What a waste of my time!!!

A bit overrated, but still an amazing film

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

I have absolutely never seen anything like this movie before. You have to see this movie.

PROBE and its spin-off series SEARCH (1972-73) are among the legendary shows I used to hear spoken about reverently by the older sages at the comic book shop I frequented circa 1984. The many short-lived sci-fi and adventure series of the 1970s that came and went and were never shown in syndication had, I suspect, taken on the golden patina of nostalgia in the minds of men who watched them as kids. I remember thinking/fearing I would live and die without ever seeing these lost classics. But with DVD making available such one season wonders as LOGAN'S RUN, PLANET OF THE APES, and THE INVISIBLE MAN, one looks and sees exactly why they flailed and failed to gain an audience.I haven't seen the series SEARCH, but I did just watch the TV movie PROBE and it reminded me of any of a dozen episodes of THE SIX MILLION DOLLAR MAN, with Hugh O'Brian pinch hitting for fellow former Western star Lee Majors. And it wasn't just Ford Rainey's unbilled cameo that brought Steve Austin to mind. Hugh Lockwood's ear implant and all-seeing camera presaged the gimmicks that would mark both THE SIX MILLION DOLLAR and THE BIONIC WOMAN.The settings are also standard issue 1970's adventure television, with endless shots of cars driving down long picturesque roads in exotic locales, fancy dinners with beautiful women in low-cut gowns while one of the bad guys sits and stares menacingly a few tables away, and the cliché fistfight in a wine cellar.PROBE also hearkens back to the 1960s, with Probe Control resembling the bridge of the Starship Enterprise. Burgess Meredith is the unlikely stand-in for Captain Kirk, leading his conspicuously multicultural crew comprised of a black man, an Hispanic man, an Oriental man, and a wisecracking blonde woman who is crushing on Hugh and jealous of his carryings on with guest star Elke Sommer. In addition to STAR TREK, there's a nod to THE MAN FROM U.N.C.L.E. when Hugh Lockwood and Harold Streeter visit Probe Control and must first stop by a secretary's desk to receive their credentials before entering through the memorable even if gimmicky interlocking door that leads to the nerve center of World Securities Corporation's Probe division.Despite glances backward, this show was very much grounded in the 1970s. Hugh Lockwood is a mercenary, not an idealist. His loyalty to World Securities is dependent on money and time off with all expenses paid. And World Securities seems to be a for-profit organization, specializing in recovery operations of missing valuables (like the Entourage Collection of diamonds in this pilot movie). There's a cynicism about Lockwood that I'm guessing was reflective of the mood towards spy and surveillance organizations like the CIA and FBI. In a different medium, that same disillusionment ruined the Marvel Comics character of Nick Fury, Agent of SHIELD, who was an unabashed hero in the 1960s but who was denigrated under left-leaning writers in the 1970s into being a fascistic government lackey. I reject the comparisons of Hugh Lockwood to James Bond. Lockwood appears to be only in it for himself; whereas Bond was always eager primarily to serve queen and country.The movie opens with Lockwood wrapping up a MISSION: IMPOSSIBLE-style caper in a Communist country, freeing a kidnapped diplomat while dodging machine-gun fire. His seemingly hard-earned vacation is interrupted by an "emergency": the pressing need to recover a collection of diamonds stolen by Nazis during WWII. It was never made clear why this was such a pressing emergency. Lockwood begrudgingly agrees to accept the assignment after bartering an extra week's vacation (all expenses paid, natch).Tagging along is the august Sir John Gielgud, playing diamond expert Harold Streeter. There's some fun interplay between the suave and sophisticated Geilgud and the coarse and rough-hewn O'Brian, but overall Geilgud is wasted (in both meanings of the word: the man is drinking wine in virtually every scene). Elke Sommer is the poor man's Bond girl, providing eye candy and a red herring or two in her suspicion-arousing meetings with suspicious characters, like Alfred Ryder, a veteran character actor whose talents are utterly wasted here.By the one-hour mark I was getting restless. The movie felt like a 50-minute teleplay padded out to feature length. For suspense the writers really scraped bottom. Lockwood hides his miniature camera/communicator in a napkin, which a waiter snatches up when clearing the table. As Lockwood frantically rummages through piles of dirty napkins, Probe Control is in a panic akin to a teenager without her cellphone. The moments tick by agonizingly until Lockwood finally locates it! Cut to a celebration in Probe Control rivaled only by NASA's at the moon landing. Amid the shouts of joy and relief, one guy even tosses his pen into the air. It was wince-worthy, but the nadir is hit when Lockwood slips his all-seeing camera into his pocket so he can smooch with Elke Sommer sans chaperons. Burgess Meredith as Cam is in a panic, trying to reestablish contact, failing to understand why the screen went dark. Suspecting a mechanical failure, he shouts, "Lockwood, are you turned on?!" Wink, wink, nudge, groan.The denouement was clever, and unexpected. But that wasn't enough to save the movie from mediocrity. What did elevate PROBE and make it memorable was its delightfully addictive theme song, heard frequently throughout, and its opening title sequence, which is one of the best of the era.

I can add little to the excellent previous reader comments about the movie.I disagree a bit on the TV series. I thought the rotating cast was a brilliant idea, and actually preceded rotating casts on a number of other shows. I was always a fan of all three actors.One of the most common comments I heard during the short TV show run was "It's too unrealistic...a TV camera the size of a pendant? Being able to talk to the Probe ANYWHERE in the world? A computer system that's linked to computers all over the country? Those things will never happen." Of course, we take all three of those things for granted today.I think the demise of the TV show was, at least in part, due to the fact that the ideas (much like Star Trek) were way too far ahead of their time.While the pilot movie appears on TV from time-to-time, I have never seen the TV series run. I would love to get the series on DVD.

This TV movie / pilot was very interesting. Adding Sir John Gielgud to the cast gave it more gravitas. The diamond caper with the Nazi angle was fairly clever. When the show became a series, Hugh O'Brian (of "Wyatt Earp" fame) did not want to do a full time series. Unfortunately, the temperamental Tony Franciosa and the untalented Doug McClure were drafted to form a three agent "wheel". Each took turns every week. The series may have succeeded with the commanding presence of O'Brian, but it was watered down by Franciosa and McClure and faltered. The concept was great: having an agent jacked into to a mission control center that could advise and assist him in real time through a surgically implanted audio communication system and a miniature video camera that could be mounted on a ring or worn on a necklace. TV movie was fun, the series was a turkey.

Probe, later to become the TV series "SEARCH" (72-73 on NBC) was an attempt to cash in on the publics fascination with high tech from the space program. The movie had all the pieces of a fun romp: sci-fi with the hight tech scanners and communications, intrigue with the search for the NAZI theft of the French "Entourage" diamond collection, and locations spanning from Innsbrook Austria, the Gulf coast, and New York City, though I think all of the filming was done in southern CA with the Angeles National Forest doubling as the Austrian mountains and forests. The movie was well written, acted (it was great having older, more cerebral actors on the show) and produced, and the show started out that way until I think they ran out of ideas. Having three different agents (Hugh O'Brien, Tony Franciosa, and Doug McClure) was a mistake I think as it did not allow a fan following to develop for one main character. It would be great to do the series today, but I think there would be too much of a temptation to put young pretty boys instead of older more competant (and believable) actors in the agent roles.