This movie came on right after The Saint one morning so I left it on, Sir Rogers foray into his six-year long audition for James Bond continues. This movie is fun because of him. The man was born with a natural panache. I love the sixties vibe but mostly "Moore" of the same.
23 Reviews
Not as tough, or as glib or as lucky as Bond...
planktonrules1 March 2017
Although I know that this film not meant to be like a prelude to Roger Moore playing James Bond, it sure looked like one...though the Bond role would come several years later. Like Bond, there are lots of hired killers, a murder plot involving a head of state as well as lots of adventure and a sexy woman. But unlike Bond, this character played by Moore is NOT so perfect. He often gets the snot beaten out of him, gets framed for evil stuff he never did and bumbles his way into all this! The results are fair--worth watching but a trifle too long.
When the film begins, like Bond you see Gary (Moore) in the arms of a sexy woman. Unlike Bond, however, he has a day job and soon realizes he must leave for work...leaving a very frustrated woman behind! You then learn that Gary is a playboy who works for an advertising firm. He's late for a big meeting and doesn't take time to go through his materials. And so, when he presents a big advertising campaign to the bosses, he suddenly discovers someone has substituted a woman for the model he had in mind. But the big boss (Bernard Lee of all people) is thrilled when he sees a picture of this mystery woman and insists they sing her asap. The problem is no one seems to know WHO she is! So, like a private eye, Gary goes in search of her--which is exactly what some unknown people want. They want him to do all the work and find her for them. Because she apparently knows something that could get her killed...or at least they think she knows something and they are more than willing to silence her for good.
In addition to going on just a bit too long, my biggest complaint was the extensive use of cheap and unnecessary rear projected scenes. For example, instead of going to a horse race, this is projected behind Moore and he acts in front of this screen. This is sloppy and it clearly looks as if he's acting in front of a screen...which is weird, as they later DID do a horse racing scene on site! Regardless, several times they employed this...and each time it was sloppy. There also is a VERY sloppy helicopter stunt that just looks bad. Overall, the film is worth seeing...but not nearly as good as a Bond flick.
When the film begins, like Bond you see Gary (Moore) in the arms of a sexy woman. Unlike Bond, however, he has a day job and soon realizes he must leave for work...leaving a very frustrated woman behind! You then learn that Gary is a playboy who works for an advertising firm. He's late for a big meeting and doesn't take time to go through his materials. And so, when he presents a big advertising campaign to the bosses, he suddenly discovers someone has substituted a woman for the model he had in mind. But the big boss (Bernard Lee of all people) is thrilled when he sees a picture of this mystery woman and insists they sing her asap. The problem is no one seems to know WHO she is! So, like a private eye, Gary goes in search of her--which is exactly what some unknown people want. They want him to do all the work and find her for them. Because she apparently knows something that could get her killed...or at least they think she knows something and they are more than willing to silence her for good.
In addition to going on just a bit too long, my biggest complaint was the extensive use of cheap and unnecessary rear projected scenes. For example, instead of going to a horse race, this is projected behind Moore and he acts in front of this screen. This is sloppy and it clearly looks as if he's acting in front of a screen...which is weird, as they later DID do a horse racing scene on site! Regardless, several times they employed this...and each time it was sloppy. There also is a VERY sloppy helicopter stunt that just looks bad. Overall, the film is worth seeing...but not nearly as good as a Bond flick.
CROSSPLOT (Alvin Rakoff, 1969) **1/2
Bunuel19763 December 2008
Warning: Spoilers
While this has been likened to a James Bond adventure (which star Roger Moore was still four years away from first tackling), it actually plays more like a tenth-rate copy of an Alfred Hitchcock suspenser and, specifically, NORTH BY NORTHWEST (1959)-meets-THE MAN WHO KNEW TOO MUCH (1956).
In fact, Moore is an advertising executive who unwittingly runs into a person involved in deadly political games model Claudie Lange (who, amusingly, is depicted as being constantly famished!). Incidentally, her equally attractive aunt (Martha Hyer) is revealed to be the chief villainess of the piece (along with Bond-Moore's future superior 'M' himself, Bernard Lee!) intent on assassinating a visiting South African leader as always in the most public of places (in this case, Hyde Park) and synchronized to take place during the customary 21-gun salute. Two other very obvious borrowings from NORTH BY NORTHWEST are a helicopter chase (imitating the legendary crop-dusting sequence) and the rather funny disruption of a church wedding recalling the auction scene in the Hitchcock classic where Cary Grant was similarly drawing attention to himself in order to stall his pursuers!
Also in the cast are Alexis Kanner as a would-be decadent lord who actually advocates peace and ultimately emerges to be on the side of the good guys, as well as Hammer regular Francis Matthews playing a hit-man for Hyer {sic}. Moore having just come off "The Saint" (a series in which director Rakoff was also involved), this still has that bland TV look to it despite the rather incongruous Swinging London backdrop. The film includes mild dollops of style, wit, sexiness, action and suspense all of which were prime features of NORTH BY NORTHWEST in particular, but which were also part and parcel of the Bond saga. In the long run, taken on its own merits, CROSSPLOT is a harmless time-waster but one that has added value if seen as a transition between Moore's trademark personae i.e. Simon Templar aka "The Saint" and James Bond aka 007.
In fact, Moore is an advertising executive who unwittingly runs into a person involved in deadly political games model Claudie Lange (who, amusingly, is depicted as being constantly famished!). Incidentally, her equally attractive aunt (Martha Hyer) is revealed to be the chief villainess of the piece (along with Bond-Moore's future superior 'M' himself, Bernard Lee!) intent on assassinating a visiting South African leader as always in the most public of places (in this case, Hyde Park) and synchronized to take place during the customary 21-gun salute. Two other very obvious borrowings from NORTH BY NORTHWEST are a helicopter chase (imitating the legendary crop-dusting sequence) and the rather funny disruption of a church wedding recalling the auction scene in the Hitchcock classic where Cary Grant was similarly drawing attention to himself in order to stall his pursuers!
