User reviews

This film is an enjoyable enough lightweight romp, with an array of locations and actors that is perhaps excessive.

Oliver Reed is suavely bucaneering as the main protaganist, while the other main star, Diana Rigg of Avengers fame, does a very well-judged comic performance as the feminist journalist in 1910. It's a shame she didn't appear in more films. No other actors get much of a chance to shine, as there are far too many minor characters.

The writing is OK; you get the feeling that there should be more laughs than there are. Still, it's an enjoyable enough way to spend an hour and a half.

Rating:- *** (out of *****)

Back in the mid-'60s, Diana Rigg was probably responsible for jump-starting the puberties of millions of baby boomer boys, thanks to her portrayal of Emma Peel in the hit BBC program "The Avengers." At any rate, along with Anne Francis' turn on "Honey West" and just about every woman in the first five Bond movies, she was certainly responsible for jump-starting mine, and I love watching her in anything she does even today, almost 40 years later. (Seeing her "Medea" on Broadway in 1994 was especially satisfying.) In "The Assassination Bureau" (1969), Diana plays a British (natch) freelance reporter in turn-of-the-century London who infiltrates Oliver Reed's titular organization (a sort of political Murder Inc.) and hires him to put a hit on...himself! Thus starts a series of wild and woolly escapades, as Reed races all over Europe trying to kill his organization's principals, before they can do away with him. We get tongue-in-cheek episodes (filmed all over Europe, and with lavish production values) involving a Parisian brothel, a Swiss bank, the beer halls of Vienna and the canals of Venice, all culminating in a fierce, exciting battle on an airborne, primitive zeppelin, with the fate of the Continent hanging in the balance. The film moves along very briskly and is quite entertaining, and Curt Jergens and Telly Savalas (who starred with Rigg that same year in "On Her Majesty's Secret Service") add delicious supporting performances. Diana, need I say, looks absolutely gorgeous, especially when shown in those frilly undergarment and bathtub scenes. Featuring a literate, witty script and consistently amusing and inventive situations, "The Assassination Bureau" is a real treat indeed. And Diana Rigg's exquisite presence is the yummy icing on an already tasty cake.

Jack London was a phenomenal writer, who came up from poverty and turned out some amazing books. These include (but are not limited to) THE SEA WOLF, WHITE FANG, THE CALL OF THE WILD. London is usually brushed aside today as a "kids" author. The same idiocy that relegates Jules Verne to be a writer for children and ignores his savage comments on politics affects London. After you are encouraged (about eighth grade) to read THE CALL OF THE WILD, you are told that London is always writing about man and animals in Alaska in the Gold Rush of 1898, with an occasional look at an exciting sea story.

Actually he's sharper than that: THE CALL OF THE WILD and WHITE FANG were his attempts to tell a story from an animals' point of view. THE SEA WOLF is his attempt to attack the prevalent socio-economic doctrine of the day (1900): Social Darwinism, as practiced by Captain Wolf Larsen. He wrote one of the first good novels about America under a dictatorship: THE IRON HEEL. He discussed his early life in MARTIN EDEN. He discussed his alcoholism in his book JOHN BARLEYCORN. He was the first American novelist of real international stature to embrace socialism! A reporter as well as writer, his experiences watching the Japanese government prevent him from carrying out his job during the Russo - Japanese War turned him into a perpetually hostile critic of Japan's goals in the Pacific (although, to be fair to the Japanese, London did show some racism here).

Keeping this in mind, one realizes that THE ASSASSINATION BUREAU, LTD. has to be tackled differently from say THE CALL OF THE WILD or the short story TO BUILD A FIRE. London is looking with jaundice eye at the political system that had ruled Europe (and most of the world) since 1815 or so. It was oppressive and uneven, and even in the United States (probably the best major power to live in in terms of opportunity and social mobility) it was still badly flawed.

