Suzy Kendall Movies

The British "Adventures Of..." series can be described as a dirtier "Carry On" (if such a thing is possible). Christopher Neil plays the title character in 1987's Adventures of a Private Eye. Neil's life is plunged into peril when he agrees to deal with a blackmailer. To achieve his purposes, our hero is obliged to make love to every beautiful girl he meets; it's meant to be satirical, but the laughs often take second place to the heavy breathing. If nothing else, Adventures of a Private Eye treats us to a performance by the delectable 1960s leading lady Suzy Kendall. ~ Hal Erickson, Rovi

Directed by Umberto Lenzi, Spasmo centers on a discovery made by Christian (Robert Hoffman) and his girlfriend on what was meant to be a romantic stroll. At first, the couple happens on what appears to be a corpse, but upon further inspection, they see that the woman is still alive. As luck would have it, Christian meets the strange woman (Suzy Kendall) on a yacht party several days later, and quickly finds himself tangled in an affair. During a hotel room tryst, another man breaks in and savagely beats Christian. Quite accidentally, Christian ends up shooting the intruder with his own gun. In what is perhaps the most bizarre twist of events thus far, the body disappears, leaving Christian in the middle of yet another mystery. ~ Tracie Cooper, Rovi

A group of extremely glamourous college coeds (Suzy Kendall among them) are being stalked by a hooded sex-killer whose weapon of choice is a hacksaw. Despite this perverse premise and an equally sick title (which translates as "The Bodies Show Signs of Carnal Violence"), this remains a rather dull exercise, representing the lower end of the Italian giallo thriller spectrum and lacking much of the violence common to films of the same genre, thus failing to keep its flimsy plot in motion. What gore was present in the Italian cut has been all but wiped out by the film's U.S. distributor. Released on video as Torso. ~ Cavett Binion, Rovi

This international exploitation feature is set in the 16th century and centers on a nun who faces moral degradation and corruption within the confines of her convent. She soon finds out the nunnery is run by a lesbian mother superior who engages in all kinds of graphically-presented taboo behavior. ~ Sandra Brennan, Rovi

Someone is sexually assaulting and (usually) killing the students of a girls' school. There are entirely too many suspects to make the job of the Scotland Yard detective (Frank Finlay) an easy one. The girls' persistent use of the shortcut through the woods in which the crimes occur has only compounded the problem. Although one of the victims has survived the attack, shock has erased her memory of the event, and the detective's investigations are perforce guided by the vague impressions of the school's art mistress (Suzy Kendall), who witnessed something. ~ Clarke Fountain, Rovi

This trend-setting thriller put its director, Dario Argento, on the international map and began a flood of imitative mystery-horror hybrids which dominated Italian genre output in the early 1970s. Tony Musante, best known for the television series Toma, portrays an American who witnesses the murder of a woman at a trendy Rome art gallery. Before long, Musante finds himself targeted by a mysterious killer. Based on a story by Byron Edgar Wallace, Bird and hints at the flamboyance which would become Argento's trademark. This and Argento's subsequent two films Il Gatto a Nove Code and Quattro Mosche di Velluto Grigio were much less horror-oriented than his later work. ~ Robert Firsching, Rovi

Two German spies and a woman physician (Suzy Kendall) are taken by submarine to Scotland where they enter the country at nightfall. Their mission is to assassinate the British Field Marshall Lord Kitchener. The woman's male companions are captured, but she escapes with the knowledge of what boat the Marshall is on. Boarding the submarine, the Germans make plans to bomb the boat with a series of strategically placed land mines. She travels from Russia to Germany to Britain and Spain as she double-crosses double agents in a cat-and-mouse game of espionage. A gruesome scene shows a German gas attack that peels off the flesh of the Allied soldiers as they writhe in agony. James Booth, Capucine, and Kenneth More also star in this World War I drama. ~ Dan Pavlides, Rovi

In his first starring role minus his longtime partner Peter Cook, Dudley Moore plays a 29-year-old who goes through an identity crisis when approaching the "three-oh" mark. He wants to be a successful Broadway composer before reaching 30 and also wants to be happily married. Unfortunately, he's so busy as a night-club musician that he hasn't any time to realize his goals. Enter sexy Suzy Kendall (Mrs. Moore at the time), who inspires Dudley to reinvigorate his quest for success and connubial bliss. 30 Is a Dangerous Age, Cynthia delivers a satisfactory quota of laughs; its only drawback is its heavy reliance upon "mod" '60s camera trickery. ~ Hal Erickson, Rovi

A man and woman with a shameful secret are confronted by a pair of sadistic thugs in this unsettling drama. Bruce Victor (Terence Morgan) is a not-so-happily married real estate agent having an affair with Barbara Willason (Suzy Kendall), an overly credulous young woman who believes that Bruce will leave his wife for her, though he has no real intentions of doing so. Through his company, Bruce has access to a furnished flat which he and Barbara use for their liaisons. One morning, while they're at the penthouse, Tom (Tony Beckley) and Dick (Norman Rodway) appear at the door, claiming to be meter readers. Barbara lets them in; they soon tie Bruce to a chair, and after dulling Barbara's senses with alcohol and drugs, they repeatedly violate her. When Tom and Dick finally leave, a seriously distraught Bruce and Barbara wonder if there's any way that they can tell their story to the police without revealing their adultery when Harry (Martine Beswicke) appears at the door, announcing that she is Tom and Dick's parole officer. Writer and director Peter Collinson adapted The Penthouse from the play The Meter Man by Scott Forbes. ~ Mark Deming, Rovi

This James Bond parody brings a new sort of jet-set secret agent to the screen -- one who hates flying, is afraid to shoot people, and would rather stay at home! Col. Mostyn (Trevor Howard) is the head of a special branch of British intelligence who is appalled to discover that a number of his best agents are either leaving the force or have turned out to be traitors. It is decided that Mostyn and his men need a special agent to ferret out those who leave his employ while knowing too much and silence them permanently. Mostyn decides the right man for the job is his old army buddy Boysie Oakes (Rod Taylor), but there's a bit of a problem -- while the job requires a globe-trotting assassin who can stare calmly into the face of death, Oakes is a mild-mannered fun seeker who is terrified of airplanes and faints at the sight of blood. None of this dissuades Mostyn, who still gives Oakes the assignment, but when he finds out that flying and guns are a big part of his new job, he hires someone else to do the dirty work for him. Oakes eventually develops a taste for the cars, women, gadgets, and danger of his new career, but the real acid test comes when he actually has to go on an assignment himself. The Liquidator was directed by Jack Cardiff, who along with a respected career as a director was one of the most distinguished cinematographers in the British cinema, lensing such classics as The Red Shoes, The African Queen, and Black Narcissus. ~ Mark Deming, Rovi

In this musical comedy, a dreamy Australian singer comes to London to seek his fortune. There he begins falling for a down-to-earth lass and a high-strung debutante at the same time. In between romances, the singer finds himself involved with a gang of thieves who begin using his home as a hide-out. ~ Sandra Brennan, Rovi