Also in the cast are Alexis Kanner as a would-be decadent lord who actually advocates peace and ultimately emerges to be on the side of the good guys, as well as Hammer regular Francis Matthews playing a hit-man for Hyer {sic}. Moore having just come off "The Saint" (a series in which director Rakoff was also involved), this still has that bland TV look to it despite the rather incongruous Swinging London backdrop. The film includes mild dollops of style, wit, sexiness, action and suspense all of which were prime features of NORTH BY NORTHWEST in particular, but which were also part and parcel of the Bond saga. In the long run, taken on its own merits, CROSSPLOT is a harmless time-waster but one that has added value if seen as a transition between Moore's trademark personae i.e. Simon Templar aka "The Saint" and James Bond aka 007.
Lightweight Bond
nobita7 July 1999
This film, basically a vehicle for Roger Moore, is a 90 minute television-style action adventure film. Roger Moore plays an advertising executive who utilises an Eastern European girl in a promotional campaign who just happens to be sharing a house with spies and unwittingly discovers their darstadly plot. This now provides a perfect opportunity for Roger Moore to slip into his Simon Templar/James Bond persona and save the day.
This film lies somewhere between an extended Saint episode and an early James Bond movie, but as Roger Moore was the best James Bond, (as we all know), this film is nevertheless enjoyable just for his suave, Mr smooth 1960's London swinger acting. The original Austin Powers.
Nothing exceptional, however this film is reasonably enjoyable in a mild mannered way. You could certainly do worse.
This film lies somewhere between an extended Saint episode and an early James Bond movie, but as Roger Moore was the best James Bond, (as we all know), this film is nevertheless enjoyable just for his suave, Mr smooth 1960's London swinger acting. The original Austin Powers.
Nothing exceptional, however this film is reasonably enjoyable in a mild mannered way. You could certainly do worse.
Cheap and cheerful 60s fluff
Belphunga8 February 2008
Warning: Spoilers
Crossplot is an energetic yet disjointed blend of Hitchcockian romantic thriller, slapstick caper and spy thriller action gimmickry which must have looked pretty hackneyed by 1969 but now just about holds up on period charm value.
For fans of the genre there is fun to be had in ticking off the 60s tropes as they come: cheesy crooning theme tune? Yep. Psychedelic op art graphics? Yep. Characters dressing up in Victorian/Edwardian costumes? Yep. Military marching bands, unconvincing hippies, minis driven over cliffs and exploding? Yep, yep and thrice yep.
Made in 1968, the film manages to refract, despite its general frothiness, some of the darker events of the era the Grosvenor Square riot, troubles in post-colonial Africa, political assassinations but never takes itself seriously for a moment. Which is just as well given the general absurdity of the storyline.
Moore plays a dashing advertising executive (shades of Cary Grant in North by Northwest) caught up in the plotting of a sinister international organisation bent on creating disorder and chaos so as to sweep aside 'decadent democracy'. Martha Hyer is the Hitchcock blonde (and obligatory token American) whilst Claudie Lange, an Italian who made few English language films, is the feisty (and hungry) Hungarian model who the sinister types are pursuing.
It was the first project Moore worked on after completing his last series of The Saint and many of the personnel involved were veterans of that long running show. Unfortunately, it's quite apparent that the budget wasn't much in excess of an average Saint episode and the film is generally compromised by a lack of adequate location filming. A notable exception being the helicopter chase sequence which is well choreographed and distinguished by some great stunt flying.
After 6 years as The Saint, Moore could play suave, wry and debonair in his sleep but here he moderates his unflappable Templar persona with a bit of 'confused everyman' and some comedy pratfalls. At the end, the spectre of his ironic 70s Bond (still some 4 years away) looms as he beds the girl, frowns at the camera and coyly pulls the sheets up.
Incidentally, for a truly revelatory demonstration of Moore's range as an actor from the gap years between Templar and Bond check out 'The Man Who Haunted Himself'.
For some, however, this film will be chiefly of interest for the appearance of Alexis Kanner as the aristocratic leader of the protest movement Marchers for Peace. Kanner was cast off the back of his memorable appearances in the last episodes of Patrick McGoohan's uber 60s TV meisterwerk The Prisoner. Here he plays a variant of his rebellious youth, No. 48 but, besides a spirited fight with our man Rog, and a bit of trademark methody eccentricity he isn't really given much to do and exits the picture before the final reel.
Other appearances of note: Gabrielle Drake, sister of the tragic folk bard and soon to be Lieutenant Gay Ellis of UFO, as one of Moore's staff. Francis voice of Captain Scarlet Matthews is one of the leading baddies (and suffers death by unconvincing back projection). Bernard 'M' Lee is wheeled out to lend a bit of James Bond class to the proceedings. Dudley Sutton uses his psycho-baby features to unsettle Claudie Lange and the forever hangdog David Battley plays a confused groom whose wedding is disrupted by Moore and co. with, you guessed it, hilarious consequences.
If, like me, you enjoy this kind of thing, Crossplot is now available on DVD in the UK (an undistinguished but generally acceptable transfer) for around a fiver. There are probably more productive ways you could spend 90 minutes of your life but, as one hippy character memorably utters, "what's time, man?"
For fans of the genre there is fun to be had in ticking off the 60s tropes as they come: cheesy crooning theme tune? Yep. Psychedelic op art graphics? Yep. Characters dressing up in Victorian/Edwardian costumes? Yep. Military marching bands, unconvincing hippies, minis driven over cliffs and exploding? Yep, yep and thrice yep.
Made in 1968, the film manages to refract, despite its general frothiness, some of the darker events of the era the Grosvenor Square riot, troubles in post-colonial Africa, political assassinations but never takes itself seriously for a moment. Which is just as well given the general absurdity of the storyline.
Moore plays a dashing advertising executive (shades of Cary Grant in North by Northwest) caught up in the plotting of a sinister international organisation bent on creating disorder and chaos so as to sweep aside 'decadent democracy'. Martha Hyer is the Hitchcock blonde (and obligatory token American) whilst Claudie Lange, an Italian who made few English language films, is the feisty (and hungry) Hungarian model who the sinister types are pursuing.
