I like the storyline of this show,it attract me so much

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Clever and entertaining enough to recommend even to members of the 1%

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Rod Taylor play the exact reverse of James Bond here. The film starts with him doing an F-Troop style rescue of a British Spy in Paris liberation during World War 2 (in black and white no less). Then we move to modern day (1965) type British Spys where the guy he rescued is now a handler of spies.His Chief (the underused here) Wilfred Hyde White orders him to come up with a professional assassin to kill the other sides spies without causing media scandals. This is where Trevor Howard (Mostyn) remembers Taylor (Boysie Oakes) who rescued him. So he comes to America and finds him not doing much in a back water store he runs with an attractive woman. Somehow he convinces Boysie to come to London and sign on as an assassin. Boysie then crosses up Motyn by sub contracting out his hits. (Yes, another 1960's example of Americans practicing free trade). After 12 successful contracts, Boysie decides to take a week-end off and take Iris, Mostyn secretary (Jill St. John) on a week-end jet trip to France and Monacco.This is where complications happen. Seems Boysie (Code named L) has developed a 12 accident contract killing reputation and some folks think he is in France for reason other than whop-pee with Iris posing as his wife.When the MGM Logo starts the credits and Shirley Bassey kicks up the theme song, it reminds one much of the Bond movies it is spoofing. The cast is pretty top notch and considering John Gardener wrote the script and would later take over writing the Bond novels, to confusion is complete. The difference is Taylor plays the Bond who is totally not aware of what is going on around him.Plenty of girls and plenty of fun here. Watch for one of Dudley Moore's ex-wives in the cast of women's flesh. At the end credits, there is a Bond Type Eye and a deflated gun in it. As Shirley sings the ending, the viewer has found a pleasant film and since it was filmed in England under MGM, it does feel like a true Bond spoof though a little shorter than many of the Bond films.

Rod Taylor is always a likable actor, with his curled-up ears, big rolling eyes, and cocky demeanor. Like Cary Grant or Sean Connery, he's a little hard to take seriously. And there's a good supporting cast in this spy spoof as well -- Wilfred Hyde-White, Trevor Howard, David Tomlinson, the succulent Jill St. John.Taylor is recruited as a temporary James Bond figure, so outside the usual frame of spyhood that he must be trained from the start. Certainly no one would suspect him of anything except hustling young ladies.There's an amusing scene at the climax with a terrified Taylor all alone at the controls of a British bomber, knowing nothing of flying, and being talked down by a droll Richard Wattis. It was all directed by Jack Cardiff too.Yet it fails. Maybe it seemed still fresh in 1964. But there have been so MANY send ups of James Bond since the early 60s, and after all, with Sean Connery as the central figure, the series was bound to be a spoof of itself. Some of the imitations were relatively earnest and were entertaining in themselves, like Charles Vine in "The Second Best Secret Agent In The Whole Wide World." But then there was an argosy of others like "Our Man Flint." By 1967, the genre seemed to have run its course and the green-lighters gave up and came out with the frankly absurd and sometimes hilarious "Casino Royale," with a dozen different Bonds. The original franchise continues to gasp and lurch unsteadily forward, a marathon runner out of steam, refreshed by the occasional draught of viewers too young and too incurious to know they're watching the spectacle of a living corpse.I like Rod Taylor, but this just isn't worth it.

