1970 was about the time that spy movies became nonsense, as this one shows.
Nonsense was in earlier movies. A lot of noir movies were based on this. No plot, no motivation, no story, just one liners and writers contriving excuses to kill people in a movie for no reason, and then claim there was a reason.
That's pretty much what happens in this spy movie. George Peppard suspects the husband of a girl he loves to be a spy. We have no idea why, and we have no idea why the characters in the spy ring do what they do. Merely for effect. Once you get past this, that the plot doesn't exist and there is no motivation, the rest is easier to watch.
It is full of almost every spy cliché there is, and these were already clichés well before 1970.
The "personal" motivations of private lives plays out better than the "plot" angle, and that's what you would watch this one for.
Nonsense was in earlier movies. A lot of noir movies were based on this. No plot, no motivation, no story, just one liners and writers contriving excuses to kill people in a movie for no reason, and then claim there was a reason.
That's pretty much what happens in this spy movie. George Peppard suspects the husband of a girl he loves to be a spy. We have no idea why, and we have no idea why the characters in the spy ring do what they do. Merely for effect. Once you get past this, that the plot doesn't exist and there is no motivation, the rest is easier to watch.
It is full of almost every spy cliché there is, and these were already clichés well before 1970.
The "personal" motivations of private lives plays out better than the "plot" angle, and that's what you would watch this one for.