Myers' chirpy music keeps the proceedings nicely afloat, with a sitar accompanying psychedelic scene breaks of the sort later parodied by the awful 'Austin Powers' films. Jack Smight later made the cult film of Ray Bradbury's 'The Illustrated Man'.

Unlike 'Casino Royale', there's no big torture scene here, although Barney gets his legs hit at one stage with ( ironically ) a poker. Though not a spy film, 'Kaleidoscope' owes enough to the Bond series to make it required viewing for fans.

Forget the reviews that harp on about "Casino Royale" - the fact that an important plot point was lifted from that book is IRRELEVANT to the enjoyment to be had from one of Britain's Best Sixties Movies.

And don't concern yourself with Warren Beatty either. Only hired to sell the movie Stateside, he sleep-walks through it, while awaiting fame as Clyde Barrow, George Roundy, et al.

Instead, delight in the performance of the lovely Susannah York (who sadly passed, earlier this year) who sparkles in this project - the sterling work by the bizarre Murray Melvin - the excellent wallow in Napoleonic evil, delivered with relish by the great Eric Porter - and above all, the outstanding turn from the incomparable Clive Revill (who, at 81, is still with us).

After memorable appearances in many British movies, Revill relocated to America in the early Seventies and squandered his talents as one of the great character actors on TV fare (although he did get to shine as Villain Of The Week in a Columbo).

But here, he excels as a quirky Scotland Yard detective, in possibly his best outing ever. Truly he was one of those rare actors who always gave more than was on the page.

Add to these a slew of Sixties kitsch - and not forgetting a literate script - and you have one of the Great British Sixties Movies. Enjoy!