Assassination had become a serious tool for trying to influence European affairs from 1881 to 1910 (when the novel was begun by London). Tsar Alexander II of Russia was blown to bits in 1881 by a Nihilist group called "The People's Will". Although it was captured and most of its members hanged, others copied it. Assassinations continued in Russia up to 1911 including Interior Grand Duke Serge in 1904,Minister Von Phleve in 1905, and Prime Minister Peter Stolypin in 1911. Elsewhere the other states suffered. Presidents Garfield and McKinley were assassinated in 1881 and 1901 (the latter by a self-proclaimed anarchist). President Sadi Carnot of France was stabbed to death in a public parade in 1894, in the middle of a series of anarchist attacks (including a bombing at the Chambre of Deputies). Empress Elisabeth of Austria-Hungary, King Umberto I of Italy, the Prime Minister of Spain, King Carlos III of Portugal, were all killed. So were Lord Frederick Cavendish and Thomas Burke by Irish nationalists in Phoenix Park in 1882. Many smaller public figures were killed as well. The topic of an "assassination bureau" was timely - especially as some of these victims fit what the bureau decided: were the targets worthy of being assassinated.

Of course not all of them were (Empress Elisabeth for example). But London's vision was not totally flawed. It was just that being a realist he knew that the "pure" idea of the bureau would be corrupted sooner or later. So his plot involves the head of this international bureau being offered a huge reward if he orders his own assassination. Note that Oliver Reed's character is a Russian, as though the author knew who was most likely to be the head of an assassination group.

Probably due to other commitments London never finished the novel. Robert L. Fish, a successful mystery novelist, wrote a completion which was rather amusing. I tend to believe that was an error - London was seldom an amusing writer. The film treats the moral issue as a joke, and uses the characters as caricatures of the nations they represent (the doleful Russian, the gluttonous and sexually active Italian, the pragmatic Frenchmen who runs a bordello too, the English newspaper tycoon). These characters need good performers, and Philippe Noiret is on target as the bordello owner/assassin leader); and (although not Italian) Clive Revill is quite good as the Italian. The Russian (it's not Reed) is doleful, but hardly memorable. As for Lord Bostwick, Telly Savalas is not convincing as an English aristocrat (one can't even imagine him as a Canadian transplant to England, like Spencer Tracy in EDWARD, MY SON). Curt Jurgens' German assassination leader, General Von Pinck (the name suggested, perhaps, by his handiness with a sword) is either sadistically high-spirited or vicious: no other characteristics there.

Diana Rigg, as the budding journalist who's first job is actually as a cats-paw for Savalas (her boss) is pretty good, but her performance as Vincent Price's daughter in THEATRE OF BLOOD was livelier. She seems determined to maintain her suffragette style dignity here no matter what. However it happens to work for the film. As for Reed, his straight villains were usually far better than his heroes. He appears to be too laid back at times. A bit more jittery behavior would have been better.

One final point: One minor character, an Austrian nobleman marked for death, is killed when he cuts into a large knock-wurst (that has a bomb in it). This gag probably is not original but it was reused in the television movie MORE WILD WILD WEST with Jonathan Winters as the victim.

After reading the other comments here, I wonder if these folks saw the same movie. This film is a lot of fun, a touch on the slap-stick side and it isn't supposed to be Bond OR the Pink Panther. Maybe the problem is generational??? Those of us who grew up in the far away and ancient times learned that there didn't have to be an action sequence every thirty seconds, lots of overt sex and toilet humor. These things are what seem to "make" a movie today and it's why a lot of people of my generation a) don't go to a lot of films today and b) really worry about the ones who think the named qualities are what make a movie "good". Oh, well. Every generation has to grow up. When they do, maybe they will find that The Assassination Bureau really is the laugh riot while The American Pies and What About Marys are noted to be rather--well--gross.

In the Sixties English actor Patrick MacNee successfully played male lead John Steed in the Avengers TV-series. During these years MacNee had a number of successive female partners, of whom Diana Rigg became by far the most famous.

Even more so, Rigg's acting provided the Avengers with immortality. In particular in 1965, when this TV-series were at their most inspirational.

Diana Rigg also stars in 'The Assassination Bureau', more or less copying her famous Avengers-role of Emma Peel. 'Assassination' itself also shows great similarities with the great TV-series: bizarre, with a surrealistic touch. Humorous. Quite a speedy plot, with sharp turns. Dealing with ingenious crime, and using a fair amount of violence.