It was the first project Moore worked on after completing his last series of The Saint and many of the personnel involved were veterans of that long running show. Unfortunately, it's quite apparent that the budget wasn't much in excess of an average Saint episode and the film is generally compromised by a lack of adequate location filming. A notable exception being the helicopter chase sequence which is well choreographed and distinguished by some great stunt flying.
After 6 years as The Saint, Moore could play suave, wry and debonair in his sleep but here he moderates his unflappable Templar persona with a bit of 'confused everyman' and some comedy pratfalls. At the end, the spectre of his ironic 70s Bond (still some 4 years away) looms as he beds the girl, frowns at the camera and coyly pulls the sheets up.
Incidentally, for a truly revelatory demonstration of Moore's range as an actor from the gap years between Templar and Bond check out 'The Man Who Haunted Himself'.
For some, however, this film will be chiefly of interest for the appearance of Alexis Kanner as the aristocratic leader of the protest movement Marchers for Peace. Kanner was cast off the back of his memorable appearances in the last episodes of Patrick McGoohan's uber 60s TV meisterwerk The Prisoner. Here he plays a variant of his rebellious youth, No. 48 but, besides a spirited fight with our man Rog, and a bit of trademark methody eccentricity he isn't really given much to do and exits the picture before the final reel.
Other appearances of note: Gabrielle Drake, sister of the tragic folk bard and soon to be Lieutenant Gay Ellis of UFO, as one of Moore's staff. Francis voice of Captain Scarlet Matthews is one of the leading baddies (and suffers death by unconvincing back projection). Bernard 'M' Lee is wheeled out to lend a bit of James Bond class to the proceedings. Dudley Sutton uses his psycho-baby features to unsettle Claudie Lange and the forever hangdog David Battley plays a confused groom whose wedding is disrupted by Moore and co. with, you guessed it, hilarious consequences.
If, like me, you enjoy this kind of thing, Crossplot is now available on DVD in the UK (an undistinguished but generally acceptable transfer) for around a fiver. There are probably more productive ways you could spend 90 minutes of your life but, as one hippy character memorably utters, "what's time, man?"
Lighhearted comedy thriller, that's as confusing as it is charming.
MartynGryphon16 September 2017
Warning: Spoilers
Crossplot is certainly a product of it's time, a movie that grabs onto the coat tails of Swinging London, just before London threw that colourful coat in the bin. It's also a movie of many faces. 'Hitchcockian' in the thriller elements and conventional in the screwball Comedy elements. Dare I say it, many plot elements are lifted straight from North by Northwest, however, star Sir Roger Moore is called upon to be a lot more physical than Cary Grant had been in that movie.
Sir Roger Moore, straight from his 7 years in his iconic TV role as Simon Templar in The Saint, plays an advertising man, duped into finding a particular model for an Ad campaign he's trying to secure. The photo of this model has been 'planted' in his file by people with their own nefarious motives, who want to silence her for what she may or may not know, about a forthcoming assassination attempt on a visiting world leader and Moore's character is dragged further into this web of intrigue when he meets the girl and is wrongfully accused of Murder. Now on the run, he's determined to clear his name and unravel the mystery that has led to this mess. Throw in a few hippies, because after all, it's the sixities, you're left with a quite entertaining caper.
The plot, (or crossplot, if I may be allowed drop a pun or two), has a number of obvious holes. For instance, the whole scheme of the bad guys, relied solely on Moore not looking at the file with the planted photo, before he presented it to his advertising client (Bernard Lee), who turns out to be in it up to his neck anyway. That's pretty thin for starters.
The movie was designed to reinvent Roger Moore as something other than The Saint. Firstly, his image has been updated, (for the time anyway), the hair is slightly longer as are the sideburns and worn without the slick quiff the Saint had been known for. Secondly, the character Moore plays is not as cool under fire as Simon Templar had been and Moore's character is like Cary Grant's Roger Thornhill. This is where the comparisons to North by Northwest can be made.
A) An innocent ad man in the wrong place at the wrong time B) wrongfully accused of a murder must now clear his name whilst trying to stay alive C) uses an attention seeking obnoxious way to escape from would be assassins in a public place. D) There is also a Mcguffin, in North by Northwest, it was the fictional George Kaplan, here it is the Hungarian model.
I can only bring myself to give this a 7 because it is so obviously filmed on a shoestring budget, that the movie fails to be convincing. Poor and obvious back projection shots, blatant set constructions. It has all the hallmarks and feel of a Saint TV episode, which is not surprising given that almost to a man, the entire production crew that had worked on The Saint worked on this movie. In fact, had it not been for the different character name and the fact he was an Ad man, this would have made a great feature length Saint story.
The real thrill, as always is watching the great Sir Roger Moore in the lead role, However, if you want to see Moore at his best when he wasn't Ivanhoe, The Saint, Lord Brett Sinclair or James Bond, then you need to watch Moore's next movie, the darker, more serious, The Man Who Haunted Himself, made the following year. This is a great example of a TV crew on a TV budget trying to make a theatrical movie and for the most part, they succeed admirably. Very entertaining.
Enjoy!
Sir Roger Moore, straight from his 7 years in his iconic TV role as Simon Templar in The Saint, plays an advertising man, duped into finding a particular model for an Ad campaign he's trying to secure. The photo of this model has been 'planted' in his file by people with their own nefarious motives, who want to silence her for what she may or may not know, about a forthcoming assassination attempt on a visiting world leader and Moore's character is dragged further into this web of intrigue when he meets the girl and is wrongfully accused of Murder. Now on the run, he's determined to clear his name and unravel the mystery that has led to this mess. Throw in a few hippies, because after all, it's the sixities, you're left with a quite entertaining caper.
The plot, (or crossplot, if I may be allowed drop a pun or two), has a number of obvious holes. For instance, the whole scheme of the bad guys, relied solely on Moore not looking at the file with the planted photo, before he presented it to his advertising client (Bernard Lee), who turns out to be in it up to his neck anyway. That's pretty thin for starters.
The movie was designed to reinvent Roger Moore as something other than The Saint. Firstly, his image has been updated, (for the time anyway), the hair is slightly longer as are the sideburns and worn without the slick quiff the Saint had been known for. Secondly, the character Moore plays is not as cool under fire as Simon Templar had been and Moore's character is like Cary Grant's Roger Thornhill. This is where the comparisons to North by Northwest can be made.