MASTER PLAN: Assassinations. More assassinations. There was only one Liquidator film, unlike the duo of 'Flint' films and the Matt Helm film series, but it preceded both of them in jumping on the super spy spoof trend of the sixties - a trend instigated by none other than James Bond. This one even has the familiar teaser, a quirky origin skit for the hero, followed by a bombastic song over the titles which is quite evocative of the standard Bond style - and well it should be, for the song is belted out by Shirley Bassey, she who did sing the famous "Goldfinger" song. The plot sort of re-imagines the way Bond might have started in the spy/license-to-kill business: the title character (Taylor) sort of stumbles into the killing trade at the end of the war (the Big One, in Paris), making a long-lasting impression on his future boss (Howard). Despite this supervisor's long experience in espionage, reading people and so on, his assessment of the soldier, womanizing Boysie, is completely off-base. He's convinced that the man is a killing machine when, in fact, the soon-to-be code-named L hates even the thought of killing anyone. The whole thing's a more direct satirical jab at the secret agent genre than the later spoofs because the central 'hero' is a total fraud, unlike, say, Matt Helm, who may indulge in too much booze, but can still kill effectively and even effortlessly. Unfortunately for the relatively harmless Boysie/soon-to-be-known-as-L, the head of British Intelligence, years later, abruptly decides on a new policy: dispense with the standard bureaucracy and simply eliminate enemies of the state (Queen & Country) behind-the-scenes, without the usual rules. Such a new radical procedure needs the skills of a particular individual, someone in the blunt instrument/James Bond-mold. They couldn't have selected a more inappropriate fellow. Now, the actor Rod Taylor is actually better suited for straight action roles; he comes across as genuinely rough-&-tumble and I remember him from quite a few effective tough-guy roles in the sixties. Even here, though he's a nice, inoffensive guy, he can still beat up bad guys if he has to. But, he also projects a likable if slightly-dopey persona and you find yourself buying into this clumsy, somewhat goofy character he creates here. After the groundwork is laid out, as far the hero's new digs and requisite, if brief, training, the story really diverts into outrageous territory when the supposedly lethal L gets the idea to subcontract his assignments to a real assassin (who doesn't look nearly as heroic). Though this may be a sly commentary on the overly-involved nature of shadow operations in government, the story also slows down to a crawl, with much of the focus on L's attempts to make time with his boss's secretary (Jill St.John). Things pick up when the new couple go away to Monte Carlo for R&R and still get involved in spy intrigue. There's an amusing sequence after L is captured & locked up, and then the villains are forced to let him escape, but one of the henchmen isn't in on this change of plan. The comedy is also gallows in nature, pretty dark, since intense espionage usually involves death. The climactic action also features a revelation about who a criminal mastermind really is, though the finale also lacks any grand set-pieces, further diverting from the expected over-the-top fantastic endings of such thrillers. I admit I was disappointed when I saw this many years ago, probably because it was such a sharp deviation from an expected formula, but this film has grown on me and I thoroughly enjoy much of it now, mostly Taylor's and Howard's performances, as well as Tomlinson as a sneaky villain. Hero:8 Villain:7 Femme Fatales:6 Henchmen:7 Fights:6 Stunts/Chases:6 Gadgets:4 Auto:6 Locations:6 Pace:6 overall:6+

'The Liquidator' was based on the first published novel by John Gardner, whom years later continued the literary James Bond saga. Embarrassed by a number of high-profile spy scandals, 'The Chief' ( Wilfrid Hyde-White ) of the Department of Special Security orders his second-in-command 'Mostyn' ( Trevor Howard ) to recruit a new agent - to be codenamed 'L' ( guess what that stands for? ) - to eliminate potential security risks. The man Mostyn selects is ex-army sergeant 'Brian Ian Oakes', who goes by the bizarre nickname of 'Boysie' ( Rod Taylor ). Boysie enjoys the high living and lots of pretty girls cross his bedroom floor, but he is not a cold-blooded killer and has to hire a cheap hit-man - 'Charlie Griffin' ( Eric Sykes ) to do the killing for him. Directed by cinematographer Jack Cardiff, this is a lot of fun, and benefits from good location shooting in Nice as well as a top-notch cast. Future 007 girl Jill St.John is 'Iris Macintosh', Mostyn's secretary, whom Boysie tempts overseas for a dirty weekend, thereby breaching Department guidelines. It is a far more interesting character than 'Tiffany Case', the one she played in 'Diamonds Are Forever'. John is given strong competition in the glamour department from sultry Gabriella Licudi, who plays 'Corale', the girl intended to lure Oakes into a trap. Villainy is provided by Akim Tamiroff and John Le Mesurier. The always reliable David Tomlinson appears in the role of 'Quadrant'. In smaller roles are familiar faces of the calibre of Colin Gordon, Derek Nimmo, Alexandra Bastedo ( of 'The Champions' ), Vernon Dobtcheff, and Ronald Leigh-Hunt. Peter Yeldham's script is faithful to the novel, and the film as a whole does not make the mistake of trying to be a pseudo-Bond clone. You will not find any hollowed-out volcanoes or gadget-ridden cars here. As Boysie, Taylor gives a likable, amusing performance ( I disagree with those who claim he was miscast ). The powerful title song performed by Shirley Bassey would not have disgraced a real Bond movie. It is a shame that there were no sequels ( 'Understrike' and 'Amber Nine' were both crying out for celluloid ). Like 'Where The Spies Are' starring David Niven, this was to be a one-off big screen outing for its leading character.