The differences with the Avengers are only minor: MacNee is replaced by Oliver Reed, and 'Assassination' is set in the past. In the turbulent year of 1914, to be precise

'The Assassination Bureau' makes a good and enjoyable watch. Which is no wonder, for it cashes in on the Avengers-success. Copying its formula, and using Diana Rigg as a prime asset to do so.

In turn of the century London, a female journalist (Diana Rigg) pays for an assasination organisation to assassinate their own leader (Oliver Reed) whom she eventually falls in love with. He in turn bumps off any of his assailants.

Produced and co-written by Michael Relph, this zany big budget comedy is very much of its time with a dark himour that doesn't quite pay off; the comedy is not sharp enough to have a broad appeal or even provide many laughs, but is a fast moving, colourful film (shot by Geoffrey Unsworth) that has plenty to look at.

I was watching TV and I caught the beginning of this film. I said "Why not?", considering the other choices were gossiping shows. And I don't regret that.

The movie revolves around an aspirant to journalist who looks forward to get big news to finally allow women to have their place in press. Note that it's Europe pre-1st WW. After some apparently unconnected murders, she finds the common pattern, and ends up meeting with the group in charge of it: The Assassination Bureau. He meets its chairman, Ivan Dragomilov, and offers 20 thousand pounds sterling to kill... Ivan Dragomilov. Instead of taking it as a joke, Ivan agrees to the proposition, and sets all his men to hunt himself. They will kill him, or he will kill them. Meanwhile, the aspirant to journalist is sent to follow Dragomilov by her boss, who turns out to be the vice-president of TAB, who wants the big chair for him.

Oliver Reed plays Dragomilov, a rather arrogant and self-confident guy, and he is convincing and hilarious. He should have had a chance as James BOnd (rather than Lazenby...). Diana RIgg plays the journalist (Miss WInter, to the point I recall). She's a tough female, reluctant to show her physical attributes. Some sort of Miss Emma Peel but without leather. The rest of the cast is as good.

I think the key of this film is that they don't take themselves too seriously. Of perhaps they did, but looking back now it seems silly. It's an interesting movie that must be remade, with someone like Jude Law or Colin Farrell playing Dragomilov, and some pretty Brit girl (Saffron Burrows?) as the journalist. Trust me, it's better than watching some of the dreadful recent films that have come out.

7/10

If the awestruck viewer of this lovely, spacious-looking and delightful satire can get past the multiple locales, the elaborate and often-sumptuous style and the sheer colorfulness of the goings-on, there is a solid and interesting plot line under propping the entire gorgeous edifice. Behind the overwhelming "stylishness" that first greets the eyes, and it is a wonderfully varied and colorful production, Jack London's fascinating story of the "assassination bureau" has been updated by writer Robert L. Fish to be an "ethical" idea gone wrong. The basic premise is that the pragmatic and cynical end of the 19th Century with its pseudo-Christian thug-like monarchs, dynasts and empire-builders was unjust to individual victims. because this situation led some to wish the worst offenders removed from their tyrannies and interferences, Ivan Dragomilov's father created the Assassination Baureau, Ltd. However, an instrument designed to remove the worst offending baddies from an imperfect world has now become a murder-for-hire problem. Enter Diana Rigg, who finds out how to hire the Bureau to take a contract on--Ivan Dragomilov, played intelligently by Oliver reed. He accepts the contract, recognizing what his father's "noble instrument" has been allowed to become. The remainder of the film's scenes then feature a long and fascinatingly funny duel between Rigg and Oliver and the bureau's chiefs, against whom Reed has declared war. These stalwarts include stalwarts such as the great Curt Jurgens in Germany, Cilve Revill in Italy, Telly Savals in London and others in Paris and elsewhere. Sweeping scenes such as the French bordello scenes, the German Restaurant duel, the hilarious Italian caper, the flaming-lighter escape on the train trick and others lead to the climactic race to save London from Savalas's explosive plot. The lovely mounting of the production is highlighted by Basil Dearden's wonderful ability with actors, blocking, and camera-work, Art Director Michael Relph's award-level contributions, magnificent costumes luminous lighting and many other achievements. Many other actors including Beryl Reed, Philippe Noiret and pretty Annabella Incontrera contributed; Ron Grainer's music is a great asset also. But I believe what sets this satirical thriller apart is its realistic ethical dimension; the fact that the Age of Empire was an age of evil governments and unethical pretensions by state tsars has not even now been recognized. This long and intensely-diverting film is a beautiful-polished needle that pricks a much-needed hole in the gasbag of public-interest-tyranny's post modernistic pretensions. It is a film that deserves to be laughed with, applauded and considered carefully for its positive sense-of-life and all-around sparkling wit, dialogue and spirit of adventurous fun.

