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

Go in cold, and you're likely to emerge with your blood boiling. This has to be seen to be believed.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Being in high school at the time my friends and I read all the spy novels we could get our hands on. I had read 'The Spy Who Came in From The Cold'. The book and movie were both first class. Then I read 'The Venitian Affair' and it was also top notch, a first class suspense novel with all the twists and turns, very dark. When they announced that Robert Vaunghn was going to play the lead we were ecstatic. Unfortunately, the movie, while not bad, just didn't live up to the billing. Why, well the book was almost 500 pages and the movie was 89 minutes. The movie skips a lot of details and worse, it tries to rush to fit as much as possible in. James Bond thrillers are non-stop action, but most realist spy movies are slower and paced, as is most real spying. It feels like they tried to do this on a budget and use TV pacing. Hiring Vaughn was probably due in part to his television background, thinking he would be more acceptable to this approach. He wasn't and it shows. Being a real actor with the chops to really shine in a great role, he must have been very disappointed when he got the final script. It lacked much of the character development and brooding pace. As I said, it's not a bad movie, just far short of it's potential. And, there is the classic line from the airport scene when he first lands in Veinna. Read the book after seeing the movie, it's a classic spy novel with tension that crackles.

"The Venetian affair",in spite of the suicide bombing , starts very slowly and it's a muddled affair,in which Robert Vaugn seems lost and not that much interested .The female star,Elke Sommer,makes herself wait ,and it's finally a disappointing part.Ditto for Luciana Paluzzi,one of the best villain James Bond girls .The movie becomes more interesting in its third part ,partially thanks to Karl Boehm who succeeds in being disturbing:the scene of the cat and the mouse is certainly the best in the whole flick;incidentally the final segment of the last "Sissi" in which Boehm was the nice emperor was also filmed in Venice.But he was also "peeping tom" and it shows in this poor spy thriller,probably made to capitalize on the success of Bond.

A rather mild spy tale, kept painless by a good cast, the uniquely atmospheric - and 100% authentic - Venice locations, and Lalo Schifrin's appropriate music score. However, the "good cast" needs some clarification: most of them are very good indeed, but Robert Vaughn, sporting a perpetually drowsy unshaven look, does not make for a very inspiring lead in this case; also, if you are drawn to the prospect of seeing two of the most beautiful AND experienced in the spy genre European actresses (Elke "Deadlier Than The Male" Sommer & Luciana "Thunderball" Paluzzi) together in the same movie, you're outta luck: Paluzzi has little more than a cameo, appearing for a total of no more than 3 minutes.The film tries to combine a serious tone with an over-the-top mind-control premise; it mostly works, except for the silly scene where Vaughn has to pretend that he is mortally afraid of a rat! ** out of 4.

"The Venetian Affair", based on Helen MacInnes bestseller, is one of the seemingly endless number of James Bond-inspired spy films that flooded cinemas in the mid to late 1960's. Despite a pedestrian script and direction, the film benefits from some great on-location scenery in Venice as well as a talented and eclectic cast. Robert Vaughn plays against type as an alcoholic reporter who is swept into an espionage case with international repercussions. Vaughn delivers the goods with a convincing, world-weary performance that was at odds with his weekly heroics as The Man From UNCLE (despite popular belief, this is not an UNCLE-related film). Karl Boehm is fine as the obligatory charming villain, Roger C. Carmel provides some light moments in the otherwise downbeat script, Boris Karloff has one of his last quality roles, and Thunderball Bond girl Luciana Paluzzi, queen of the '60's spy films, makes a brief but welcome appearance. Only Elke Sommer gums up the works with a typically wooden performance that is little more animated than the stone gargoyles that adorn the ancient Venetian buildings. In summary, an unremarkable, but entertaining film. Rarely seen in recent years, TCM has recently begun telecasting it in a glorious widescreen version. One hopes that a video release will eventually take place.