February 23, 2011
Wild Bill Donovan The Spymaster Who Created the OSS and Modern American Espionage Douglas Waller Free Press: 467 pp., $30
February 23, 2011 |
Contemporary history is seldom as relevant and engaging as Douglas Waller's new biography, "Wild Bill Donovan: The Spymaster Who Created the OSS and Modern American Espionage," which is ? by turns ? fascinatingly instructive and thoroughly entertaining. Waller, a former Time correspondent and the author of an excellent biography of Gen. Billy Mitchell, has a great ally in his subject, who was a larger-than-life personality in an American Century favored with more than its share of outsized figures.
May 7, 2010 |
France's super secret agent man is back in "OSS 117 — Lost in Rio," and he's better, and worse, than ever with a lot of bang, bang, bang, stumble, bumble, fumble in flashy '60s era suits of impeccably poor taste. The latest edition of the French spoof again stars Jean Dujardin as Hubert Bonisseur de la Bath, an idiot suave-ant of secret agents with brilliantine hair and a specialty for sailing through politically incorrect pronouncements with the same aplomb he does shoot-outs with bad guys.
May 7, 2010
'OSS 117 – Lost in Rio' MPAA rating: Unrated Running time: 1 hour, 40 minutes. French with English subtitles Playing: Landmark's Nuart Theatre, West L.A.
CALIFORNIA | LOCAL
August 31, 2009 |
Barbara Lauwers Podoski, who launched one of the most successful psychological campaigns of World War II, which resulted in the surrender of more than 600 Czechoslovakian soldiers fighting for the Germans, died of cardiovascular disease Aug. 16 at the Veterans Affairs hospital in Washington, D.C. She was 95. One of the few female operatives in the Office of Strategic Services, the wartime predecessor to the CIA, she found creative ways to undermine...
May 9, 2008 |
Based on a long-running French spy character who actually predates James Bond, "OSS 117: Cairo, Nest of Spies" is a loving spoof of Cold War espionage thrillers, done with a spot-on re-creation of the look, sound and feel of a genuine 1950s Technicolor production. Men wear sharp suits, the women wear slinky dresses and everyone can dance the mambo reasonably well. The film, directed by Michel Hazanavicius, counts as its No. 1 asset an impeccable sense of where to draw the line, always letting its eyebrow arch only just enough.