Diana Rigg plays Sonya Winter, a journalist with an agenda in the early 20th century who contacts the title murder-for-hire organization, wanting someone dead. The young boss (Oliver Reed) is initially aghast when she reveals that it is HE whom she wants dead, but his shock turns to intrigue when he realizes that a good cat-and-mouse game between him and his associates could be good for weeding out the incompetents. Then he learns that some of his associates are interested in politically motivated crimes.

Designed, produced, and scripted by Michael Relph, based on an idea in a novel began by Jack London and finished by Robert L. Fish, "The Assassination Bureau" is an agreeably daft time waster. It has a great, classic sense of farce for a while, and is quite lively and humorous at first. Only in the second half does it lose some momentum and get more bogged down in plot.

But this has such an engaging, eclectic international cast that it ends up as a very watchable bit of nonsense. It's a treat to see Reed give such a *fun* performance, and Rigg is his match as the feisty woman who's gotten in over her head. Also making appearances are Telly Savalas, Curd Jurgens, Philippe Noiret, Warren Mitchell, Beryl Reid, Clive Revill, Vernon Dobtcheff, Annabella Incontrera, Kenneth Griffith, Jess Conrad, and George Coulouris.

This *does* have a gleefully unpredictable quality, with Reeds' swashbuckling protagonist often unflappable in the face of danger.

"The Assassination Bureau" might be too silly for some folks, but I had a pretty good time with it. Yes, it's lightweight and forgettable in the end, and goes on a bit long, but is overall a genially tongue-in-cheek affair, and must viewing for fans of Rigg & Reed.

Seven out of 10.

To enjoy and even admire this period piece, set just before the industrial revolution of the 20th century, one has to understand what it is. It's certainly not a parody of James Bond or some off cue thriller; it's high comedy, a farce of magnificent proportions, aided & abetted by fine action. You have to get in on the joke with Oliver Reed, Diana Rigg, Telly Savalas and the rest, all obviously enjoying themselves, but not at our expense. Let them amuse you and bemuse you, and you'll have a grand time. By this point, over 35 years after this was filmed, it may be difficult for younger viewers to follow along with Reed and realize when he is winking at them during one of his outrageous pronouncements. He's the head of the organization of the title - it is what you think it is, no pretensions there - its business is killing people, for money. But that is about the only thing which is up front in this picture. Everyone is not who they seem to be, usually having a decent public face and the secret hidden one - the one catering to the less moral side of all of us.

This is probably my favorite Oliver Reed performance. He grabs the role of the debonair gentleman assassin and turns it into uniquely his own. Some of his dry line delivery, particularly when sparring with Rigg, is priceless; my favorite is when they meet and she informs him who she wants killed; he soon demands her reasons, yelling "Is That it? Is That It!?!" Later in the film, she calls him annoying. "I have been told that," he replies, but never have we heard the line spoken that way. He needs to carry the picture, outsmarting and fooling all the other sneaky assassins out for his blood with disguises, role-playing and careless bravado. This is where the picture really shifts into high gear, turning into a duel among a group of master killers who, luckily, do not yet have the advantages of 20th century weaponry. The supporting cast are all terrific, including Savalas as Reed's main nemesis, Jurgens as a German general and Noiret who, besides being an assassin, also runs a brothel (no limits to the French).

