OSS 117 - Mission for a Killer (1965)

Original title: Furia à Bahia pour OSS 117

Everyone’s favourite secret Cajun agent, Hubert Bonisseur de La Bath (Frederick Stafford) aka OSS 117 finds his R&R in the Alps rudely interrupted by another mission. Apparently, the number of terrorist attacks on Important People™ has risen considerably in the last couple of months. Responsible for all the – mostly suicidal – attacks are perfectly common people without any radical political backgrounds or histories of violence. 117’s higher ups have found out that the killers have been mind-controlled with the help of some sort of drug, and have traced that drug’s production to Brazil, and of send our hero there.

In Brazil, OSS is first to contact his local colleague, gather information and go villain hunting according to whatever this information may suggest. Unfortunately, said colleague turns out to have been nearly killed in the sort of “accident” that can happen when somebody blows your car up with a grenade, and the villains of the piece are rather keen on scratching the “nearly” from this sentence. While they are at it, they’re also trying to murder 117, which turns out to be rather more difficult than they seem to have expected.

Our hero for his part clearly follows the standard eurospy movie agent tactics of punching guys and flirting with women, knowing full well that this will eventually lead him where he wants to go, as the genre conventions prescribe.

In this third movie in the 60s version of the adventures of OSS 117, and also the third directed by André Hunebelle, Frederick Stafford replaces Kerwin Matthews in the title role, and I rather liked him in this one. Sure, I doubt, as with nearly all eurospy heroes, that his flirtatious moments would charm anyone (call me the eternal optimist), but he’s really rather convincing at portraying the more ruthless man of action side of the character, while looking good enough in a suit to still work in the kind of society spies move in this sort of film.

Mission for a Killer, like most of the OSS 117 series, belongs to the relatively classy arm of Eurospy movies that can’t keep up with the budget of a James Bond outing but clearly aren’t made out of cardboard and spit. There are actual production values, like partial location shoots in Brazil, and a script that has problems but is generally coherent and sane inside of the rules and regulations of the non-realist spy film. Hunebelle, despite not being one of the revered French masters, was a pretty great genre director, when it came to swashbucklers and action-based spy movies at least, staging all sorts of inventive action scenes between rough punch-outs and somewhat ambitious semi-mass fights. He is particularly great at using the locations as actual physical spaces, demonstrating an eye for verticality that is often curiously lacking in directors (or not so curiously when a film simply can’t afford to use it).

Plot-wise, this is pretty much bread and butter Eurospy business, with the usual reversals and betrayals, the obligatory capture of the hero, and so on and so forth, but it’s all well-paced and carefully enough constructed if you are willing to buy into the basics of how espionage works in Eurospy films (and if you don’t, you’re probably not exactly the audience for this write-up or the film), and makes for a fine time when combined with Hunebelle’s skills and a glass of wine or two.


Politically, there is of course something a bit dubious about a film that has its hero fighting off revolutionaries against the Brazilian government, including a bunch of paratroopers landing to rousing music, just the year after a coup d’état in the real country that replaced a democratically voted-in government with what would become a twenty year military dictatorship. However, the novel this is based on was written in 1955, and I don’t really think the filmmakers were trying to do propaganda work here, and more being a bit careless with the real world their film has very little to do with anyway. In this context, the portrayal of the revolutionaries is actually rather fitting, and pretty damn funny, for the film seems to go out of its way to not give them an actual political stance while still using the popular version of revolutionary iconography with them. So there’s not a single actual political statement made by any of these guys. Instead, we get vague speeches about The Revolution that completely leave out for what and against what they are fighting in what I can only see as a truly awkward attempt by the filmmakers to have their cake and eat it, too.