Directed by Ralph Thomas
Dirk Bogarde, Sylva Koscina, Robert Morley, Leo McKern, Roger Delgado, John LeMesurier, Richard Pasco, Eric Pohlmann, Richard Vernon, Amanda Grinling, Noel Harrison, Derek Nimmo
Music by Angelo Lavagnino
Some people do not like the films of producer Betty E. Box, and director Ralph Thomas. I am not one of them. I think they are some of the more enjoyable examples of sixties British cinema. Amongst their output are films like The Thirty Nine Steps (the Kenneth More version), The High Commissioner, Deadlier Than The Male and Some Girls Do. Okay, they are all spy films and I have a penchant for spy films, so that makes me a tad biased.
The film opens with Roger Allsop (John Le Mesurier) turning up at MI6 headquarters. He walks down a long corridor to a large counter. Onto the counter he places a large black leather bag and starts to retrieve items from it. First there are several passports, then a shoe with a hollowed out heel, a revolver, and lastly a lucky rabbit’s foot. Although this foot didn’t bring too much luck to it’s owner. You see these are the personal effects of a secret agent who has just been killed. The attendant behind the counter picks up the items and places them in a cubby hole which has the number 007 allocated to it. Now MI6 need a replacement.
Enter Nicholas Whistler (Dirk Bogarde). Whistler is an unemployed writer who turns up at the Labour Exchange to collect his unemployment benefits. Much to his chagrin, rather than just collecting his money, he is also sent to a job interview at a glass manufacturing company. This glass company is actually a front for MI6, and it is headed by Colonel Cunliffe (Robert Morley).
Whistler turns up for his job interview late, hoping that would dissuade them for employing him. But Cunliffe and MI6 need a man who speaks Czech for their next mission to Prague and Whistler, who is bi-lingual seems like the perfect man for the job. Whistler really doesn’t want the work, but changes his mind when Cunliffe offers him a particularly obscene amount of money as a salary.
So next Whistler is off to Prague to meet Mr. Galushka (Eric Polmann), the head of the state run Zapopaki Glass Works. Whistler he been told that the instructions for a new glass making technique with be handed to him at the works, but he must identify himself with the phrase, “It’s hot enough for June.” The contact in Prague will respond with, “Arrr, you should have been here last September.” Even with the cloak and dagger code words, Whistler still believes everything is above board and he is simply doing some business with a neighbouring glass factory.
Whistler checks into a hotel and waits to be summoned to the Glass Works. When his summons arrives, he finds Vlasta Simoneva (Sylva Koscina) waiting downstairs as his liaison and driver. Up until this point the film has been a gentle paced comedy. The humour has been smile producing rather than inducing belly laughs and has been carried largely by Robert Morley who appeared to be having a good time hamming it up. But now at the twenty three minute mark, Sylva Koscina has entered the story and the film shifts to a romantic comedy. In most romantic comedies the relationship starts out rocky, and Hot Enough For June is no exception.
The trip to the glass works doesn’t go well after Whistler makes some heavy handed comments about the Communists shooting each other. Vlasta can barely contain her contempt for this arrogant young Westerner who sees fit to criticise her way of life.
Once at the glass works, Whistler is given a grand tour by Mr. Galushka. As Whistler travels through the factory and talks with the staff, he slips the ‘hot enough for June’ phrase into each conversation, but no-one responds with the counter phrase. As he is about to leave, he stops at the washroom to wash his hands. The washroom attendant starts talking about the weather, giving Whistler the perfect opportunity to drop ‘hot enough for June’ in the conversation, but before he can, Galushka interrupts and drags Whistler away. Though now, Whistler is convinced that the man in the washroom is his contact and contrives to revisit the glass works again in two days time.
But in the meantime he must wait, and what do you do when you’ve got two nights and a day to kill in Czechoslovakia? You attempt to seduce Vlasta Simoneva. Whistler starts by asking her out for a drink that evening which leads to dinner later on at a colourful restaurant.