A) An innocent ad man in the wrong place at the wrong time B) wrongfully accused of a murder must now clear his name whilst trying to stay alive C) uses an attention seeking obnoxious way to escape from would be assassins in a public place. D) There is also a Mcguffin, in North by Northwest, it was the fictional George Kaplan, here it is the Hungarian model.
I can only bring myself to give this a 7 because it is so obviously filmed on a shoestring budget, that the movie fails to be convincing. Poor and obvious back projection shots, blatant set constructions. It has all the hallmarks and feel of a Saint TV episode, which is not surprising given that almost to a man, the entire production crew that had worked on The Saint worked on this movie. In fact, had it not been for the different character name and the fact he was an Ad man, this would have made a great feature length Saint story.
The real thrill, as always is watching the great Sir Roger Moore in the lead role, However, if you want to see Moore at his best when he wasn't Ivanhoe, The Saint, Lord Brett Sinclair or James Bond, then you need to watch Moore's next movie, the darker, more serious, The Man Who Haunted Himself, made the following year. This is a great example of a TV crew on a TV budget trying to make a theatrical movie and for the most part, they succeed admirably. Very entertaining.
Enjoy!
Faux James Bond Film Gone Awry
dglink6 January 2007
A boyish pre-James-Bond Roger Moore plays advertising executive Gary Fenn in this preposterous tale about uncovering a sinister plot in London. "Crossplot," directed by Alvin Rakoff, is more 60s nostalgia than exciting movie-making. The dated costumes and hairstyles, the period dancing and songs, and the misfire mix of comedy and espionage seem like an early Bond film gone haywire. The presence of Bernard Lee, who distinguished himself as "M" in the Bond series, adds to the faux-Bond look, but adds little to the proceedings. The flimsy plot gets underway when a photograph is substituted in an advertising proposal, and Moore pursues an elusive model for his campaign. The writers were likely inhaling something stronger than Lucky Strike when they came up with this idea. Claudie Lange plays the exotic model as though she had studied under a drag queen doing Gina Lollabrigida, and she gives new meaning to wooden. Only her ample bosoms show any charisma. The scenes between her and Moore lack any chemistry, and the photo shoot destroys her supposed appeal for the advertising as she poses and grins embarrassingly for the camera. While Martha Hyer looks lovely, well coiffed, and classy as Claudie's aunt, she has little to do but make eyes at Moore and keep her hair in place.
The story wanders over London and the English countryside, but the sights offer little distraction from the nonsense. "Crossplot" does offer a pastiche of scenes culled from other, better movies. A sequence that takes place in an antique car and period costumes seems like it was lifted from "The Great Chase," but without the talent involved in that film. Like the Bond films, the villains all have lousy aim, and the mechanics of the plot when it unravels make no sense whatsoever. A helicopter chase has been included to remind viewers that "From Russia with Love" was a far better film and starred a far better actor. The scene in which Moore disrupts a wedding is more than an echo of Cary Grant's antics in the auction scene in "North by Northwest." Only die-hard fans of Roger Moore will relish this movie, although he was admittedly more appealing here than in much of his later work. Either "Crossplot" was made as an audition for Moore to play James Bond or as a tax write-off for its investors. Either way the audience suffers.
The story wanders over London and the English countryside, but the sights offer little distraction from the nonsense. "Crossplot" does offer a pastiche of scenes culled from other, better movies. A sequence that takes place in an antique car and period costumes seems like it was lifted from "The Great Chase," but without the talent involved in that film. Like the Bond films, the villains all have lousy aim, and the mechanics of the plot when it unravels make no sense whatsoever. A helicopter chase has been included to remind viewers that "From Russia with Love" was a far better film and starred a far better actor. The scene in which Moore disrupts a wedding is more than an echo of Cary Grant's antics in the auction scene in "North by Northwest." Only die-hard fans of Roger Moore will relish this movie, although he was admittedly more appealing here than in much of his later work. Either "Crossplot" was made as an audition for Moore to play James Bond or as a tax write-off for its investors. Either way the audience suffers.
Forgettable and technically sloppy but good fun for Moore fans
Marco_Trevisiol17 December 2017
Warning: Spoilers
This story of a suave ad exec (Roger Moore) getting caught up in an assassination plot never reaches great heights. As well, the film is blighted by cheap special effects, especially the regular use of obvious rear projection that makes scenes like the death of the chief villain in the action finale laughable instead of captivating.
Despite all that, the film is a fun timewaster. This is partly because the film's plot is fast-paced and inventive enough to keep one interested and the location footage of London (when they're not using rear projection) right at the end of the Swinging Sixties is fascinating to see.
But the film's main asset is Moore. While he was never perceived as a great actor, he always had plenty of charisma and charm and he utilises that to be a likable roguish hero who helps keep one interested throughout.
While no classic, 'Crossplot' is a pleasant diversion and especially interesting to see why the producers of James Bond thought Moore would be a good fit for the role.
Despite all that, the film is a fun timewaster. This is partly because the film's plot is fast-paced and inventive enough to keep one interested and the location footage of London (when they're not using rear projection) right at the end of the Swinging Sixties is fascinating to see.
But the film's main asset is Moore. While he was never perceived as a great actor, he always had plenty of charisma and charm and he utilises that to be a likable roguish hero who helps keep one interested throughout.
While no classic, 'Crossplot' is a pleasant diversion and especially interesting to see why the producers of James Bond thought Moore would be a good fit for the role.
After the Saint
Prismark1016 November 2017
Roger Moore hits the swinging 60s as Gary Fenn, an advertising executive, a Lothario and a charmer.
A promotion for a major client backfires as the photo of his model gets switched. He now has to find a Hungarian model Marla Kugash (Claudia Lange). It is all a rouse to smoke Kugash out into the open so she could be killed.
Kugash's aunt is part of a shadowy group which is out to cause riots and destabilise the existing world order so they can take over themselves. Kugash knows too much of their plans which includes assassinating a visiting African dignitary.
