Hellen I like the storyline of this show,it attract me so much

Lovesusti The Worst Film Ever

Thehibikiew Not even bad in a good way

Ketrivie It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.

karen5778 This movie is obviously a competent adaptation of a book. It is pretty good, if you like grade B noir, and we do, but the most fun is seeing familiar faces playing against type and/or putting on Italian accents.The villain in particular was a shocker, as I'd only seen him in light comedies. The most fun was looking up the bios of the actors on IMDb. It is one of those ones where a lot of the actors played roles in WWII themselves, some of them more dramatic than the parts they play here.IMDb requires 10 (!) lines of text, so I will say the pigeons of Venice are amazing, some of the best lines are idiotic in context, and why have a chase scene in a glass factory if you aren't going to break any glass? I guess they didn't have the budget as they filmed in a real glass factory. And, IMDb, "bios" is not a misspelling of BIOS, it is a common term for biography.

blanche-2 Richard Todd stars in "The Assassin" with Eva Bartok and George Coulouris, from 1952, shot in Venice.Todd plays Edward Mercer, who comes to Venice on behalf of an insurance company, looking for a man named Uccello who has a reward coming for the rescue of an Allied airman during the war. Unfortunately for Mercer, the first person he's supposed to see is dead. Then he meets Adrianna (Bartok), who knew Uccello, and he is told that Uccello is dead. After a while, though, he begins to think that's not the case.The director, Ralph Thomas, borrowed a good deal from Hitchcock in this film and did some effective things, particularly at the end, which is marvelous. He also used Venice and its surroundings very well to create an excellent atmosphere. If only the script had been less talky and the plot better, you might really have something here.Bartok is mysterious, Richard Todd is very serious and quite handsome, and Venice is beautiful, even in black and white. Well worth seeing for that.

sculptagain-1 Just 7 years following WWII, Italy was just regaining it's favored nation status with Europe. And to reward a countryman for Anti-Nazi actions, a detective is sent to track one man down for proved to be a hero assisting the Allies against the Nazis only to discover he is recorded in public records as dying as a hero. As the story plays out, political intrigue enters the picture as attempts are to be put into place that will ruin the up-coming elections. The police are suspicious to a degree of the detective and keep him under watch. The plot to 'assassinate' the political front runner is directed toward the detective by the true perpetrators for cover. There is much of a Hitchcock-type landscape throughout the movie with twists and turns and intrigue that ends with moment to moment wonder... Will the truth unfold? Will the true assassin be exposed? Will the police get the right person?

JohnHowardReid A millionaire hires a private detective to find and reward a wartime partisan who saved his life. Unfortunately, the man does not want to be found. Sound familiar? It ought to be. "Family Plot" is a blatant variation.One of the best cinema translations of a mystery thriller ever made, the pacily-directed "Venetian Bird" started life as a gripping page-turner by Victor Canning who was, most fortunately, called upon to write the screenplay from his own book by astute producer, Betty Box, who saw to it that a fine cast of players headed by Richard Todd, Eva Bartok and Walter Rilla were assembled and flown to the suitably noirish Venice locations where the film was actually photographed.From its attention-grabbing credits superimposed on a high angle over St Mark's Square, and underlined by Nino Rota's superlatively evocative music score, to the thrilling conclusion in that same square (astutely borrowed from Orson Welles' "The Stranger"), "Venetian Bird" is a high-flying movie. (What idiot changed Victor Canning's most appropriate title to "The Assassin"? No wonder all the movie's fans live abroad! The American title gives half the plot away before a patron even enters the theater or switches on the TV. As he twiddles his thumbs while he sits through all the now non-suspenseful exposition of the first half of the film, the American viewer must wonder why all the on-screen characters are so incredibly stupid. If you know the plot even before Richard Todd swings into action—and "swings" is the word, because he performs all his own breathtaking stunts—and the super-lovely Eva Bartok brings an otherwise spellbinding touch of mystery to her enigmatic role, you may well conclude that "Venetian Bird", despite all its atmospheric trappings, is no masterpiece of suspense.All the same, it's still difficult to downgrade Ernest Steward's strikingly somber, moody camera-work, or the charisma of the players. Only the normally reliable John Gregson fails to convince. Fortunately, his part is small. The support cast is otherwise in the reliable hands of people like Walter Rilla's delightfully suave and sinister villain, and Margot Grahame's fine-tuned, carelessly guiltless charmer.