Hammerhead is a very Sixties spy movie. It just oozes its era. It’s hip; it’s happening; it’s with it… or at least it desperately wants to be. It oozes what its filmmakers thought was its era, a zeitgeist captured on film that probably only ever existed in films. But that version of the Sixties is also my version of the Sixties, perfectly in keeping with every other cinematic depiction of the era made by directors who weren’t themselves part of the youth movement. (David Miller was pushing sixty when he made Hammerhead.) There are youths in this movie, and boy do they move. The Sixties are in full Swing everywhere that secret agent Charles Hood goes. From the impossibly of-its-time piece of hippy street theater that opens the film (it includes mannequin dismemberment and topless cellists) to the perpetual, never-ending beach party that concludes it, youths are moving everywhere, gyrating to wild, psychedelic music. There are several happenings, a couple of nightclub acts and even one of those doors that someone could open up in the Sixties behind which beautiful women seem to always be go-go dancing to far-out music. (See also: Killer Likes Candy.) It’s great. I want one of those doors in my apartment! The beautiful woman go-go dancing behind this particular door is Beverly Adams, looking at her absolute best in a tiny micro-skirt. And that door is located on a yacht. Could it get any better? Perhaps I better backtrack and set the scene.
on MOD DVD in a beautiful print much better looking than the one represented here. Get it!] Also sad is the fact that it didn't generate any sequels, as there was a whole series of Charles Hood novels by James Mayo and I would have loved to see Edwards spy again. C'est dommage.
Now I'll leave you with some more images of youth culture gone mad!