This spy comedy caper quickly becomes too silly. Despite some action scenes such as a helicopter chase scene, it is also rather inert. Although comparisons are made with James Bond, a role Moore would later fill, this films has more of The Avengers dash about it.
However the shenanigans between Kugash and Fenn gets tedious and the plot is convoluted. Moore does turn on his easy charm though.
A promotion for a major client backfires as the photo of his model gets switched. He now has to find a Hungarian model Marla Kugash (Claudia Lange). It is all a rouse to smoke Kugash out into the open so she could be killed.
Kugash's aunt is part of a shadowy group which is out to cause riots and destabilise the existing world order so they can take over themselves. Kugash knows too much of their plans which includes assassinating a visiting African dignitary.
This spy comedy caper quickly becomes too silly. Despite some action scenes such as a helicopter chase scene, it is also rather inert. Although comparisons are made with James Bond, a role Moore would later fill, this films has more of The Avengers dash about it.
However the shenanigans between Kugash and Fenn gets tedious and the plot is convoluted. Moore does turn on his easy charm though.
The original Austin Powers
wild-seven9 June 2006
Warning: Spoilers
Set in 1960's London and full of girls in miniskirts and hip young gunslingers who work in advertising - quicker than you can say 'Hey Swinging London!' this lighthearted romp through the world of Espionage and babes sees Roger Moore's womanising character pursuing a Hungarian model across London not realising that he isn't the only person who wants to find her. Basically an extended episode of 'The Saint' it's fun but not the kind of film you could watch too many times. The main reason I sought it out is to see a post-'Prisoner' acting performance by the late Alexis Kanner and his performance, whilst not demanding of his acting skills, is the most memorable of any of the characters. One to watch when it's shown on television late at night but don't get too excited.
Good helicopter sequence
mark-45326 April 2004
I must confess that I watched this movie with the sound down, whilst chatting on the phone, but the helicopter chase across the English countryside was fabulous.
Roger Moore was driving a vintage/veteran car across farmland, and the chopper was skimming across the wheat fields, only two or three feet from the ground.
Most impressive!
The opening of the movie was reminiscent of 28 Days later, in that there was a curiously quiet Westminster Bridge, with the Houses of Parliamnet and Big Ben in view. This was evidently very early on a midsummer morning for it to be so bereft of people and traffic, but to be so well lit.
Only watchable for the helicopter sequence, which should be a classic.
Roger Moore was driving a vintage/veteran car across farmland, and the chopper was skimming across the wheat fields, only two or three feet from the ground.
Most impressive!
The opening of the movie was reminiscent of 28 Days later, in that there was a curiously quiet Westminster Bridge, with the Houses of Parliamnet and Big Ben in view. This was evidently very early on a midsummer morning for it to be so bereft of people and traffic, but to be so well lit.
Only watchable for the helicopter sequence, which should be a classic.
Under-rated gem, especially for Roger Moore fans
barnabyrudge4 December 2002
Crossplot rattles along at a breakneck pace and is a smart, ingenious and enormously entertaining adventure film. Roger Moore is great in a pre-Bond role as an advertising executive who hires a beautiful Hungarian girl to pose for some modelling shots. What he doesn't realise is that she has eavesdropped on an assassination plot and is the target of some killers.
The film reminds me a lot of a John Buchan novel, brought up to date in the swinging sixties. Moore runs from the villains and takes every conceivable route to escape their grasp, fleeing in a classic car, deliberately causing havoc at a wedding, and finally tracking his prey to the scene of their planned atrocity. It's a fast-moving ride!
The film has never been available on video in the UK, and I'm pretty sure that it's never been released in the States. Come on guys, what are you waiting for? Get this movie released! It's a corker!
The film reminds me a lot of a John Buchan novel, brought up to date in the swinging sixties. Moore runs from the villains and takes every conceivable route to escape their grasp, fleeing in a classic car, deliberately causing havoc at a wedding, and finally tracking his prey to the scene of their planned atrocity. It's a fast-moving ride!
The film has never been available on video in the UK, and I'm pretty sure that it's never been released in the States. Come on guys, what are you waiting for? Get this movie released! It's a corker!
Moore than expected
DanTheMan2150AD20 December 2023
Following his turn as the infamous Simon Templar but before the likes of Lord Brett Sinclair and 007, Roger Moore starred in the little-known Crossplot. A hugely entertaining late 60s Bond-esque clone that plays like a feature-length ITC drama crossed with a Hitchcockian thriller even if the writing is nothing special and often exceptionally convoluted. Still, the film has an undeniable charm to its antics, largely thanks to Moore's natural panache and delightful cast; on a personal note seeing Francis Matthews in anything delights me greatly. Ripping along at a breakneck pace, Crossplot is certainly a product of its time but with noble ambitions by director Alvin Rakoff, an upbeat Barry-esque score by Stanley Black and hilarious moments of havoc, the film is a mild-mannered mini triumph from Moore's then ongoing bid to play 007.
Poopplot not else
RodrigAndrisan2 November 2016
Everything is bad in this film, from beginning to end. The music is very annoying, preferably to be seen on mute (like this at least gets a little funnier). The whole scenario is not worth a damn, it has no sense. All the actors are bad. Everything is awkward and intrusive. You want to finish as soon as possible, to look for something better to watch. When I was little, I was somewhat fascinated by Roger Moore in The Saint (it was more because of the musical theme...). As James Bond, he is the least convincing of all the actors who have played it (well, tied with Daniel Craig). Here is downright poop. There's no plot in the movie, it's an annoying waste of time. All those who have written or will write the contrary, they need injections of liquid brain.
Loved it..
lewdrum7324 July 2004
It was great to see Roger Moore in his post-Simon Templar pre-Bond role. He wasn't fighting off the guys in his usual spy-guy image. It was rather refreshing also to see him get into situations like this. Plus, the charm and beauty of Martha Hyer was always a pleasure to watch. There is a scene where he falls in the water trying to save her. Simon Templar would not put himself in such a way like that. Also when he fights off the bad guys you'll notice the sequences seem not so much as a spy-guy karate-chop image but he still ends up being the hero. There was a vulnerable side of him I enjoyed. I would also like to see this movie on video. It was on cable a couple of days ago.
