best movie i've ever seen.

After playing with our expectations, this turns out to be a very different sort of film.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

"Fanfare for a Death Scene" from 1964 was obviously the pilot for a TV show called Stryker, which was to star Richard Egan. The pilot fit into what was on television at that time - it was the age of spies on television, from The Man from U.N.C.L.E., the Woman from U.N.C.L.E., I Spy, and Mission: Impossible. Gadgets and coolness or humor in the face of death were two main features in these shows.In this vein, Stryker concerns an American secret agent who is asked to find a scientist Burgess Meredith) who has disappeared from a sanitarium. He has an important formula which is mostly in his head. A Chinese power player (Telly Savalas) wants it, as do others, but he is the most dangerous. Not much action here until the very end, and for my money, the rest of it was strange and boring, with a host of famous names besides those mentioned above: Viveca Lindfors, Al Hirt, Tina Louise, Ed Asner, and J.D. Cannon.There were obviously some production problems, as the director and cinematographer were both fired. After this pilot failed, it was made part of Universal's syndicated movie package and sold to networks.Egan unfortunately exhibited no personality and no sex appeal as Stryker. It might have been more interesting if the character had not been so internalized and circumspect.The end, at a concert, however, is quite good.

"Fanfare For A Death Scene" has an intriguing opening (the camera slowly explores a sanitarium that turns out to be full of dead bodies, while a crazy atomic scientist with an obsession for trumpet music has just escaped), but what follows is very low budget, technically rough (even taking into account that I watched a poor print), and mostly dull. The director must have had a fetish for the sight of planes taking off and landing, because about 10 out of the film's 70 minutes are taken up by footage of exactly that. Richard Egan is OK if not inspiring as the lead, Tina Louise is underused, and Telly Savalas plays the Mongolian (!!) arch-villain who never gets captured or killed; apparently this film was designed as the pilot for a TV series that wasn't commissioned, which explains why the ending, although finally featuring some action, feels so rushed and incomplete. *1/2 out of 4.

Just watched this action thriller on Netflix streaming. It stars Richard Egan as John Stryker, a businessman who's supposedly retired from the U.S. spy business but reluctantly takes a call after being told that a crazed scientist played by Burgess Meredith has disappeared from an institution after 9 staff members were found dead. Khigh Dhiegh, who years later became the original Wo-Fat on the original "Hawaii Five-O" is one of the villainous henchmen on the run looking for him but the real mastermind is played by Telly Savalas in a stereotypical Asian role that would be politically incorrect today though he does seem to relish his attempt to speak like an Occidental Fu Manchu-type character which makes it a little fun to watch. Also interesting were Viveca Lindfors and Tina Louise as Savalas' female assistants and an appearance of jazz legend Al Hirt for a concert appearance and a connection with Meredith's character. I also liked Ed Asner and J.D. Cannon as Striker's associates. If there was some quibble from me, I'd say there was not enough action for this 73-minute movie as some long dialogue scenes could have used some tight editing though the continuously playing score does keep things from getting too boring and while the ending seemed abrupt, it was exciting enough. So on that note, Fanfare for a Death Scene is worth a look if you're curious enough.

I can't remember too much of the plot of this movie except to say that it is, at least on the surface, a slick thriller, but stylistically it's so original and bizarre at times as to be riveting just for its visual flair, the compositions, the very sixties mood, which suggests that everyone is or could be unbalanced. Richard Egan makes a less than exciting hero but is in some ways good casting, as a more eccentric or individualistic actor might have tipped the movie into the realm of the totally bizarre, from which it might not have been able to escape. The eclectic cast includes Tina Louise, Ed Asner and Telly Savalas. Burgess Meredith is excellent as a very important character in the film, and while he's not on screen much he does get to play the trumpet and overall nicely suggests a man who has quite plainly and simply lost his marbles. Most of the credit for this offbeat and entertaining picture belongs to its director, Leslie Stevens, a gifted and sadly too often overlooked and underrated film-maker. He was probably slumming a bit when he made this one, but he gave it his best shot, which is very good indeed. The film is listed as having been made for television, though I wonder if it was first shown on the small screen due to its offbeat qualities, which might have made it difficult to sell in theaters. It's definitely worth watching if one likes movies made in an original and unconventional style.