The script and dialog are continually witty throughout, many of the lines classic and too numerous to mention here. Again, some of this may be lost on anyone under 30 years old; in a way, this brand of humor can now be termed sophisticated - no gross bodily function joking. It does revolve around death, so a kind of dark farce results, of course - yet it's not morbid. That's probably because most of the victims deserve their ends as presented here; they made their beds, as it were. The dialog is complemented by inventive turns in the plot; there's actually quite a bit of suspense as the story turns & twists here and there, especially during the sequence in Venice, where the order of characters being killed is not as expected. The finale is also suspenseful - you may wonder how Reed will pull it off, stopping an entire zeppelin and its crew. And please keep in mind the special FX are over 35 years old, as well. Just glorious stuff.

This "Yuck It Up" Comedy was Released in 1969 just a Year After the 4th Assassination in 5 Years in America...

On November 22, 1963, President, John F. Kennedy was assassinated.

Robert F. Kennedy's was shot and killed by assassination on June 6, 1968.

On April 4, 1968, civil rights leader Dr. Martin Luther King Jr. Was hit and killed by an assassin's bullet.

Malcom X...was Assassinated on Feb. 21, 1965.

The 4 Assassinations of the Political Leaders Caused Trauma Among the Populace that was and is Incalculable.

So Let's All Have a Satirical Big Laugh.

Timing is Everything You See.

It's Hard to Believe Anyone, Film-Makers of Film-Fans Wanted to have a Good Time in the Theatre with the Subject of Assassinations.

To Add Insult to Injury You would be Hard-Pressed to Find this Observational Criticism Anywhere...Then or Now.

The Movie was a Mega-Budgeted, All-Star Production, that has some Eye-Popping Visuals and a Few Jokes.

If You can Forgive its Bad-Taste in Timing and its Insensitivity to World Events, and All is Forgiven the Shame...it can be...

Worth a Watch.

This is the kind of movie made with care and respect for the audience:lavish sets,dazzling costumes,and a very attractive cast including Diana Rigg,Telly Savalas -both teamed for "on her majesty's secret service" the same year-,Philippe Noiret,Curd Jurgens and the sadly missed Oliver Reed.

The screenplay is often full of wit and humor,with such lines as "if there's a war,people will kill each others for a penny,and we will have to shut up shop (our "assassination bureau").Actually the whole movie is a long chase through a chocolate-box Europa with a lot of traps,bombs and disguises.Diana Rigg's appearances run the whole gamut from a Victorian prude resembling Mary Poppins to a femme fatale,from a widow in deep mourning to a nun,she's astonishing.So does (and is )Oliver Reed,who plays some British Arsène Lupin.History is given a rough ride when Francis-Ferdinand is murdered in Vienna (instead of Sarajevo) but who cares?

Best scene:Diana Rigg is alone in her hotel bedroom in Venice,Italy:she can hear a ticking.No,it's not the clock.So she rushes into her bathroom where a tap(faucet) is dripping.But when it's closed,the noise still remains.Is-it a bomb? .The brothel scene where Rigg is mistaken for a hooker is also great fun!

Two movies made in the seventies might have been influenced by Basil Dearden's amusing comedy:Douglas's Hickox's "theater of blood" (1973) also starring Rigg- a treat that should not be missed-and Ted Kotcheff's "who's killing the great chefs of Europe?" (1978)-Jacqueline Bisset cooks a bombe glacée here-.The people who liked this movie could do worse than picking those delightful black comedies.

Oliver Reed (Oliver, the movie) and Diana Rigg (The Avengers, television series) star in this period off-beat, comedic action thriller with Reed as chairman of a company that specializes in murder for pay. This by now dated movie includes the typical comedic pranks of the period that Peter Sellers (The Pink Panther, 1968) excelled at. The action and pacing is uneven at best falling below the more engaging comedic action of James Coburn (Our Man Flint, 1966) or even the more sophisticated and memorial performance of Diana Rigg herself in James Bond's On Her Majesty's Secret Service released the same year as The Assassination Bureau. With some semblance of a plot and periodic humorous scenes, the movie is bearable if not memorable by today's standards.

