Director: Gerry O’Hara
Screenplay: David Osborn
Starting: Gene Barry, Elsa Martinelli, Leslie Phillips, Cyd Charisse, Denholm Elliott, Alexandra Stewart, Angela Douglas, Eric Barker, Tracy Reed
Country: UK
Running Time: 91 min
Year: 1967
Actor Leslie Phillips is fondly remembered for so many reasons. His performances in the early Carry On films, the Doctor in the House series, those famous “ding dong” and “hello” catchphrases, and being the voice of the Sorting Hat in the Harry Potter film series, amongst other highlights of his eight decade career.
What I did not know about Phillips, though, was that he was a one-time film producer who spent 18 months bringing a movie to the screen. That film was Maroc 7 (1967). The film came at a time when it could capitalise on the success of the James Bond films that had launched earlier in the 1960s with Dr No (1962) before rising to increasing heights with the likes of Goldfinger (1964). British film Maroc 7 shares elements with the 007 films, including the globe-trotting, secret identities and double crossing.
The film follows respectable fashion editor Louise Henderson (Cyd Charisse) who runs a magazine. All is not as it seems though and in reality the magazine is a front for a jewel-thieving ring, which Louise is the criminal mastermind of, with those she works with on the magazine part of her gang.
Enter Simon Grant (Gene Barry) who goes undercover posing as a safecracker to infiltrate Louise’s gang and try to bring down the operation. Shortly after he’s enlisted the gang goes to Morocco to try to steal a priceless medallion, which is the thrust of the plot.
Producer Phillips commissioned director Gerry O’Hara after seeing a film he directed called The Pleasure Girls, which was released in the UK on the BFI’s Flipside label. O’Hara reportedly did not have a good time on the shoot, which went over budget.
Based on a script by screenwriter David Osborn, which would be released as a novelisation shortly after the release of the film, penned by John Burke writing as ‘Martin Sands’, the script certainly contains intrigue and twists and turns, including a great double cross finale that I shall not spoil here.
It is also beautiful to look at with gorgeous visuals lensed by Kenneth Talbot, who uses some interesting camera pans and framing to film the movie and its array of colourful and eye-catching costumes and breathtaking Moroccan locations. It’s also got a groovy score, including a hit theme tune by instrumental rock group The Shadows.
Yet it does not entirely work and is never anywhere near as exciting as it could be and as efforts like the Bond series were and continue to be. The opening is great to look at but not the most thrilling and considering it’s about a daring heist on a priceless jewel, it’s never as captivating as it should be. Action sequences are few and far between; a car chase is okay but brief, and there’s a decent but, again, brief fist-fight between Simon and one of the criminal gang played by Leslie Phillips.
A highlight of the film, though, is the cast. We have the aforementioned producer Phillips, who plays a photographer at Louise’s fashion house who, as mentioned, is one of her crack team of thieves stealing precious artefacts and jewels. He plays a serious role here so none of his catchphrases are cheeky glances are on display. He’s effective in the role. In fact, all three of the lead gang members – they’re far from the only ones who travel to Morocco though – are on good form. Charisse gives good value for money as Louise, but pops in and out of the plot, and Elsa Martinelli is equally great as model Claudia, seducer of Simon.
American actor Gene Barry, who is perhaps best known for roles in the likes of The War of the Worlds (1953) is good in the lead. It’s also always a pleasure to see a performance by Angela Douglas, who here is a member of the fashion house, though she does not get too much screentime in the grand scheme of things, and then we have Denholm Elliott, who plays a French-Moroccan police officer on the trail of the gang. He’s never less than engaging. Also look out for Lionel Blair, who has a small cameo as a hotel receptionist
Maroc 7 is an entertaining globe-trotting heist movie that builds to a suitably memorable finale. There are some good performances and it always looks interesting and beautiful thanks to the cinematography and costume design, yet is never as exciting as it should be. I enjoyed it overall, but it’s certainly more of a failed curio than anything.
Film: 
Maroc 7 is available now as a Region Free limited edition Blu-ray of 1,500 copies as number 560 in Australian label ViaVision’s Imprint Collection and can be purchased directly from ViaVision. The high-definition transfer is very good, with a really clean print, fine detail and looks great overall. The audio is also fine.
Special features and technical specs:
1080p High-definition presentation on Blu-ray
New audio commentary by novelist/critic Kim Newman and writer/journalist Barry Forshaw
New interview with producer John Gale
The Shadows music promo
Theatrical trailer
Image galleries
Audio: English LPCM 2.0 Stereo
Aspect Ratio 2.45:1
Optional English HOH Subtitles
The new audio commentary is, as is to be expected from Kim Newman and Barry Forshaw, first class. They cover the novelisation by John Burke that was based on the script, including differences between the novelisation and finished film. They also point out blink and you’ll miss them elements of the film, share details on cast and crew and plenty more. The pair have recorded commentaries together for some time and play off each other well. It’s like watching the film with them and learning loads during the process. Newman describes the film as a “minor film” but gorgeous to look at, which chimes with my take on it. It’s an excellent commentary.
The new interview with producer John Gale is also very good. Entitled Beyond Maroc 7 it runs for 36 minutes. Gale covers how he met Leslie Phillips and the conception for Maroc 7, how it was originally due to be set in Israel and why that changed, and how he does not feel it was a good film. Gale’s experiences on the film made him not want to produce again. He shares memories of some of those involved and some interesting anecdotes. It’s a very insightful and honest interview which covers plenty of ground.
The trailer runs for three minutes and does a good job selling the film, with a very British voiceover.
Three image galleries are included. Firstly, a general image gallery containing around 40 stills, then we have a behind the scenes gallery of around 25 images, and finally a portrait and PR gallery containing almost 60 posters, lobby cards and promotional images.
Closing out the extras is a black and white promo for the title tune by The Shadows, which is quite groovy and a visually interesting music video with a very dynamic and fast-moving camera. The tune is very hummable.
So, it’s a small but very fine collection of extras for the Imprint Collection release of Maroc 7, headlined by two brilliant new extras, an outstanding commentary by Barry Forshaw and Kim Newman, and an excellent interview with producer John Gale. The film may be a mixed bag but it’s always very watchable and this Imprint release is a great way to experience it and learn plenty about the film’s production and those involved at the same time.
Disc/Package: 