An energetic but lightweight espionage caper
shakercoola24 January 2019
A British comedy spy adventure; A story about an advertising executive who hires an exotic woman to model for a campaign but she is in grave danger after overhearing details of an assassination plot, and both are forced to go on the run to avoid the killers on their trail and prevent the death of a notable African politician. While it is a markedly pale imitation of films like "North by Northwest" and "The 39 Steps" mainly due to its low budget, with Roger Moore at the helm it is engaging. The film's fast pace saves it a little because the plot is convoluted and the direction and composition is dated.
Moore's 007 audition is a corny crossword caper
Chase_Witherspoon9 March 2024
Uneven but hopelessly enjoyable espionage themed action thriller in which advertising executive Moore becomes embroiled in a bizarre assassination plot involving a food-obsessed Hungarian aspiring model.
Moore is dashing and has plenty of opportunity to flex his movie muscle after years on the small screen, sharing good chemistry with Belgian siren Lange showing she's more than an attractive handbag, with an appetite to match.
Appealing international cast includes American Martha Hyer as Moore's casual love interest and chief enabler of the conspiracy, Bernard Lee her power-hungry father whilst Dudley Sutton has a minor role early-on as a creepy stagehand. Sharp eyes might also recognise Norman Eshley ('George & Mildred') as one of the militant protestors, and Dave Prowse ('Darth Vader') in a non-speaking part playing the best man at the wedding Moore & Lange crash.
Like a bigger budgeted episode of 'The Avengers', Rackoff's action-comedy-thriller contains comic-style plot, characters, props and TV production values (e.g. Lots of acting in front a rear projection screen) that's essentially nonsense though undeniably entertaining. If it weren't for the subsequent big screen fame Moore achieved, 'Crossplot' would be a long-dismissed obscurity, and whilst its thin on details it is however providing Moore with a timely audition for the coveted 007 role he would eventually own just a few years later.
Moore is dashing and has plenty of opportunity to flex his movie muscle after years on the small screen, sharing good chemistry with Belgian siren Lange showing she's more than an attractive handbag, with an appetite to match.
Appealing international cast includes American Martha Hyer as Moore's casual love interest and chief enabler of the conspiracy, Bernard Lee her power-hungry father whilst Dudley Sutton has a minor role early-on as a creepy stagehand. Sharp eyes might also recognise Norman Eshley ('George & Mildred') as one of the militant protestors, and Dave Prowse ('Darth Vader') in a non-speaking part playing the best man at the wedding Moore & Lange crash.
Like a bigger budgeted episode of 'The Avengers', Rackoff's action-comedy-thriller contains comic-style plot, characters, props and TV production values (e.g. Lots of acting in front a rear projection screen) that's essentially nonsense though undeniably entertaining. If it weren't for the subsequent big screen fame Moore achieved, 'Crossplot' would be a long-dismissed obscurity, and whilst its thin on details it is however providing Moore with a timely audition for the coveted 007 role he would eventually own just a few years later.
forgettable escapist entertainment
myriamlenys30 December 2022
Warning: Spoilers
A man working for an ad agency discovers he's just promised the enthusiastic collaboration of a female model unknown to him. Since his job depends on the success of the proposed publicity campaign, he crosses the city trying to find her. Other people are trying to find her, too...
"Crossplot" is a mix of action/adventure and comedy. It provides proof positive of the fact that not every director wanting to become another Hitchcock is capable of doing so. In the hands of Hitchcock himself the movie might have soared to the dizzying heights of, say, a "North by Northwest". As it now stands, it isn't particularly good, although it does contain a few successful jokes. Like a recalcitrant air balloon, it fails to lift off and climb.
Many of the characters are two-dimensional cyphers whose underlying reasons and convictions never become clear. One of the characters, for instance, turns out to be a genuine aristocrat, heir to a splendid mansion. He is also politically active as a protester for peace. Sounds interesting, so tell us more, you think ; but you don't get to know the man, either as a person or as a political activist. His Lordship shows up just long enough to explain part of the intrigue and to participate in an action sequence, before receiving a bullet through the chest. Exit on a stretcher... Moreover, Roger Moore (as the ad man) and Claudie Lange (as his elusive Hungarian model) show a considerable lack of chemistry. Although both of them are remarkably handsome, they exude about as much mutual attraction as two random strangers queuing at a rainy bus stop.
You'll notice that our two protagonists aren't all that nice, either. In one scene, they find themselves in a church where a wedding is being celebrated. Wanting to escape a clutch of killers, they interrupt the proceedings by accusing the prospective groom of cheating or even bigamy. Unsurprisingly, this leads to a giant meltdown. Couldn't they have hit upon a different solution, rather than ruin the happiness of two inoffensive humans ? It seems to me that clutching one's belly and shouting "The pain, the pain ! Quick, a doctor ! I must be having an appendicitis !" might have done the trick.
Or perhaps this little episode means something different, perhaps it is a pernicious judgment delivered by the various makers of the movie : if you're beautiful you are deserving of love and companionship, if you're plain you deserve to die alone. In which case, a loud "TARARA !", like they say in my part of the world.
"Crossplot" is a mix of action/adventure and comedy. It provides proof positive of the fact that not every director wanting to become another Hitchcock is capable of doing so. In the hands of Hitchcock himself the movie might have soared to the dizzying heights of, say, a "North by Northwest". As it now stands, it isn't particularly good, although it does contain a few successful jokes. Like a recalcitrant air balloon, it fails to lift off and climb.
Many of the characters are two-dimensional cyphers whose underlying reasons and convictions never become clear. One of the characters, for instance, turns out to be a genuine aristocrat, heir to a splendid mansion. He is also politically active as a protester for peace. Sounds interesting, so tell us more, you think ; but you don't get to know the man, either as a person or as a political activist. His Lordship shows up just long enough to explain part of the intrigue and to participate in an action sequence, before receiving a bullet through the chest. Exit on a stretcher... Moreover, Roger Moore (as the ad man) and Claudie Lange (as his elusive Hungarian model) show a considerable lack of chemistry. Although both of them are remarkably handsome, they exude about as much mutual attraction as two random strangers queuing at a rainy bus stop.
