THE LAST OF THE SECRET AGENTS MOVIE

The meaning is that it's the saddest of all Greek goddesses, so little is known about her except that she was so miserable, but what a great lady.' The song reached an entirely new audience when post-punkers Lydia Lunch and Roland S. So bless her heart, she deserves some notoriety, so I'll put her in a song. There was only about seven lines about Phaedra - she had a sad middle, a sad end, and by the time she was 17 she was gone, she was a sad-assed broad. Frederick Duval (John Williams (actor)) to thwart the plans of the evil crime and espionage organisation THEM led by Zoltan Schubach (Theo Marcuse). The reclusive Hazlewood actually commented at some length on his song in Record Collector in 2000, noting, 'What started me is that every night I read to my children the Greek mythology stories, I thought they were a lot better than all those fairy tales that came from Germany that had killings and knifings. Two Americans in Paris (Allen & Rossi) are reluctantly recruited by the Good Guys Institute (GGI) led by J.

You get the sense you're watching part of a mythic drama for which the context hasn't been given, particularly when Hazlewood and Sinatra start to rapidly alternate not just verses, but lines that quote from their respective parts of the songs, during the extended fadeout. Sinatra then re-enters with her part of the see-saw, and yields again to Hazlewood's verse. She, in turn, shoots the man dead, and then knocks on a nearby manhole cover, which. The film itself opens in Cannes, France, at the height of spy season, where a man in trench coat clandestinely passes on a secret note to a beautiful woman in green pumps. It's melancholy flower-power (and actually about flowers), sung childishly by Sinatra against a gorgeous melody, ending with the weird lyric 'Phaedra is my name.' That's the cue for Hazlewood to re-enter with his far more downbeat, threatening verse, promising to tell about Phaedra and how she gave him life. O ur retro-spy retrospective opens with perhaps the oddest of oddball spies of all time. Suddenly the tempo changes to a merry bounce, and Nancy Sinatra begins singing a verse which is not just an entirely different part of the song, but sounds like an entirely different song altogether. Angelic, yet still ominous, background voices croon mournfully and add to the sense of a romantic melodrama in which the script has somehow soured or been discarded. The song's composer, Lee Hazlewood, then enters with his trademark gravel-growl of a voice, promising to open up someone's gate one morning when he's straight. After only a few seconds, though, the melody grows ominous, as if a thunderstorm has been sighted over the horizon.

THE LAST OF THE SECRET AGENTS MOVIE

'Some Velvet Morning' starts with such a lush, sweet sweep of orchestration that you see movie images of cameras panning over empty green hills and cliffs. Even if it wasn't a monster hit, peaking at #26 in 1968, its construction was so odd and its intentions so obscure that it's still being debated decades later. 'Some Velvet Morning' was one of the oddest hit singles of the 1960s.

The last of the secret agents