Be yourself; Everyone else is already taken.— Oscar Wilde.
This is the first post on my new blog. I’m just getting this new blog going, so stay tuned for more. Subscribe below to get notified when I post new updates.
Be yourself; Everyone else is already taken.— Oscar Wilde.
This is the first post on my new blog. I’m just getting this new blog going, so stay tuned for more. Subscribe below to get notified when I post new updates.
The time had finally come for Roger Moore to abandon the role of 007, and let someone else take up the mantle. The actor had been complaining for the last three movies that he was way too old to play the part, but had always been persuaded at the last minute to come back. It didn’t come as a shock that the producers had already planned for this eventuality, and had tested a few actors who, in their opinion, fit the bill. Two of these three actors would end up as front runners for the role, but only one of them would walk away with the price.
Back when Roger Moore was working on his fifth Bond movie, For Your Eyes Only, there was one actor who had caught the attention of the producers; Pierce Brosnan. Brosnan was an up and coming Irish born actor who, at the time, was married to Australian actress Cassandra Harris, who played the part of Countess Lisl on the movie alongside Moore. Brosnan had driven down to Corfu with their children for the weekend to visit Cassandra on the set. Broccoli was so impressed by the actor’s looks that they all got invited for dinner. Brosnan had been a fan of the series from a very young age, and did everything in his power to impress Broccoli that night, doing, and I quote; “His best James Bond impression”. This did not go unnoticed by Broccoli, and years later, when the time was coming to find a replacement for Moore, he was asked to come back and test for the role. Brosnan’s partner for that casting session was Maryam d’Abo, who had already been cast ahead of time for the role of Kara Milovy on the next movie. The scene they had to play together was that of the meeting between Bond and Tatiana Romanova on From Russia with Love. That was actually the producer’s go-to scene when testing potential new actors for the role. Brosnan passed the test with flying colours, demonstrating he had the required charm and presence, to convincingly play the role. There was one problem, though. Brosnan was working on the American TV show Remington Steel at the time. The show hadn’t been very successful, and was actually on the verge of being cancelled when Brosnan received the call. Brosnan came back to the UK, did the casting session, and had actually even signed the contract, but the TV showrunners had the legal right to recall Brosnan if the show’s viewing figures improved, and more episodes were to be filmed. Funnily enough, the fact that Brosnan had been seriously considered for the role reached the press, which in turn boosted the audience’s interest on the show again, and meant that due to his contractual obligations Brosnan wasn’t allowed to take on the role. In the meantime, another actor who had been tested for the role years ago came to the fore. Timothy Dalton was a well known Welsh Stage and TV actor who had been considered to take over the part back when Sean Connery had refused to come back. Wisely enough, I think, the actor refused to do it on the grounds of being too young to play the role credibly. A few years had gone by, and he was asked again to come back. A more seasoned actor by then, Dalton was fresh off a TV show and had to rush into the role without much prep time. Right up until the last moment, everyone believed, including the other actors who had already been cast, that it was Brosnan, and not Dalton, who was taking on the role. Strangely enough, Maryam d,Abo ended up testing with three different actors who were up for the role of James Bond; the two aaforementioned, and New Zealand born actor Sam Neill. Both Barbara Broccoli and Michael G. Wilson were very impressed with Neill’s casting sessions, and were willing to give him a chance. It was ultimately “Cubby” Broccoli’s decision, who had the last word, to cast an English actor in the role. With Dalton thus cast as James Bond, it was up to him to catch up on an already up and running production schedule.
Pre-production work on the last movie was well on its way by the time the casting of a new actor for the role of 007 had been resolved. All the principal players like Dutch actor Jeroen Krabbé in the role of KGB General Georgi Koskov, German Actor Andreas Wisniewski in the role of Koskov’s henchman Necros, American actor Joe Don Baker as Arms dealer Brad Whitaker; funnily enough, Baker would be one of the few actors to play two roles in different Bond movies; the actor would come back years later to play the role of CIA agent Jack Wade on both Goldeneye and Tomorrow Never Dies, British actor John Rhys Davies as KGB General Pushkin; Davies was already a well established British actor who was better known for his role as Sallah, the Egyptian Archelogical digger on Raiders of the Lost Ark, Steven Spielberg, but would reach worldwide fame when he was cast as the Dwarf Gimli on Peter Jackson’s epic adaptation of J.R.R Tolkien’s The Lord of the Rings trilogy, and British actor Art Malik as Afghan Resistance leader Kamran Shah. Strangely enough, Malik would sort of reprise his role here on James Cameron’s True Lies, but this time around playing the bad guy, Islamic terrorist Salim Abu Aziz.
