Wuchak RELEASED IN 1970 and directed by Lewis Gilbert, "The Adventurers" chronicles the life of Dax Xenos (Bekim Fehmiu) who, as a little boy in 1945, witnesses the violent deaths of his mother & sister during a revolution in the fictional South American country Corteguay. Much later, as an ambassador's son in Rome, he's an emotionally cold playboy who marries solely for wealth (Candice Bergen), but he's haunted by Corteguay and maintains relations with the dubious dictator (Alan Badel). Ernest Borgnine plays Dax' spiritual guardian, Fat Cat.The movie's based on Harold Robbins' book of the same title, which was loosely based on the real-life Porfirio Rubirosa, an oft-married wealthy playboy, diplomat and polo player who had a relationship with the dictator of the Dominican Republic, Rafael Trujillo."The Adventurers" is a curious amalgamation of Hollywood soap opera (e.g. 1967's "Valley of the Dolls") and Italo-Western-like slaughter with a Euro-robot as the leading man. The movie vacillates between starving children in South America, disco-a-go-go fashion shows in Rome or New York, machine-gun massacres, hedonistic sex romps and the disingenuous courting of rich women. It's basically a wannabe "Doctor Zhivago" (1965), but lacking that iconic picture's surreal and compelling artistry.The spectacularly engineered battle sequences were created by the James Bond stunt-genius Bob Simmons, featuring hundreds of real men (played by actual Columbian militants), real tanks, real trains and real planes, all getting blown to pieces before your very eyes with absolutely no CGI.The above reveals many points of interest, but I was well into the second half of the almost-3-hour flick when I realized that none of the characters interested me, particularly the protagonist. I'm not sure if the problem was the script, the story or the actor (Fehmiu), but the drama came across consistently flat. Another problem is the women. While there are several notables besides Bergen (Olivia de Havilland, Leigh Taylor-Young, Delia Boccardo, Jaclyn Smith, etc.) the camera either never captures their beauty or they're too anorexic to fascinate in the first place. On the positive side, the action-packed conclusion is gripping and the message is timeless: Meet the new boss, same as the old boss.THE FILM RUNS 2 hours, 57 minutes and was shot in Colombia (Cartagena & Bogota), Puerto Rico, Italy (Rome & Venice) and New York City.GRADE: C

thebigdishman Having read the book by Harold Robbins, I was looking forward to the film. But, oh dear, what happened to the main points of the plot? The principal point of the plot is the relationship between Dax and Fat Cat. As a boy, Dax is taken to safety by the guerrilla, and on the first night out on their journey Fat Cat cuddles the shivering boy to him, and says, "Take my hand and I will guide you safely through the mountains." In the final scene, when Dax has overthrown the despotic President helped to power by Dax's father, an embittered rival with a score to settle, shoots both Dax and Fat Cat in the gardens of the Presidential palace, and as they are lying on the ground dying, Fat cat reaches out his hand and says ... (you've guessed it!).But it's missing from the film, the famous "scabbard" quote is transfered between two differing characters, Marcel's nefarious activities in Macau are totally displaced, and there is an unnecessary time-shift in the entire film.Oh dear! It could have been so good, but it was fairly mediocre.Robbins must have been very disappointed.

