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The Spy Catcher (1960)

Suspense au deuxième bureau (original title)
(1964) Frederick OBrady, Colette Duval. Spies plots to steal the invention of an atomic scientist. Interesting spy stuff. This is an incredibly obscure picture whose origins are clouded in a bit of mystery. From 16mm.

Writers:

Jean-Daniel Daninos (adaptation), Jean-Daniel Daninos (dialogue) | 6 more credits »
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Cast

Credited cast:
Catherine Candida Catherine Candida ... Denise
Gil Delamare ... Colonel Bordy (as Gil Delmare)
Colette Duval Colette Duval ... Claire Sellier
Michel Lemoine
André Luguet ... Le chef de deuxième bureau
Frédéric O'Brady Frédéric O'Brady ... Lucien
Gisèle Robert Gisèle Robert ... Véra
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Storyline

(1964) Frederick OBrady, Colette Duval. Spies plots to steal the invention of an atomic scientist. Interesting spy stuff. This is an incredibly obscure picture whose origins are clouded in a bit of mystery. From 16mm.

Plot Summary | Add Synopsis

Plot Keywords:

spy | See All (1) »

Genres:

Drama

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Details

Country:

France

Language:

French

Release Date:

10 August 1960 (France) See more »

Also Known As:

The Spy Catcher See more »

Company Credits

Production Co:

I.P. Films See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

1.37 : 1
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User Reviews

Cramped, but has some style
11 November 2002 | by vjetorixSee all my reviews

Spy films are typically known for their exotic locations but the bulk of this film's short running time is spent inside a house. A cramped house. This (obviously) low budget entry does have a couple of things going for it however. The lone bright spot in the acting department is this early role for Michel Lemoine, he of the glowing eyes you would most probably recognize from Antonio Margheriti's Wild, Wild Planet (65).

Other than Lemoine's limited role, there are two main reasons for sticking with the film. One is the score; a mixture of experimental free jazz and traditional jazz that is fun and interesting entertainment for the ears while there isn't much for the eyes to feast upon. The other is the last fifteen minutes that contain a car chase through the Parisian night and subway fisticuffs. Photographed in the film noir tradition, these sequences take on an almost expressionistic look while the free jazz adds another level of tension to the goings on.


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