Other bit players came back to reprise their roles like British actor Robert Brown as M, Geoffrey Keen as Minister of Defense Sir Frederick Gray, Walter Gotell as KGB General Gogol, and Desmond Llewellyn as Q. A few changes were made for some of the recurring roles in the series, so British actress Caroline Bliss took over as Miss Moneypenny from Lois Maxwell, and American actor John Terry took over from David Hedison for the role of Felix Leiter.
Another role that was cast well in advance was that of British actress Maryam d’Abo as Cellist Kara Milovy. She came highly recommended from Barbara Broccoli, who at this time had a huge say in who would be cast for what role.
The screenwriters had long since been running out of original material from Ian Fleming to be used as inspiration for the movies, but there were still a handful of short stories that Ian Fleming had written at the beginning of his writing career to be adapted into TV shows when there was still no interest for his James Bond stories to be adapted to the big screen. One such story was The Living Daylights, which was published as a compilatation along with the short story Octopussy. The short story takes Bond to East Germany, where he’s on Sniper duty, assigned to help protect an infiltrated British agent cross over safely over the border into West Germany. Over the course of several nights he sees a concert group playing on an open air stage near the border, and can’t help but notice a beautiful Cellist playing among them. When the moment comes for the British agent to cross over, Bond notices that the Sniper assigned by the Russians to kill the agent is indeed the Cellist. Bond doesn’t shoot her, instead shooting at her rifle, and taking her out of the game. The British agent is safely over the border, but Bond recognizes that in all likelihood, the mission will be considered a failure, as he failed to eliminate his target, but will be more than happy if M ends up firing him because of the incident. As you can see, the short story became the building blocks onto which screenwriters Richard Maibaum and Michael G. Wilson based their screenplay. They changed a few things around, and with the help of filmmaker John Glen, they came up with a few nice ideas and action set pieces, like Bond and Kara crossing the Austrian border mounted on a Cello case, and one of the best pre-credits sequences in the series; the NATO exercise-turned chase sequence on Gibraltar. They also had to alter the script to make it play to Dalton’s strengths. The actor wanted to play the role in a more straightforward and dry manner, devoiding the character of the humour that had been a main feature during the Moore era, to be more faithful to the character as was described in the books.
The movie was shot in Gibraltar, Austria,Vienna, Morocco, the US, and in Pinewood Studios, England. More than ever, the filmmakers wanted to go all in and try and cram in as many action set pieces as they could in the movie. First off was the amazing pre-credits sequence with Bond first jumping off a plane, landing on Gibraltar and jumping on the roof of a jeep that the baddie who’s just killed a 00 agent is using to escape. Once again stunt Skydiver B.J Worth and his partner Jake Lombard were in charge of the aerial stunt sequences; the first of them being the jump from a Military cargo plane over the Rock of Gibraltar. What ensues right after is one of the best shot, edge-of-your-seat chase sequences ever seen on a Bond movie. The sequence was achieved through a mixture of stunt driving; with none other than film editor Peter Davies driving the jeep for the stunt sequence in which Dalton himself was hanging on to the roof of the vehicle, processed shots back in Pinewood, and miniatures for the end of the scene in which the jeep crashes off a cliff wall, and blows up in mid-air, not before Bond opens up his parachute, and shoots off the back of the jeep. Visual Effects Supervisor John Richardson and his team tried to do as much of the action in camera as they could, even going as far as flying to the US, to the Mojave desert in California, to shoot the aerial scenes for the jeep crashing off the cliff, and blowing up in mid-air with stuntmen hanging on to the roof of the vehicle. After several days of test footage and rehearsals, they decided to go back to the drawing board and do it all as a mix of miniatures and live action, with the jeep being shot off a head beach on top of a cliff to the water below using an air cannon, and a dummy being parachuted off the back of the jeep before blowing the vehicle via remote-controlled explosive charges. It was actually the close collaboration between Production Designer Peter Lamont and Special Effects Supervisor John Richardson, that helped achieve most of the amazing tricks seen on-screen. The scene in which Koskov is transported to West Germany through a gas pipe line, and then flown off the country via a military aircraft was a feat of ingenuity. The filmmakers used a mixture of real locations in Vienna for the establishing shots, the scenes inside the opera house and the border, and combined them with Pinewood sets for the back alley of Saunders’ safe house in Vienna, the interior of the Pipe line engine room, and a mocap and miniature of a jet plane, with the background being substituted by a transparency of the West German skyline.