For the first three-quarters of an hour, director Basil Dearden's "The Assassination Bureau" is a delight: a droll, funny, casually outrageous comedy that finally gets too ambitious for its own good. "Suggested by" Jack London's unfinished (and serious) novel, UK film features solid performances from its comic cast, plus an excellent one by Diana Rigg (doing a Julie Andrews, and doing her well). In 1908 London, headstrong women's libber wants to break the men-only code of ethics for publications and write a story about a secret sect of assassins who kill for hire. Not only she does infiltrate the Bureau as a perspective client, she hires them to eliminate their own leader for £20,000! Rigg and Oliver Reed play off each other marvelously, and Telly Savalas is a great cackling adversary, but the final section of the movie becomes more adventure-oriented (a disappointment since Rigg gets lost in the action, the pilot of a Zeppelin is left expendable, and the film's budget apparently wasn't big enough to deliver the top-notch visual effects needed to make the climax a success). Still good fun, however, with one classic, well-staged sequence wherein Rigg searches for a ticking time bomb in her hotel room. **1/2 from ****

"The Assassination Bureau," directed by Basil Dearden in 1969, is an intriguing yet flawed blend of espionage, dark comedy, and period drama set in the early 20th century. The film revolves around a secret organization that orchestrates assassinations for a fee, led by the charismatic and enigmatic Ivan Dragomiloff, portrayed by Oliver Reed. When a young journalist, played by Diana Rigg, challenges the Bureau to assassinate its own leader, a thrilling and comedic chase ensues across Europe.

One of the film's strengths lies in its visual and thematic style. The production design captures the opulent and intricate details of the Edwardian era, immersing viewers in a world of lavish costumes, grand mansions, and decadent social gatherings. The cinematography is vibrant, with striking compositions and a keen eye for the period's aesthetic. These visual elements, combined with a playful musical score by Ron Grainer, give the film an air of sophistication and charm.

Oliver Reed's performance as Dragomiloff is magnetic, showcasing his talent for blending menace with charisma. Reed's portrayal brings a complex depth to the character, making him both likable and morally ambiguous. Diana Rigg's journalist, Sonia Winter, is a spirited and determined foil to Dragomiloff, and their chemistry provides a compelling dynamic that drives much of the film's narrative tension.

However, "The Assassination Bureau" is not without its shortcomings. The film's pacing is uneven, with certain scenes dragging on longer than necessary, which detracts from the overall momentum. While the screenplay, adapted from Jack London's unfinished novel, contains moments of sharp wit and clever dialogue, it occasionally struggles to balance the tonal shifts between comedy and suspense. This tonal inconsistency can leave viewers unsure of whether they are watching a satire, a thriller, or a straightforward adventure.

The supporting cast delivers commendable performances, particularly Telly Savalas as the duplicitous Lord Bostwick. Yet, some characters are underdeveloped, serving more as plot devices than fully realized individuals. This lack of depth in secondary characters can make certain plot twists feel forced rather than organic.

One standout sequence involves an elaborate assassination attempt at a high-society dinner party, showcasing Dearden's skill in orchestrating suspenseful and visually engaging set pieces. The film shines in these moments, where the stakes are high, and the blend of humor and danger is most effective.

Despite its flaws, "The Assassination Bureau" offers an entertaining experience, especially for fans of period dramas and dark comedies. Its unique premise and strong performances, particularly from Reed and Rigg, make it a film worth watching, even if it doesn't fully realize its potential. The film's critique of moral hypocrisy and the nature of power adds an intriguing layer to the narrative, inviting viewers to ponder deeper questions amid the spectacle.

In conclusion, "The Assassination Bureau" is a film of contrasts: visually stunning but unevenly paced, sharply written but tonally inconsistent. It earns a solid 6 out of 10, standing out as a curious and entertaining relic of 1960s British cinema. While it may not be a masterpiece, it offers enough wit, charm, and intrigue to engage audiences looking for a stylish and slightly offbeat adventure.

This charming film, made when Oliver Reed and Diana Rigg were at the height of their appeal, is what they used to call a "romp", when it wasn't considered to be a putdown. Reed, as Ivan, born and bred to lead an international group of highly-placed assassins, is hired by would-be reporter Sonia (Rigg) to have his group kill him, and realizing that his house badly needs some cleaning out, Ivan accepts the commission. The rest is a whirlwind tour of Europe, taking out substantial portions of the terrain as they go, avoiding bungled attempts on his life as he tries to track down the traitors who would turn the Bureau into a political machine. The dialogue is refreshingly devoid of political correctness, but maintains a firm respect between the unlikely couple as they go from bickering rivalry to bickering fondness. Guest villains include Clive Revill as a gluttonous Italian, and sad stories include the accidental demise of Roger Delgado (Dr. Who, the first Master) while on location. Much worth the time and effort, although sadly almost never seen on TV, and abysmally represented in video release.