Poseidon-3 This notorious howler can be called many things: long, tasteless, idiotic, even dull to some folks, but it can never be called cheap. This is an expensive and often, visually, quite impressive saga with many glorious scenic views and jaw-dropping interior locations. The story concerns Fehmiu who, as a boy, witnessed the savage slaughter of his mother and sister at the hands of soldiers in his native country of Corteguay. His father (Rey), a revolutionary, assists new leader Badel in rising to power and taking over the nation, but pays the price when his family is slain. Cut to a dozen or so years later and Fehmiu is an idle, polo-playing ladies man in Rome who has practically forgotten about the events in Corteguay. However, when new events draw his attention, he sets out to earn enough money to exact revenge and begin yet a new regime in the endlessly war-torn country. What better way to earn dough than to rent himself out as a gigolo to rich American wives such as de Havilland?! That's actually only step one in his plan. He uses the money to help build a fashion house (!) with his dethroned, Russian-royal schoolmate Berggren. When even that takes too long, he sets his sites on pretty American heiress Bergen, but once again he falls off the track of his ultimate goal until he finds that he has more to fight for than just his homeland. His childhood sweetheart Taylor-Young displays to him what he needs in order to reignite his fighting spirit and rebuild Corteguay. This is a sprawling story from an even more sprawling book (a hunk of Fehmiu's life is skipped over and two of his marriages aren't even shown!), but it could have been whittled down just a little if the opening scenes had been streamlined and some of the battle sequences shortened a bit. As it stands, viewers tuning in for the actions scenes are bored by the soap opera histrionics while lovers of camp and over-the-top melodrama are bored by all the explosions and gunplay. However, for those willing to wait out the bad for the good (no matter which is which), there are a few things here worth seeing. The cinematography of the film is magnificent. The scenery, the production design, the lighting, the decor and the costumes are all eye-catching. The battle scenes are well-done and the amount of extras used is staggering to behold. Long before CGI came along, someone had to wrangle the thousands of people present in the various scenes shown here and it pays off magnificently. As for the acting... Fehmiu is legendarily bad. He has a few effective moments, but is nowhere near multidimensional enough to carry a role like this in a film like this! Considered by many to be an attractive and virile (if wooden) leading man, he is something of a hatchet face with a lean, well-defined body. The character is never completely likable, but is made even less so by having such an uncharismatic person in the lead. He has two love scenes that are riotous. One by a pool surrounded by statues and another in a steamy, exotic greenhouse. Bergen is very uneven. Her early scenes are a bit awkward, her middle scenes better, but her later ones are hysterically awful as she inexplicably affects a bizarre accent and wanders around as if lobotomized. She is undeniably lovely, however, most of the time. Borgnine, who plays Fehmiu's personal bodyguard and friend, is ludicrous in sound and appearance at first, but, fortunately, improves greatly as the film wears on. De Havilland does what is probably the closest thing she ever had to a nude scene with only a sheet thrown over one shoulder as she romances Fehmiu. She manages to get through the movie relatively unscathed, as does Brazzi in a smallish role as one of Rey's Roman contacts (though in one scene Brazzi has the dubious honor of having to traipse through a house full of strategically naked young people!) Taylor-Young is handed a fairly colorless role, but is able to bring a little heart and appeal to it. One hilarious camp highlight is Fehmiu associate Aznavour's secret den of iniquity which truly must be seen to be believed. Another sequence not to be missed by any fan of 60's culture is the preposterous, ludicrous and thoroughly irresistible fashion show (complete with it's "plethora" of seven outfits!) As the planet's funkiest song radiates across a flashing dance floor, the models thrash around in a wide array of styles which seem unlikely to be of a particular collection. Cinema fashion shows are always a riot because the style is antiquated sometimes as early as the film's release date and this one is high in the pantheon of rancidness and wondrousness. Reporting on the clothes is "Teen Magazine reporter" Smith in one of her very earliest roles. It's long, it's tacky, it's wacky and it's empty-headed, but it's also stylish, attractive, intriguing and quite a treat for fans of all-star casts and hopeless kitsch.

Jonathon Dabell Lewis Gilbert had some great films to his name (e.g You Only Live Twice, Alfie, Sink the Bismarck!) when he signed up for this three hour all-star epic. Alas, the director came completely unstuck trying to film this Harold Robbins novel, and a hugely talented cast also sank with him amid permissive sex and violence, soap opera-like dialogue, hopelessly over-busy plotting, and general excess. The Adventurers is a famous film, but for mainly the wrong reasons. And anyone wishing to see it for curiosity value (after all, don't we all guiltily enjoy seeing good actors in trouble?) needs to be warned: at nearly three hours, this doesn't even have the saving grace of being brief junk.The action centres around the fictitious South American country of Corteguay, where corruption and revolution seem to be high on the agenda. Dax Xenos (Bekim Fehmiu) grows up amid the chaotic history of his country, witnessing terrible atrocities from an early age, emerging into manhood as a wealthy and handsome playboy. He leaves behind his troubled past and lives a jet-set lifestyle in Europe, marrying the beautiful Sue Ann Daley (Candice Bergen). However, events conspire to bring him back to war-torn Corteguay - his wife miscarries a baby and eventually becomes a lesbian; his father is killed; yet another revolution brews. Dax returns to his troubled home nation and, amid carnage and combat, he seeks revenge on the man who raped and murdered his mother when Dax when just a boy.Gilbert the director is usually a tasteful and thoughtful film-maker, but here the sensationalism inherent in the story has got the better of him. The film is not memorable for its performances nor its story but for its unsavoury aspects. The violence, the nudity, the killings, the rape, the vengeance and the macho posturing dominate the story without developing it in any way. Fehmiu is too wooden an actor to hold the film together, and his limitations are cruelly exposed by the dazzling array of talent surrounding him. Ernest Borgnine, for instance, as the revolutionary bandit Fat Cat steals his scenes, and Candice Bergen is good in a difficult role, but Fehmiu sails through it all with barely a credible expression on his face. This might've won some fans as a misunderstood cult film if it were an hour briefer, but at virtually three hours it becomes an impossible task to enjoy it and an effort of willpower to sit through it.