Cape Town is one of the most beautiful cities in Africa, and already was so in 1966, when this film was shot. Unfortunately, Director Robert Webb - don't know him from a bar of soap - fails to take advantage of the beautiful natural settings (apart from some shots of Table Mountain towering over the city). He has to work with a script reminiscent of PICKUP ON SOUTH STREET (US 1953) and wisely gives the film some humor touches to go with color, as opposed to B&W in the more dour and serious-minded PICKUP.
The Cape being the part of South Africa that has always had the most white and colored population, and least black, you do not see many blacks. Even the prostitutes working the V&A and other CT landmarks are all white. But then the story is not about racial strife, even if it unfortunately existed. As a curiosity, the photograph of apartheid architect Prime Minister Hendrik Verwoerd is seen on the wall of the police HQ, in Warrant Officer du Plessis' office - but Verwoerd was stabbed to death by Tsafendas in Parliament in Cape Town on September 6, 1966. A parked car's windshield bears a 1966 license, so it is quite possible that this film may have been in the shooting stage when Verwoerd's assassination took place.
In 1967 the Cold War was at its hottest in the world, and Africa was no exception. So, at the time it was a top of the news subject. I was born in Mozambique, where the Portuguese Government tried to convince the West of the importance of combating communism, and I understand the mindset and political interest in making this film for the preservation of the then status quo (however condemnable it might be).
Back to the movie, Claire Trevor, already in her declining years, gets top billing and, as ever, her acting is competent and more than plain satisfactory as a streetwise tie seller, who may have worked the streets at some point in her life. She sounds relaxed, seems to have fun playing her part as a South African Police informant who dreams of burial in a spot where she can see Table Mountain.
Brolin and Bisset form a good looking couple. Bisset, in particular, is the very definition of drop dead gorgeous, a real dish. Both deliver relaxed performances, and seem to enjoy what they are doing. Brolin clearly has no moral values to start off with, a pickpocket whose sole purpose is to make a fast buck, and the more dishonestly so the better. Gordon Mulholland, one of South Africa's better known actors at the time, also plays a convincing Warrant Officer du Plessis.
You hear Sinatra sing "Mam'selle" and some great background jazz a a time of great cars, good manners, great looking clothes.
I did enjoy THE CAPE TOWN AFFAIR for all those reasons, even if it struck me as overlong and with a script holier than the proverbial Swiss cheese.
I will always love you, Jackie Bisset. And Cape Town, too!
The Cape being the part of South Africa that has always had the most white and colored population, and least black, you do not see many blacks. Even the prostitutes working the V&A and other CT landmarks are all white. But then the story is not about racial strife, even if it unfortunately existed. As a curiosity, the photograph of apartheid architect Prime Minister Hendrik Verwoerd is seen on the wall of the police HQ, in Warrant Officer du Plessis' office - but Verwoerd was stabbed to death by Tsafendas in Parliament in Cape Town on September 6, 1966. A parked car's windshield bears a 1966 license, so it is quite possible that this film may have been in the shooting stage when Verwoerd's assassination took place.
In 1967 the Cold War was at its hottest in the world, and Africa was no exception. So, at the time it was a top of the news subject. I was born in Mozambique, where the Portuguese Government tried to convince the West of the importance of combating communism, and I understand the mindset and political interest in making this film for the preservation of the then status quo (however condemnable it might be).
Back to the movie, Claire Trevor, already in her declining years, gets top billing and, as ever, her acting is competent and more than plain satisfactory as a streetwise tie seller, who may have worked the streets at some point in her life. She sounds relaxed, seems to have fun playing her part as a South African Police informant who dreams of burial in a spot where she can see Table Mountain.
Brolin and Bisset form a good looking couple. Bisset, in particular, is the very definition of drop dead gorgeous, a real dish. Both deliver relaxed performances, and seem to enjoy what they are doing. Brolin clearly has no moral values to start off with, a pickpocket whose sole purpose is to make a fast buck, and the more dishonestly so the better. Gordon Mulholland, one of South Africa's better known actors at the time, also plays a convincing Warrant Officer du Plessis.
You hear Sinatra sing "Mam'selle" and some great background jazz a a time of great cars, good manners, great looking clothes.
I did enjoy THE CAPE TOWN AFFAIR for all those reasons, even if it struck me as overlong and with a script holier than the proverbial Swiss cheese.
I will always love you, Jackie Bisset. And Cape Town, too!