You'll notice that our two protagonists aren't all that nice, either. In one scene, they find themselves in a church where a wedding is being celebrated. Wanting to escape a clutch of killers, they interrupt the proceedings by accusing the prospective groom of cheating or even bigamy. Unsurprisingly, this leads to a giant meltdown. Couldn't they have hit upon a different solution, rather than ruin the happiness of two inoffensive humans ? It seems to me that clutching one's belly and shouting "The pain, the pain ! Quick, a doctor ! I must be having an appendicitis !" might have done the trick.
Or perhaps this little episode means something different, perhaps it is a pernicious judgment delivered by the various makers of the movie : if you're beautiful you are deserving of love and companionship, if you're plain you deserve to die alone. In which case, a loud "TARARA !", like they say in my part of the world.
It all started so well
neil-douglas201019 February 2023
I take it's made after the Saint finished and a while before he got the big job as James Bond. This would then have been a good test for the letter past. Well it's got Bernard Lee in it, Ursula Howells as Maggie, a very Moneypenny type character and even an awful theme tune by John Rowles (which on second listening sounds like the theme to the Italian Job (Matt Monro). Surprisingly the first half of the film is very good, mainly because of the chemistry between Roger Moore and lead actress Claudie Lange as Marla Kogash. Things go great until the final half an hour where it gets too much like British TV shows of the time.
Missed opportunity.
Missed opportunity.
Entertaining for Roger Moore fans.
Hey_Sweden25 March 2024
Sir Roger Moore plays Gary Fenn, an ad man persuaded to hire a Hungarian model (sexy Belgian actress Claudie Lange) for an ad campaign. Unfortunately, he does not know that by bringing her into his life he's bought himself a whole lot of trouble. Nefarious types are tracking her, and Gary gets in over his head as he takes it on the lam with the woman.
Given the healthy amount of comedy in this intrigue-laden thriller, this could easily be seen as a dry-run for Sir Rogers' tenure as super-spy James Bond in the 007 franchise. That does mean, though, that people who always thought that most of Sir Rogers' Bond outings were overly silly will likely be fairly unimpressed with this one.
Just speaking personally, I found this to be a lot of fun. Sir Roger is not quite an unflappable type here, as he plays a guy out of his depth who has to keep thinking (and running) in order to stay a step ahead of the bad guys. Lange is a good match for him, and towards the end she figures in a running gag where her character is always hungry. Among other things, they will steal a vintage automobile (with activist Tarquin (Alexis Kanner) in tow), and crash a wedding.
Fast-moving and blissfully nonsensical, "Crossplot" is an enjoyable ride, complete with a jaunty score by Stanley Black, and appearances by such familiar faces as Martha Hyer, Bernard Lee (who, of course, was M in the 007 series up to and including "Moonraker"), Francis Matthews, Veronica Carlson, Norman Eshley, Michael Culver, Anthony Sharp, and David Prowse.
This doesn't appear to be that well known, but if the prospective viewer is looking for a fairly light-hearted chase thriller, then they can have a good time with this one.
Seven out of 10.
Given the healthy amount of comedy in this intrigue-laden thriller, this could easily be seen as a dry-run for Sir Rogers' tenure as super-spy James Bond in the 007 franchise. That does mean, though, that people who always thought that most of Sir Rogers' Bond outings were overly silly will likely be fairly unimpressed with this one.
Just speaking personally, I found this to be a lot of fun. Sir Roger is not quite an unflappable type here, as he plays a guy out of his depth who has to keep thinking (and running) in order to stay a step ahead of the bad guys. Lange is a good match for him, and towards the end she figures in a running gag where her character is always hungry. Among other things, they will steal a vintage automobile (with activist Tarquin (Alexis Kanner) in tow), and crash a wedding.
Fast-moving and blissfully nonsensical, "Crossplot" is an enjoyable ride, complete with a jaunty score by Stanley Black, and appearances by such familiar faces as Martha Hyer, Bernard Lee (who, of course, was M in the 007 series up to and including "Moonraker"), Francis Matthews, Veronica Carlson, Norman Eshley, Michael Culver, Anthony Sharp, and David Prowse.
This doesn't appear to be that well known, but if the prospective viewer is looking for a fairly light-hearted chase thriller, then they can have a good time with this one.
Seven out of 10.
For Roger Moore fans only.
Ffolkes-330 November 2001
'Crossplot' was Roger Moore's first attempt to return to the big screen after seven years in television as Simon Templar. Unfortunately, it all went wrong. The budget of the film proved to be much too small as for an action picture. It was also too old-fashioned and in a way too much television-like since entire crew consisted of 'The Saint' personnel. The result is a movie which today can be only suggested for Roger Moore fans. I'm one of them and so I enjoyed watching the film really much. The acting is pretty good. Moore is doing good job, trying to eliminate as many elements for which he was recognizable as the Saint as it's possible, but still it feels a lot like another 'saintly' adventure. The script is very predictable and its only great moments are when Moore is let to show his light sense of humour and prove that he does really great in such genres as for instance the 'romantic comedy'. The opening sequence (my favourite) is very much like if it was taken from all those 'lovely' Cary Grant movies from the 50s, with Moore at his best, having fun while playing a sort of a less distinguished Brett Sinclair. The film's weakness seems to be that it's not sure if it's a serious thriller, action picture or maybe a comedy. There are too many 'romantic' and 'funny' moments in it as for a true action film but on the other hand 'Crossplot's' script seems to be seriously dramatized since at least three people are to die during the film. Hm, not the best thing, but still worth seeing for Roger Moore fans.
Silly Late 60s Mod Film
RDOwens24 July 2011
This really wasn't a good movie.
Roger Moore in his pre-James Bond days, one can easily see him taking on Bond here. It is reminiscent of Pierce Brosnan waiting his turn for the role.
I've always enjoyed Moore's other roles. He was always charming. He is here too. Unfortunately, the script is weak.
There's lots of late-60s hair, fashion, and context here. For that, it is an interesting look back.
