In Like Flint

In Like Flint is an American spy-fi comedy film released in 1967 as a sequel to the popular 1966 film Our Man Flint. Staring the charismatic James Coburn as the suave and unflappable secret agent Derek Flint, it epitomizes the satirical style of the 1960s spy genre, serving as a tongue-in-cheek counterpart to the more serious James Bond movies of the era. The film also stars Lee J. Cobb as Flint's gruff but loyal boss, Lloyd C. Cramden, and Jean Hale as the film's alluring and formidable female antagonist, Lisa Norton.

The film opens with secret agent Derek Flint lounging on an exotic beach, embodying the archetype of the jet-setting spy who is adept at handling high-profile missions with a nonchalant charm. Coburn's Flint is the quintessential playboy, a renaissance man with an expert command of martial arts, scientific knowledge, and unparalleled seductive skills. His talents are as abundant as his confidence, making him the ultimate fantasy figure within the frenetic espionage era of the Cold War.

In Like Flint begins its adventure with an audacious conspiracy brewing in the United States. A faction of powerful women, led by the cunning and beautiful Lisa Norton, plan to hijack the country through an elaborate scheme involving brainwashing, manipulation, and control of key political figures. This conspiracy is not just a simple power play; it's a full-blown attempt to establish a matriarchy that will alter the global power structure.

Agent Flint is recruited by his agency's superior, Lloyd C. Cramden, who has himself fallen victim to strange occurrences that signal deeper troubles within their organization. The film takes audiences on a journey from Washington D.C.’s corridors of power to the vast reaches of outer space, with the Space Platform, a U.S. government space station, acting as one of the focal points of the nefarious plot.

An important theme in In Like Flint is its commentary on gender politics. The movie plays with the popular attitudes towards gender roles in the 1960s, and it portrays a world where women seek to reverse the power dynamics and command the helm of leadership. This narrative choice is both a product of its time and an exaggerated reflection of the anxieties and conversations around the women’s liberation movement that was gaining momentum during the period.

James Coburn, as Derek Flint, navigates this male versus female dynamic with an air of nonchalance and wry humor. His performance is both debonair and deliberately exaggerated, evoking a light-hearted charm that keeps the film buoyant even as the stakes rise. Lee J. Cobb's portrayal of Cramden offers the perfect counterpoint to Flint's cool exterior. Cramden is often frazzled and perpetually one step behind Flint, but he is also a deeply dedicated and serious figure within the intelligence community—a classic portrayal of the bureaucratic yet fundamentally decent government agent.

Jean Hale's portrayal of Lisa Norton is similarly nuanced. She embodies both the allure and the intelligence required of her character—proving to be both a romantic interest for Flint and a formidable intellectual foil. In her role, she gets to flaunt a range of emotions, from cold-hearted strategist to seductive manipulator, that demonstrates the complexity of her character within the film’s satirical framework.

In Like Flint is a visually vibrant experience, replete with the garish colors and extravagant sets typical of the era’s cinematic style. The film captures the essence of the 1960s, from the clothing and interiors to the playful use of technology and gadgets that would make any tech enthusiast beam with delight.

The globetrotting narrative of the film is supported by a variety of exotic locations and a diverse cast of supporting characters, including Flint's posse of gorgeous and devoted "Flint girls." These women, who are fiercely loyal to Flint, bring their own set of skills and depth to the ensemble, often showcasing a blend of intelligence and charm.

The action sequences are choreographed with the right mix of absurdity and excitement, fitting perfectly with the campy tone of the film. From hand-to-hand combat to chases and escapes that defy the laws of physics, In Like Flint revels in its over-the-top escapades that are designed more for spectacle than for realism.

Adding to the film’s entertainment value is the witty dialogue and the playful score by Jerry Goldsmith, which captures the swinging 60s vibe and espionage suspense. The soundtrack contributes to the movie's overall atmosphere, weaving together the comedic, dramatic, and action-packed elements of the story.

In conclusion, In Like Flint is an essential addition to the genre of 1960s spy films, providing a cheeky and satirical look at the secret agent trope while serving as a barometer of societal attitudes of its time. The film is not just a spy caper but a parody that engages with the cultural landscape of the mid-20th century. With James Coburn's charm leading the way, it remains a memorable and enjoyable romp through a world of campy thrills and espionage antics.