One of the last features made by Ian Dalrymple's Wessex Productions is this lively travelogue in colour in which the credits inevitably appear over an Amsterdam barrel organ and the action (which at one point resembles 'The Twelve Chairs' substituting Dutch cheeses for chairs) also treats us to plenty of canals and windmills. The dialogue has plainly been post-synced back at Anvil Films (with the assistance of lots of narration and a busy score by Muir Matheson), with the result that it feels more like a continental film that has been dubbed into English than a native production.
Less preachy than most CFF adventures (although it anticipates the warning in 'Pulp Fiction' over thirty years later that guns handled carelessly can go off by accident), it interestingly reveals that sixty years ago in Amsterdam it was accepted practice for kids to ride their bikes on the pavement.
Both heroes are the sons of policemen, but in their absence go it alone to foil the usual gang of crooks, who are scarier than their British equivalent and have been trailing them in a big, imposing black car before being pelted with tomatoes. The film is enhanced rather than harmed as a travelogue by the onlookers frequently gathered in the background watching the filming.
Less preachy than most CFF adventures (although it anticipates the warning in 'Pulp Fiction' over thirty years later that guns handled carelessly can go off by accident), it interestingly reveals that sixty years ago in Amsterdam it was accepted practice for kids to ride their bikes on the pavement.
Both heroes are the sons of policemen, but in their absence go it alone to foil the usual gang of crooks, who are scarier than their British equivalent and have been trailing them in a big, imposing black car before being pelted with tomatoes. The film is enhanced rather than harmed as a travelogue by the onlookers frequently gathered in the background watching the filming.