The next big action set piece is that of Bond and Kara trying to get over the Austrian border with first a tricked-out Aston Martin, and later on the back of a Cello case sliding down a snowy slope. Sounds too wacky? That’s because it is. And almost all of it was done for real on location. But were the freezing conditions of the frozen-over Austrian lake where the cast and crew were shooting these scenes that presented the most challenging obstacle, with frozen props and equipment that had to be constantly re-heated. The most striking stunt was that of the Aston Martin shooting up a steep ramp and coming up and down the other side to finally crash into a bank of snow. The car was proyected over the ramp using rockets, but kept crashing into the cardboard boxes and not jumping over the other side. They finally got it to work after several attempts. The Cello case skiing chase stunt was actually Glen’s idea, who really pushed for it to be included in the movie, even though Wilson and Broccoli said it couldn’t be done. Glen found a Cello case while on a recording session, opened it up, and demonstrated that two people could actually fit on top of it when opened. Needless to say, Richardson and his team had to fit small ski paddles under it to make it go faster and steadier downhill. He also set up a steering mechanism at the back consisting of a small handle that when steered could make the Cello case contraption go in the right direction. Lots of small exploding charges cleverly concealed under the snow were buried all along the sides of the track the Cello was to follow, to simulate the bullet and explosion hits of the guns of the Russian soldiers pursuing them. But what impresses the most is the magnificent set building, model and Special Effects work done by the crew in Morocco, where the majority of the action in the third and final act takes place, with Morocco doubling up for Afghanistan. The crew worked in and around Morocco, having to go to the Royal Family to be granted permission to use both the sets, and gain access to vehicles and weapons for the battle scenes in the latter half of the movie. Once the required permits were granted, the crew was welcomed with open arms, and granted all kinds of access to whatever they needed. The main set of the Russian Army Airbase was built on an existing and working airstrip outside of Morocco. The crew had to build their sets around the existing ones, they could use the runway for some scenes, but always taking into account that a number of planes would land on it throughout the day. On the other side of the airfield the crew constructed a model replica of the C-130 Hercules aircraft that Bond uses to escape, for the scenes in which Bond and Kara eject and parachute their way out the back of it, when the aircraft rapidly starts losing fuel, and it’s about to crash against a mountain. The scene was achieved through a mixture of miniatures, with a miniature jeep coming out the back of the plane, the miniature plane crashing against a mountain, and a transition shot of Bond driving the jeep through a stone wall, getting rid of the landing skids by the side of the jeep in the process, and driving through, all done within camera on location. The result being so seamless, you can’t really tell the difference; it is so well done. So is the scene of Bond throwing a bomb out the plane and over a bridge where the Afghan freedom fighters are being pursued by the Russian Army, to destroy the bridge and cut off their pursuit. The crew found a bridge on location that went over a river bed. Unfortunately, neither the bridge nor the river were tall and deep enough for what the filmmakers were looking to do. Thus Michael Lamont, under the supervision of his brother Peter, built a foreground miniature of the bridge, and a deeper river bed, for it to be destroyed later on when the bridge snaps in two with the Russian Army on top of it. It’s amazing model work, that seamlessly passes up for the real thing.