But if one is seeking high drama, a good caper, or anything particularly intelligent, this is not your movie.
Roger Moore in his pre-James Bond days, one can easily see him taking on Bond here. It is reminiscent of Pierce Brosnan waiting his turn for the role.
I've always enjoyed Moore's other roles. He was always charming. He is here too. Unfortunately, the script is weak.
There's lots of late-60s hair, fashion, and context here. For that, it is an interesting look back.
But if one is seeking high drama, a good caper, or anything particularly intelligent, this is not your movie.
An enjoyable, solid thriller, better than I expected
I_Ailurophile31 July 2022
I know the stylings here are in part typical of some British films of the 60s in the first place, and in a broader sense of Euro spy flicks. So the notable parallels to a certain prominent franchise aren't necessarily direct imitation as they are simply reflective of convention at the time. Nonetheless, the echoes are substantial. Roger Moore stars, a few years before he'd take on the part of 007; Bernard Lee appears in a small role; the major supporting part goes to a beautiful young woman. The protagonist will of course be a rascal of a playboy generally, and a bit of a creep toward that woman specifically, and their romantic entanglement is inevitable. Flashy opening credits follow a cold open, the male protagonist is abetted by an older receptionist who adores him, and the circle of intrigue in the scenario grows piece by piece. All that would be necessary to complete the effect would be if Gary Fenn's name were James Bond and he worked at MI6 instead of an ad agency. I don't think it's unreasonable to say that one can assess how much this title may appeal to them based on how much favor they give Eon Productions' body of work.
None of this is to inherently pass any judgment on 'Crossplot' merely for the similarities to other movies we've watched, but the similarities certainly catch one's eye as the plot progresses. For what it's worth, the flourishes of film-making and storytelling are toned down compared to like fare, though the narrative is no less convoluted. It's the type of story that rather requires active attention, else one is sure to miss scenes and dialogue for how quickly some of it whips by. And for all that, it's duly engaging, keeping us watching to see just where the plot is going to end up, and pretty well made in every regard. The filming locations are fantastic, and the costume design, and hair and makeup work, look really great. Scenes are a fairly even mix at one point or another between silliness that provides levity and tension and action to provide minor thrills, and in either instance they are written and executed well. The stunts we get are swell, and it's clear there was no especial concern in sparing expense to tell the story in the way it required, particularly where the livelier moments are concerned.
I'd be lying if I said I didn't have mixed expectation as I began watching, but for whatever shortcomings, indelicacies, or outright flaws one may perceive, more so than not this is quite enjoyable. Stanley Black's score is strong and suitably varied, helping to carry the mood in any scene, and Alvin Rakoff's direction is sturdy. Moore turns in a fine performance as the lead, precipitating his best known part to come, and though relegated to second fiddle, Claudie Lange's acting as Maria is more than sufficient for the material she's given. On a side note, as a big fan of 1983's 'Krull,' it's a delight to see David Battley in a tiny part as a bridegroom. The cast at large are solid in helping to realize the tale. And while there perhaps isn't anything about 'Crossplot' so unique and essential as do demand viewership, when all is said and done it really is very entertaining, and Leigh Vance and John Kruse's screenplay quite robust.
Aside from some tired conventions of the genre (e.g. The womanizing), nothing specific really stands out as being a major weakness. It's worth noting a few instances of blue screen, at the climax not least of all, that are rather glaring, but this is just a limitation of capabilities at the time. As a matter of personal preference this won't appeal to everyone, and anyone who doesn't like the James Bond movies or their ilk will find nothing here to change their mind. On the other hand, the greatest indulgences of more renowned features are subdued in favor of more mindfully penned narrative, and by that measure maybe this could find broader favor after all. Ultimately 'Crossplot' is maybe not something you need to go out of your way to see, but if you have the chance to watch it, it's a fun thriller that stands up pretty well next to its cousins.
None of this is to inherently pass any judgment on 'Crossplot' merely for the similarities to other movies we've watched, but the similarities certainly catch one's eye as the plot progresses. For what it's worth, the flourishes of film-making and storytelling are toned down compared to like fare, though the narrative is no less convoluted. It's the type of story that rather requires active attention, else one is sure to miss scenes and dialogue for how quickly some of it whips by. And for all that, it's duly engaging, keeping us watching to see just where the plot is going to end up, and pretty well made in every regard. The filming locations are fantastic, and the costume design, and hair and makeup work, look really great. Scenes are a fairly even mix at one point or another between silliness that provides levity and tension and action to provide minor thrills, and in either instance they are written and executed well. The stunts we get are swell, and it's clear there was no especial concern in sparing expense to tell the story in the way it required, particularly where the livelier moments are concerned.
I'd be lying if I said I didn't have mixed expectation as I began watching, but for whatever shortcomings, indelicacies, or outright flaws one may perceive, more so than not this is quite enjoyable. Stanley Black's score is strong and suitably varied, helping to carry the mood in any scene, and Alvin Rakoff's direction is sturdy. Moore turns in a fine performance as the lead, precipitating his best known part to come, and though relegated to second fiddle, Claudie Lange's acting as Maria is more than sufficient for the material she's given. On a side note, as a big fan of 1983's 'Krull,' it's a delight to see David Battley in a tiny part as a bridegroom. The cast at large are solid in helping to realize the tale. And while there perhaps isn't anything about 'Crossplot' so unique and essential as do demand viewership, when all is said and done it really is very entertaining, and Leigh Vance and John Kruse's screenplay quite robust.
Aside from some tired conventions of the genre (e.g. The womanizing), nothing specific really stands out as being a major weakness. It's worth noting a few instances of blue screen, at the climax not least of all, that are rather glaring, but this is just a limitation of capabilities at the time. As a matter of personal preference this won't appeal to everyone, and anyone who doesn't like the James Bond movies or their ilk will find nothing here to change their mind. On the other hand, the greatest indulgences of more renowned features are subdued in favor of more mindfully penned narrative, and by that measure maybe this could find broader favor after all. Ultimately 'Crossplot' is maybe not something you need to go out of your way to see, but if you have the chance to watch it, it's a fun thriller that stands up pretty well next to its cousins.
See also
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