Aka The High Commissioner. He’s got to back to Australia and straighten a few things out. Australian outback police detective Scobie Malone (Rod Taylor) arrives in London to arrest the Australian High Commissioner Sir James Quentin (Christopher Plummer) for the murder of his first wife and return him to Sydney, but his task does not go as planned. The lawman finds himself acting as a bodyguard when assassins start to appear with alarming regularity in this world of international men of mystery. Quentin’s foreign-born wife Sheila (Lili Palmer) is curious about why Malone is there, while Dutch secretary Lisa Pretorius (Camilla Sparv) is protective of the man she respects above all but it’s beautiful Madame Cholon (Daliah Lavi) who entices him into her bed … Use your own passport and get out. I don’t know you. Taylor produced and did some writing on this adaptation of Jon Cleary’s novel The High Commissioner which is attributed to Wilfred Greatorex. Presumably it’s an attempt to get in on the Bond craze and the settings in London are splendid – all that neon and nightlife and a shootout at Wimbledon and we don’t mean tennis (rather, we do), albeit director Ralph Thomas hardly brings Hitchcockian technique to a scenario reminiscent of The Man Who Knew Too Much. The fish out of water situation is nicely set up – we meet Scobie in the midst of a sheep farm only for him to be swiftly deposited in London to do the political will of the Prime Minister of New South Wales, Flannery (an uncredited Leo McKern) widely believed to be based on real-life politico Sir Robert Askin. He soon figures this is a setup of sorts and develops a quick empathy with Quentin – triggered by an assassination attempt as soon as they set foot outside the embassy’s front door. His character occupies a position oddly close to a spoof, emphasising his difference from anyone in the diplomatic scene, from his Aussie deadpanning to the beatings he takes and the jibes at London bobbies; while the number of beautiful European ladies points us in their direction even if we don’t know precisely what anyone is spying about or why anyone would try to kill Quentin, who seems to be brokering discussions at a peace conference. Quite why the final scene is left for Quentin to get there first is anyone’s guess. It’s good to see Burt Kwouk in a supporting role and it all makes for some pretty pictures and there’s a good score by Georges Delerue. Produced by Betty Box.