Most of the battles scenes were shot for real on the Moroccon airfield set, with lots of on-site surgeries performed while filming, due to the amount of accidents and mishaps happening with the stuntmen. The most amazing set piece was yet to come, though; with the incredible sequence where Bond and Necros fight to the death hanging out the back of the Hercules aircraft on a huge net, with the incredibly strong winds buffeting the net backwards and forwards. The bulk of the scene was shot using aerial footage shot, once again over the Mojave desert in California, using a real C-130 plane, with B.J Worth, Simon Crane and Jake Lombard doubling up for Bond and Necros. It was a very difficult stunt to perform. The stuntmen had to be strapped to the back of the aircraft most of the time, had an emergency parachute under their clothes in case they fell off the plane; which happened quite often, and another Skydiver strapped to be back of the plane as well, at the ready; in case either of the stuntmen fell off and couldn’t open their parachute. The rest of the stunt and close ups with the principal actors were done in Pinewood Studios, where the interior of the C-130 was recreated, and with the help of wind machines and a polley system shaking the net in all directions, the sequence was finished.
The shoot was also kind of a walk down Memory Lane for director John Glen, as he was going back to shoot in Vienna, where his filming career had started, working under the wing of Carol Reed on The Third Man. A few scenes for The Living Daylights were shot in the very same spots were most of the action occurs on The Third Man; the amusement park of Prater Park.
Another striking locations were those of Stonor Park in Oxfordshire, UK; which doubles up for the Hanley Safe house, and the Forbes Museum in Tangier, Morocco; which doubles up as Brad Whitaker’s War Museum. The first location was loaned to the crew by the owners on the condition that the property would suffer no structural damage. And to a point, they did deliver on their promise. Most of the house’s interiors were recreated in Pinewood, but the outside windows had to be replaced for the Necros attack scene in which they blow up. As for the Forbes house, the crew was impressed by the collection of miniature tin soldiers and model recreations of famous battles on display throughout the house, and decided to take advantage of this, and integrate it into the plot. To show off even more of Whitaker’s egotistical personality, the filmmakers decided to make a mold of Joe Don Baker’s face to build a series of wax statues of historical military leaders with his face.
The shoot also proved to be very hard, not only for the rushed shooting schedule, but also due to the harsh weather conditions in Morocco. Dalton was very keen on doing most of his stunts, with the filmmakers having to stop him from wanting to do too many of them for fear of injury. Maryam d’Abo, on the other hand, had to even take Cello lessons from a professional Cellist, and riding lessons to convincingly perform her stunts.
The movie was a financial success, the audience gave Dalton their blessing, and most of the critics too, even though most of them considered the movie to be a rather mundane affair when it came to its story, with uninteresting villains, and a way too serious performance by Dalton.
While I may agree on most of the points made by the reviewers at the time, I must say that I find The Living Daylights one of the better Bond movies, and a highly underrated one. It may be because ever since I saw it for the first time I always found it to be very entertaining and flashy, or that my nostalgia is playing tricks on me, but as I’ve recently rewatched it for the purposes of this review, I’m hard pressed to change my opinion about it.
First off, Dalton delivers a very credible and solid performance. Gone is the wacky, goofy humour of the Moore era; one of the weakest aspects of that particular era, and something that won’t be missed, at least by me, and in is Ian Fleming’s hard-edged, cold MI-6 agent. Admittedly it’s not one hundred percent the Bond from the books, there’s still some outlandish elements left over from the previous entries as to soften the changes made to the character for hardcore fans of the filmic Bond, but they’re definitely less so. The most blatantly example of this would be the gadget-filled Aston Martin chase sequence, and the Cello case chase down the snowy mountain, but the rest of the action set pieces have a definitively more grounded feel to them. Dalton definitely run out of movies to prove what he could do with the character, but even so, what he did here, and on the next movie, is not dissimilar to what Daniel Craig did years later, and for which he would be so critically lauded.
As for the rest of the cast, I must mostly agree. They all do a fine job, even though most of them deliver “by-the-numbers” performances. Nothing really remarkable about any of them, except perhaps for Andreas Wisniewski, who shows glimmers of a mean streak, that the other two main villains played by Jeroen Krabbé and Joe Don Baker are sorely lacking. But the main drag to the movie is Maryam d’Abo, who comes off as annoying and useless, even when the writers struggle to come up with things for her to do.
All the blandness out of the way, the movie is still fantastically entertaining, with brilliant set pieces; really the standout element of the movie along with Dalton’s performance, an energetic, but at the same time beautiful score by John Barry; probably his best in the series, with an equally great main title song by Norwegian Pop group A-Ha, and amazing production values. Everyone from Peter Lamont, John Richardson and the stuntmen do an amazing job; topped off by John Glen’s direction, in which is possibly his best-directed Bond movie along with For Your Eyes Only and Licence to Kill, which as you’ll read on my next review, takes Bond to new, exciting and unexplored places.
