The Assassination Bureau

1969 "Zeppelins. Bombs. Bordellos. Burials. You name It. We have It."
6.4| 1h50m| NR| en
Details

In 1908 London, a women's rights campaigner discovers the Assassination Bureau Limited, an organization that kills for justice. When its motives are called into question, she commissions the assassination of its chairman. Knowing that his colleagues have recently become more motivated by greed than morality, he turns the situation into a challenge for his board members: kill him or be killed.

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Reviews

Peereddi I was totally surprised at how great this film.You could feel your paranoia rise as the film went on and as you gradually learned the details of the real situation.
Asad Almond A clunky actioner with a handful of cool moments.
Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.
Edwin The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.
mumia-1 Usually I'm not a fan of old movies, not by a long shot. I consider them cheesy and unbearably boring. But this is one of the exceptions to that rule.This is a lighthearted comedy, even though it works with very serious theme. But it does it wonderfully, I never felt that it was inappropriate. The lightheartedness is there through the entire 110 minutes. I guess I could compare it to the Great Race from 1965. It uses the same road movie style, with a little bit of romantic side story. Some could even go as far to say it's a rip off, but that's not entirely true. It could've gotten some inspiration there, but It's different in just enough ways for the resemblance to be a plus rather than a minus. But maybe it's just my bias talking as the Great Race is one of my other favorite old movies.The acting is of course typical sixties, over the top, stage play style. But in comedies that is even beneficial as it makes the punchlines hit that much harder.
silverscreen888 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.
Theo Robertson Many , many years ago I remember seeing a film that had The Master from DOCTOR WHO in it ( In fact many of the characters looked like The Master to me ) and the climax took place upon a zeppelin but I had no idea what the film was called untill today when BBC 2 showed THE ASSASSINATION BUREAU Well yes THE ASSASSINATION BUREAU does have a sort of late 1960s charm to it and is very very inoffensive and I can understand why many of the reviewers on this page like it but it probably won`t appeal to anyone half as cynical as me . I don`t suppose I can criticise the unconvincing banter between Oliver Reed`s hero and the baddies or point out how really crap the special effects and the back projection are can I ? Nope thought not I`m not an assassin . I`m a critic
makimaus 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.