But things aren’t as they seem. We already know that Whistler is a spy – even if he doesn’t realise it himself. But the Czech Secret Police aren’t so stupid. They know he’s a spy and have assigned an agent to find out what he is up to. That agent, as you may have guessed is Vlasta Simoneva. Complicating things even further is that the head of the Secret Police (Leo McKern) in this part of the world happens to be Vlasta’s father.
The next day Whistler and Vlasta spend the day jaunting around Prague doing the type of things that young couples do. There’s a spot of swimming at the local pool, which gives Koscina an opportunity to parade around in a bikini. I believe that parading around in a bikini was almost a trademark for Miss Koscina. In Deadlier Than The Male, when we are first introduced to her character, she is in a bikini – albeit carrying a speargun. In A Lovely Way To Die, once Kirk Douglas is in the picture it doesn’t take her long to strip down pool side either. As the day wears on, the jaunting around turns into flirting and finally our young couple, after a rain storm end up at her home in soggy clothes. Naturally they take them off and, well you know….
The next day Vlasta is relieved of her escort and intelligence gathering duties. It is deemed that she has gotten too close to her subject. Another driver takes Whistler back to the glass factory, and this time he successfully makes contact with the agent in the washroom. As the contact hands over the top secret information, it finally dawns on Whistler that he is a spy. Up until this point, it has all bee a lark, but now the game is serious.
Once Whistler returns to his hotel, he finds out how serious. The Secret Police, including Vlasta’s father, turn up to arrest him. Whistler escapes by hiding in a cupboard, and then makes his way out into the unfamiliar streets of Prague.
An extensive manhunt is launched to track Whistler down, but somehow he manages to stay just one step ahead of the police. His objective though, is to make it to the British Embassy. Unfortunately the Secret Police are counting on that too, and have stationed a barricade of men at the gates, so Whistler cannot get past. Instead he returns to Vlasta’s home. At first she is skeptical about his intentions. She believes he is using her to smuggle out State secrets. Whistler dispels that notion when he throws the information that he received into the burning fireplace. Vlasta, once again in love, agrees to help him escape to freedom.
Hot Enough For June is a pleasant film, but as a romantic comedy, it doesn’t really work. As a romance the story is a bit forced and contrived, after all Vlasta is an intelligence officer who chooses to use ‘romance’ and ‘sex’ as a tool to get close to her target. She isn’t forced to use this technique; it her option. With that as a starting point, it’s hard to believe that over a day, that she’d do a complete backflip over a man that she despises on first meeting. And furthermore, betray her country and father for this same man. But I guess Bogarde and Koscina display a certain amount of on-screen chemistry that almost makes you believe this could happen.
As a comedy, the film is very light. There aren’t any laugh out loud moments, but here are quite a few scenes that produce broad grins. Robert Morley makes the best out of the comedic moments in the script.
All-in-all Hot Enough For June isn’t ground breaking or life changing cinema. It’s the type of film that you watch and enjoy, but really don’t know why. Well, …actually I know why! It has Sylva Koscina in it. For me that’s enough of a drawcard. As always she lights up the screen in every scene she is in. Digressing for a second, some people are perplexed at the success of Peplum films. ‘Why would you want to see a steroid bloated man with no neck toss around paper mache rocks?’ The truth is you don’t (well not much, anyway. Maybe a little bit). You watch Peplum films for the girls dressed in candy coloured, flimsy negligees. And Sylva Koscina was a ground breaker in that area, when she starred opposite Steve Reeves in Hercules, and Hercules Unchained. No-one could wear a negligee quite like her. When Eurospy films came along, she was quick to slip out of her negligee and squeeze into a bikini, with equal success.
The sixties had a great many sex sirens. Some of them are still household names, and some are now relegated to cinema history. Sylva Koscina appears to fall into the later category, and is one of the most neglected and under-rated actresses ever.