This is a film, which in other hands could've been a lot better. The 3 leads, Reed, Rigg and Savalas are ok, it's the plot which is the problem. Filmed like a collection of scenes rather than a cohesive movie is a mistake when the film itself doesn't flow. Certainly due for a remake and in the right hands would make for an interesting piece.

I've tried to watch this film three times and each time I've either fallen asleep or given up. It's a typical example of the late 60's fashion for 'zany', bombastic comedy with bombs, over-the-top characters and lots of rushing around Europe. Crammed with stars of the period (as if it helps), it feels heavy, creaky and stodgy. And dare I say that although Diana Rigg is very pretty and was just the right choice for The Avengers, she really isn't in the feature-film class. If there really, really isn't anything else on TV and you need something to help the wine go down this might fit the bill, but it's not exactly enthralling.

The film is done with a loopy goofy comic style very akin to live theatre with winking and mugging to the camera to make sure that the audience gets the conceit beneath the story. There is a nice moment when the Madame of a brothel welcomes Dragomiloff in disguise as a new client when she says "You'll be one of our best known unknown visitors". It is the ideas at work to center the film that gives it its appeal but this doesn't really allow a movie like this to succeed, which is probably why the producers applied such an artificial style. The flow of ideas is likely to leave the average viewer a little fuzzy-minded (I found myself losing consciousness from time to time), but the payoff is a well-done comic finale in a zeppelin, and a happy ending with love triumphing over all.

This is one of the feature productions Diana Rigg did after her successful run as Emma Peel on the very popular British TV show "The Avengers", although it is not one of her best. Rigg is still funny in episodes of Ricky Gervais's "Extras" and her tongue-in-cheek performance of the leather clad secret agent on British TV is probably what everyone remembers her best for. Rigg was not the best dramatic actress and her best roles are stagy character types like Edwina Lionheart in Theater of Blood, and as Lady Holiday in The Great Muppet Caper.

Perhaps it's the effect of vibrations from all the bombs in the story, but the intended comic souffle of `The Assassination Bureau' never rises beyond mild amusement. While the movie doesn't crash and burn, it also doesn't take full advantage of the ingredients at hand, including a story co-written by Jack London. In the hands of director Basil Dearden and writer Michael Relph, what should be lighter than air becomes a lead zeppelin.

That said, `The Assassination Bureau' does have its moments, and won't actually kill brain cells like much current summer fare. Things start off promisingly enough. Diana Rigg seems well-cast as a prim, proto-feminist trying to break into journalism by exposing the nefarious bureau. Oliver Reed is suitably bemused as the bureau's idealistic head, embarrassed by too polite to demur when Rigg suggests his own murder. Telly Savalas isn't very British, but he does have fun as the real villain. He's that epitome of evil, a Fleet Street press lord (some things never change). Morose Vernon Dobtcheff and corrupt Philippe Noiret have amusing turns as two of the bureau's henchmen, who are all represented as national stereotypes. Unfortunately, the repeated misfire attempts on Reed's life lack panache, they become predictable and repetitious.

Mid-way through, glamorous Beryl Reid is brought in to sex things up a bit as a Borgia-like Venetian bella donna. There's a brief cross-cut scene contrasting the curvaceous Reid with the boyish Diana Rigg as they lace themselves into corsets. But this is a tame movie, an action-comedy as opposed to a romance. Beryl Reid is quickly dismissed. Despite their off-screen reputations, Rigg and Oliver Reed generate no sparks on it. Indeed, once Beryl Reid is gone, the movie becomes a sort of ripping yarn for boys. Oliver Reed buckles his swash well enough, but Rigg is marginalized. `The Assassination Bureau' is worth renting on an otherwise idle evening, but you might want to read Jack London instead.