Ron Wertheim, active in the late 1960s, showcases his multifaceted talent in The Spy Who Came (1969), where he serves as actor, director, and writer. This film exemplifies the espionage genre of its time, reflecting the intrigue and complexity of Cold War narratives. Wertheim's ability to navigate multiple roles in this project highlights his commitment to the craft and his understanding of the genre's nuances, making his contributions significant within the cult cinema landscape.
The Spy Who Came
This campy, ridiculous skinflick features a fun screenplay by Bruce Marcus and director Ron Wertheim, as well as slick black-and-white photography by Joao Fernandes. It starts off with an excruciatingly slow seduction scene but quickly becomes very bizarre. Policeman Harry Harris (Louis Waldon) is kidnapped by a mad gay Arab named Mohammed, who smokes opium from a hookah pipe. Mohammed has photos of policemen and U.N. delegates in compromising positions for blackmail purposes, and he wants Harry to arrest some of them. His castle has dungeons full of chained women whom he is brainwashing to entrap his targets, using strange machines, mannequins, and sexual instruction tapes. With the help of a French Interpol agent named Moreau, Harry sets out to turn the tables on Mohammed. Drugs, torture, and sadomasochism are featured, and although none of it makes much sense, this offbeat roughie manages to be a lot of fun. Neither as naive as the "nudie-cuties" which preceded it, nor as viciously nasty as many similar films of its time, The Spy Who Came is a surprisingly enjoyable entry in a mostly boring genre. Phillipa Reed, Jean Carrol, and Mitch Drake co-star in this Lou Campa release.
