What’s up Tiger Lily (1966) is from‘s early period, when he was a funny guy, but he was also just as prone to experimentation in his Genesis period (his next project was the infamous experimental James Bond disaster Casino Royale, which he acted in and co-wrote). The concept for Tiger Lily is so simple, one wonders why no one had attempted it before (or since): Allen took a Japanese spy film—a not so subtle ripoff of the Bond films called The Key of Keys, directed by Senkichi Taniguchi—and redubbed it. Allen himself appears to introduce this one-of-a-kind, playful hybrid.
Allen has since dismissed What’s Up Tiger Lily as juvenile doodle, but its youthful pulse on the absurd is convincing, winning, and is probably the closest he gets to authentically weird cinema. There are some who maintain that in addition to being his first film, Lily is also his funniest.
Most of the mainstream suddenly became acquainted with Allen with this film, which was an unexpected hit (Allen later joked that his overnight success was a decade in the making). In addition to the dubbing, Allen also re-edited the film, and the result is so refreshing that the original film becomes a viewing ordeal (the opposite of what happened whenever Jerry Warren‘s edits inexplicably made godawful films even worse, i.e., Face Of The Screaming Werewolf).
Whether or not What’s Up Tiger Lily is Allen’s funniest film is debatable, but it’s certainly his silliest, because of its inherent helter-skelter weirdness. Its the cinematic equivalent of a Mad Magazine, with subtle-as-a-pair of brass knuckles humor and spliced-in performances from the Lovin’ Spoonful making it a bouncing off the wall party favorite (it’s probably not as fun to watch alone). There are just as many jokes that fail as ones that work, but they are delivered with such kinetic, Tex Avery-like speed that it hardly matters. Comparatively, the whole of Mystery Science Theater 3000 seems like an academic lecture.