Asia-Pol in many ways fits in with the spate of James Bond knock-offs that Shaw turned out between 1966 and 1968, but also exhibits some significant differences that can most likely be chalked up to its Nikkatsu pedigree. For one, while the action of those aforementioned films was largely limited to what could be shot on the sound stages and back lots of Shaw’s Movie Town facility, Asia-Pol is distinguished by a great deal of location shooting set on the streets of Japan, Hong Kong and Macao. This is a style of shooting that the Japanese crew, accustomed to the gritty, street-bound look of Nikkatsu’s violent yakuza thrillers, would have been considerably more at ease with than would the Shaw’s technicians. Likewise, Asia-Pol‘s script gives us an espionage yarn that’s considerably more down-to-Earth than the campy nonsense that Shaw would typically serve up, entirely free of hooded super villains and sci-fi inspired underwater lairs.

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