A professor who is expert in hieroglypics is hired to go undercover to assist an Arab prime minister whose life is in danger from a mysterious organisation led by Alan Badel. David Pollock was a role conceived for Cary Grant after Charade, but he was retiring and it went to Gregory Peck instead and a huge amount was spent on rewrites – utilising the talents of Pierre Marton aka Peter Stone (and Julian Mitchell and Stanley Price) once again but even he can’t make Peck deliver humour like Grant. The beautiful woman this time is the awesome Sophia Loren who is the mistress of Badel. Since it’s Peter Stone there is cross and double cross and code and it’s espionage therefore there’s tension to burn … if you can figure out the plot. It really is quite a lot of hieroglyphics but it’s also one of the most incredible films ever shot, with the glory going to cinematographer Christopher Challis who gives great colour and there are lots of wacky angles a la mod style of the era, supposedly to camouflage the production issues. If you hate going to the optician best avoid the first ten minutes. It’s the last film of John Merivale, Vivien Leigh’s last companion, and the debut of legendary stuntman Vic Armstrong. There’s another fabulous titles sequence by Maurice Binder and it’s scored by Henry Mancini with some interesting sax and trombone work. Gorgeous entertainment.