The Assassin

Many of these detective series had to be formulaic. That is the nature of a series. So if you want to differentiate, one strategy is to introduce exotic locations. When this was made, that was still rare. The location has to be highlighted in the name, so we have Charlie Chan, the Saint, the Falcon and so in such and such a city.

The place here is Venice. Unfortunately it is not captured well. For some reason, the texture of the city escapes the usual camera. (I did like the color you got in the Clooney "The Job" and the Bond "XXX").

So the setting is largely wasted by the clumsy camera, except for a visit to a Murano glassworks. The glass factories are located on an island near the city because of the ancient fear of fire. These for hundreds of years have been a wonder of the world, once secret, now a bit tired. When this film was made, Chihuly had not yet brought Murano to our attention and the polluting effect of tourism had not occluded its magic.

It is only a few minutes in this otherwise ordinary adventure. And it is just background motion. But you might as I, hold it a dear experience to just see.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

Private Investigator Edward Mercer (Richard Todd) saves a man from being murdered. Before he can talk to him, he slips away.

Enter Adriana Medova (Eva Bartok), who may have information about the man. Mercer soon finds himself caught up in a web of mystery, deception, and murder.

THE ASSASSIN is a semi-dark, moody thriller that saves most of its thrills for the big finale. Todd is convincing in his role, as is Ms. Bartok, playing a conflicted character that would have suited the likes of Ingrid Bergman.

Recommended for lovers of conspiracies and political intrigue...

The Assassin (1952)

What distinguishes this movie is the setting--Venice, in the 1950s. There are some other famous movies set in this town in this time (the moody 1955 "Summertime"), and somehow this one feels the most authentic, not romanticized to pieces but still an appreciative take on it.

Of course, you'd rather have your movie succeed because of its plot and acting, and this one isn't bad--I'd watch it if you like this kind of low budget black and white Euro-noir. (This is a British B-movie.)

As much as murder, and the machinations of post-war Italy, are the backdrop, this is a very talky movie, to the point of being both redundant and at times confusing. It's dramatic in its progression of mysteries, and in the many night or dark interior scenes, barely lit. It's dripping in art history throughout, both as backdrop and as a growing part of the theme (one of the main mysterious characters is an artist) and this is terrific.

Because the plot is one conversation after another, all rather undramatic in its delivery, it depends on its actors rather a lot, and the leading man (Richard Todd) in particular is serious but straining the whole way. The story and screenplay are by Victor Channing, who was a best selling British author in his day, and it feels like best seller stuff, thinly conceived. There are bit actors doing their best, and there is an authenticity implied by all of the settings and period sets fairly contemporary to the filming. But the deadened script undermines a visually emphatic movie. Watch with some patience left over.

Or watch for Venice. There really is a lot in store in this aspect (though some of the interiors were apparently shot in Veneto, which is the province nearby. Toward the end is a large procession on the grand canal, pretty neat if you like that kind of thing. As the assassin, an artist at heart, says as he is ready to commit his crime, "I should have a pencil, not a gun." And you know, the last five minutes is amazing filming (and sound!), with Hitchcockian overtones, worth seeing no matter what you think of the rest of it.

A private detective is sent to Italy by an insurance company to locate a man so that he may be rewarded for his gallantry during WWII. However, soon it becomes obvious that this is all a ruse and they want to find the man for ulterior motives. Yet, despite this and a group of killers who want to stop him, the handsome detective (Richard Todd) doggedly continues his investigation in the town of Venice. Will he find what he's looking for...and, does the audience really care?

It's odd, but for a mystery/suspense film, "The Assassin" is amazingly unexciting. Most of the problem is that the film is so very talky. Again and again, instead of SHOWING the plot unfold, the film relies on HEARING people talking about it--a very static way to do such a film. The other problem is that although Richard Todd is a suave and handsome guy, he just seemed to sophisticated and nice for such a role. It played very much like if Dirk Bogarde or Cary Grant had played the part--all good actors but all too smooth and 'nice'. Overall, it's not a terrible film but it sure could have been a lot better.

As another reviewer says this is something of an underrated film. More so since it was made in 1952. At that time exchange controls would have limited the amount of filming that could be done overseas and so much of it was studio filmed in England.

The story is intricate and the full meaning is not revealed until the final 20 minutes. If Venice seems harsh and cold its very much in the recovery from war mode yet the back drop is excellently atmospheric. The absence of tourists is refreshing. The films high contrast back and white rendition is also noteworthy.

Good cast....

Not hard to see why some say Bond meets 3rd man! Even some classy looking femmes fa tales!