Thanks for reading.
After the lackluster critical reception, but smashing box office results of Octopussy, the producers immediately wanted to push on with another Bond movie, despite clear indications that Moore was thinking about retiring, and letting someone else take up the mantle of 007. As he put it; ” When you run out of villains that Bond can plausibly beat, it’s time to quit”, or something along those lines. Anyhow, the powers that be at United Artist, and the charm of ”Cubby” Broccoli convinced Moore to stay on for one last hurrah.
At this point, from a purely technical standpoint, the James Bond series was a well-oiled machine. All the cogs were in perfect shape and working in unison to turn out the best possible final product. From a financial standpoint, they were also steaming ahead, with each movie increasingly more expensive, and difficult to make than the one before. So, what could they possibly change to spice things up? To breathe new life into the series, and stopping it from becoming stagnant? Without wanting to sound too pessimistic, nothing really changed that much. Richard Maibaum and Michael G. Wilson, as they had done before, took the title from an Ian Fleming short story; From a View to a Kill was slightly changed to A View to a Kill. They didn’t use any of the plot points of the story, instead coming up with a completely original story, just like they had done on Octopussy. They decided to centre the story around Max Zorin, a Computer microchip Industrialist who wants to corner the market by provoking an earthquake on the world centre for the fabrication of computer chips on Silicon Valley, San Francisco, Califirnia; by detonating a bomb under the San Andreas fault that will flood the entire state. Reminds you of Lex Luthor’s scheme on Superman: The Movie (1978), Richard Donner, doesn’t it?. Granted, they do try to give the villain an interesting backstory; making him the product of genetic experimentation during Worl War II.
As for the rest, Glen got his old technical crew back. Production Designer Peter Lamont, Cinematographer Alan Hume, Special Effects Supervisor John Richardson, and the best group of stuntmen in the business. With a script, and a team in place, the filmmakers set about casting.
There is one thing where the filmmakers went outside the norm. They had always been good at coming up with interesting casting choices. For the main villain they settled on New York born, and Academy Award winning actor Christopher Walken. His portrayal of the psychotic and sadistic Max Zorin still remains to this day one of the highlights of the movie. Even more daring was the casting of the actress who was to play her main henchwoman; Mayday. Model and Pop singer Grace Jones was making a name for herself in the Industry by landing roles on such movies as Conan the Destroyer (1984), Richard Fleischer; alongside Arnold Schwarzenegger. Jones had a reputation of being extremely difficult to work with, always showing late on set, and having a very prickly personality. That being said, once on the role, she threw herself into it; insisting on performing most of her stunts herself, and collaborating with a clothes designer and the film’s Costume Designer, Emma Porteous, to come up with her own look. Her charisma on-screen rivaled that of Richard Kiel as Jaws for The Spy who Loved Me and Moonraker. French actor Patrick Bauchau played the part of Scarpine, Zorin’s second henchman. Even Swedish actor Dolph Lundgren, who was dating Grace Jones at the time, landed a small part on the movie. Other interesting casting choices were those of Fiona Fullerton as KGB agent Pola Ivanova, Walter Gotell reprising his role as General Gogol, and British actor David Yip, who plays the role of CIA agent Chuck Lee. Yip was somewhat hesitant to take on the role as he had limited big screen experience, and would have to put on an American accent for the role. For the role of the main Bond girl, the producers turned to American actress Tanya Roberts, who’d risen to fame on both TV and the big screen, landing roles on Charlie’s Angels (1976-1981), and films like The Beastmaster (1982), Don Coscarelli, to play the part of geologist Stacey Sutton. As for the rest of the players, they all came back, but sadly this would be the last time that Lois Maxwell played the role of Miss Moneypenny. Just like in the case of Roger Moore, it was felt that she was too old to play the role, and her part would be re-cast in the next movie. One nice addition was that of Patrick McNee, who plays Bond’s assistant Sir Godfrey Tibbet. McNee had known Moore for many years, as they’d come up in the business together, and would end up working side by side on different lots in Elstree Studios on The Avengers (1961-69), and The Saint (1962-69). He’d end up getting top billing, even though he only appears for a very short period of the movie.
