People have been making spy film parodies for almost as long as they have been making spy films. As early as 1951, Paramount cast Bob Hope in My Favourite Spy as both a sophisticated international spy and the bumbling stand-up comedian who happened to resemble him. Right from the start, this cinematic formula proved so incredibly successful that it began to have an influence on the source material and so many conventional spy films and TV series of the 1960s went out of their way to incorporate the kinds of sight gags and deconstructive energies that had once been used to mock the genre from the outside. Indeed, the only tangible difference between The Man from U.N.C.L.E. and Get Smart is that Don Adams seemed to realise that his character was a self-important fool while Robert Vaughn did not. By the 1980s, the conventional spy film was so far beyond parody that Roger Moore was allowed to turn James Bond into the straight middle-aged equivalent of high camp while films such as Spies Like Us and True Lies functioned as both conventional action films and satirical comedies without even a trace of tonal dissonance.
The public’s growing inability to tell the difference between films about spies and films taking the piss out of spies also served to deprive espionage satires of their political edge. Despite realising that it was impossible to satirise a genre that had progressed beyond parody some twenty-five years previously, many filmmakers went down the path of producing broader and broader satires of a genre that no longer existed as anything other than a comic punching bag for hacks like Mike Myers or the Jason Friedberg and Aaron Seltzer partnership that would eventually wind up creating such cinematic monstrosities as Scary Movie and Meet the Spartans.
Though it is hard to think of a more degraded cinematic genre, the spy movie parody has nonetheless managed to produce a number of truly classic and devastatingly pointed films: Often imitated but rarely understood, Yves Robert’s The Tall Blond Man with One Black Shoe depicts the intelligence services as a bunch of self-important and unaccountable bureaucrats who spend all their time chasing their own tails in an effort to commandeer more power and funding from a political class that lacks the courage to recognise their pointlessness. Equally brutal is Michel Hazanavicius’ OSS 117: Cairo, Nest of Spies, which depicts the French secret service as a bunch of racist thugs who use the trappings of state power to legitimise a playboy lifestyle that takes them from one sun-drenched swimming pool to another as women and members of marginalised groups look on in anger and disgust. Though Paul Feig’s Spy does not approach the savagery of either of these two films, it is an action/comedy that does action very well and a comedy with real satirical bite. Ostensibly a satire of Bourne-era spy films, Spy is best understood as an exploration of the Halo Effect and the idea that physically attractive people are anything other than a bunch of incompetent narcissists benefiting from society’s libidinous good will.