Quickie producer Harry Alan Towers had a set routine when making films in the 1960s: he'd assemble an all-star cast, whisk them off to an exotic (typically hot) location and proceed to film a sub-par story designed to make maximum use of the familiar faces he'd gathered together. Such films are invariably disappointing, although film fans will probably want to watch them for the casts alone.OUR MAN IN MARRAKESH is a case in point, a quirky caper that mixes together three different genres. The first is a spy flick, with the rubber-face Tony Randall playing a man mixed up with scheming villains and beautiful femme fatales (Senta Berger). The second is a Hitchcock 'wrong man' thriller, with plenty of nods to the director's output a la THE MAN WHO KNEW TOO MUCH. Finally, Towers can't resist adding a little 'whodunit' aspect to make the most of his famous cast members, although technically this is more of a 'who is it' as identity plays a key part.Inevitably the script is disappointing and the various action sequences are routine to say the least, but the cast members make this worthwhile. Herbert Lom is the villain and Klaus Kinski his creepy henchman; also along for the ride are an out-of-place Wilfrid Hyde-White, Terry-Thomas, and John Le Mesurier, their upper lips stiff and quivering with indignation. OUR MAN IN MARRAKESH isn't particularly bad - although the comedy has certainly dated - but in comparison to Bond or Hitch it just looks dumb.

British-made film (released under a variety of different titles around the world) involves Tony Randall as an American hotel-builder, newly-arrived in Morocco, who becomes involved in a $2M plot to change votes at the United Nations. Despite poster art designed to look like a spy spoof (with Randall an unlikely substitute for James Bond), this minor, droll offering is more in keeping with the latter-day Hitchcock films ("North by Northwest", in particular), with the dryly-resolved star getting deeper into hot water with every plot turn. Senta Berger is a very attractive mystery woman, and she matches up surprisingly well with Randall (grounded and more affable than usual), but the supporting cast of old pros is never given anything especially exciting to do. Director Don Sharp, working from a wayward, rudderless screenplay by Peter Yeldham, does some keen work, yet the finale is confusing instead of suspenseful, and the overall air of familiarity is wearing. ** from ****

Local crime boss Mr. Casmir (Herbert Lom) has a briefcase full of important documents to sell. He has an appointment with an unknown courier fresh to Marrakesh carrying $2 million. But which of the six seemingly innocent travelers/vacationers is the courier? When American Andrew Jessel (Tony Randall) stumbles upon a dead body in the closet of his hotel room, he gets mixed up in more intrigue than he bargained for. Jessel joins forces with the beautiful Kyra Stanovy (Senta Berger), a woman who seems incapable of telling the truth, just to survive his holiday in Marrakesh.Our Man in Marrakesh is a highly enjoyable Euro-spy film mixed with copious amounts of comedy. I mean how can you take things too seriously when your action hero is Tony Randall? Yes that Tony Randall. Not really a he-man or anyone's idea of a spy, huh? But that's part of what makes Our Man in Marrakesh so much fun. Randall plays against type and does so brilliantly. His fish-out-of-water, put-upon nature is perfect for the role of Jessel. One of my favorite lines comes as Jessel discovers the dead body in the closet and proclaims, "I think there's been some foul play." Funny stuff! Randall is joined by one of those all-star casts that, in this case, actually works. Senta Berger, Herbert Lom, Euro-spy fav Margaret Lee, bad guy Klaus Kinski, the always funny Terry-Thomas, and Wilfrid Hyde-White add their considerable talents to the film. Sometimes when you put together one of these casts, things don't gel the way they should. Not here. Everyone comes out looking good. My only complaint is that I would have liked to have seen more from Lee and Kinski. But, then again, you can't have everything. Other big pluses from Our Man in Marrakesh include: a well-written, witty script that, fortunately, does not resort to slap stick for its humor; snappy, well-paced direction from Don Sharp; and terrific Moroccan locations. Overall, it's a wonderfully entertaining romp. An 8/10 from me.

BANG BANG YOU'RE DEAD aka Our Man In Marrakesh seems a low budget homage to the talents of director Alfred Hitchcock and actor Cary Grant. Imagine, if you will, a blending of THE MAN WHO KNEW TOO MUCH and NORTH BY NORTHWEST, and you might have BANG BANG.Tony Randall is very appealing as the much harried, put upon innocent who is caught up in a series of misadventures (his character Jessel actually says something like "We're suspected of being murderers, and we're being chased by murderers"). Randall is certainly not someone you would cast as the romantic lead, but you can readily accept that he and Senta Berger will become lovers.Ms Berger's characters is very fond and adept at telling lies, and shaping the truth as she sees fit. She does it well, and is charming, and everyone likes her, not least the wily Arab truck driver Achmed (Gregoire Aslan), who twice saves the couple.I had mistaken Margaret Lee for another Italian starlet but apparently she was born in Wolverhampton, England in 1943. She plays the sex kitten very well, and again, has some good lines.The script is actually very good, the dialogue especially, with more memorable lines than I expected. The line-up of character actors is also fine, though Klaus Kinski's thug is nowhere as effective as the one he displayed in GRAND SLAM.Locations are well chosen, the action good for its day, and the music by Malcolm Lockyer (someone who doesn't seem to have worked much in film) catches the flavour of Marrakesh, Morocco.All in all, highly recommended (If you can find it!)