It was a well known fact in the Industry the penchant that the Bond crew had to dream up and execute the most daring stunts. This time it was no different, starting with the opening pre-credits sequence. The sequence in which Bond recovers a microchip from a fallen 00 agent in Siberia, only to be discovered by Russian Army soldiers, and having to ski and snowboard his way to safety, was one that required the talents of numerous stuntmen and Special Effects people. German Olympic Champion Skiier, Cameraman and Stunt Coordinator Wily Bogner, came back to the fold. He was in charge of planning, coordinating, and shooting the sequence, which was originally gonna be shot in Scotland. Due to changing weather conditions, the sequence was moved to the Austrian Alps for most of the skiing scenes, and Glacier Lake, in Iceland, for the remainder of the sequence in which Bond is chased down by a helicopter. The skiing sequence culminates with Bond using one of the front paddles of a blown-up snowmobile to snowboard his way to a mini submarine disguised as a moving glacier. It was actually Bogner who came up with the idea, with John Glen, ill-advisedly, adding the Beach Boys song on top of it for comic effect, thus ruining the effectiveness of such a well executed stunt. The explosion of the Russian Army helicopter against a glacier was achieved using a model, of which the filmmakers ended up using three, as the previous two had crashed in the water, and blown up on take off, respectively. The exterior of the glacier/submarine was an actual moving vehicle with the exterior being made of polysterene to make it look like ice. It was a one-man vehicle, with very little space, no radio communication inside due to the extremely noisy engine and no ventilation , which forced the driver to open up the top hatch from time to time to take a break from the noise, and the engine fumes. All the close ups of Moore on the snowy landscape were shot back in Pinewood, as were the comfy interior of the mini-submarine. It’s one of those sequences that seemlessly comes together thanks to the magic of editing.
Another standout sequence that would give both the stuntmen and Production people their fair share of headaches was that of Mayday’s escape jumping from the top of the Eiffel Tower, and landing on a boat, while Bond pursues her on land driving a taxi through the crowded streets of Paris against oncoming traffic. The stunt was a combination of the talents of professional skydiver B.J Worth, who did the jump from the Eiffel Tower and the landing on the boat, and Rémy Julienne who performed the stunt driving scenes, with the top half of the car being smashed to pieces at one point, and being slashed in two at another, after an oncoming car smashes into the rear half of the taxi. Both stuntmen had worked on previous Bond movies, with Worth being responsible for the skydiving pre-credits sequence on Moonraker, and the pulse-pounding aerial stunt at the end of Octopussy, with Bond fighting off Gobinda on top a plane in mid air; and Julienne having being responsible for the stunt driving sequences in both For Your Eyes Only, and Octopussy. Securing the permits to both jump from the Eiffel Tower, and drive around the streets of Paris would prove to be the more challenging aspect of it all. And it almost all went terribly wrong when an over-entuthiastic stuntman did the jump after B.J Worth himself had done the stunt himself the previous day. Worth performed the stunt in two parts; first jumping off a helicopter to shoot the scene in which Mayday lands on top of a boat navigating down the Seine, and then jumping off the Tower. As the base of the tower goes outwards, he had to jump off the tower far enough from it, and opening the parachute at the right moment, as to not get entangled at the base of it. The crew built a short ramp from which Worth could jump to give him enough distance from the tower. The jump was successful, but the stuntman who was supposed to be Worth’s backup man was disappointed that he wouldn’t get to do the jump. The next morning, without anyone knowing about it, he got to the top of the tower and jumped, just as the crew were making their way up the tower to film for the day. The French authorities were fuming over the incident, and almost revoked the crew’s permission to shoot more scenes in Paris, especially considering they’d been reluctant to do it in the first place, as a couple of tourists had done the same thing a few days before the stunt team had done the jump themselves. Fortunately, the crew managed to come to an agreement with the Parisian authorities, and promised no further disruptions. The chase sequence required a series of stunts like driving down some stairs and jumping over a ramp, over a bus, and landing safely on the road on the other side. The stunt was carefully rehearsed by Julienne and his team on an airfield, before they could do it for real.
Another important action sequence was the one in which Bond has to overcome a rigged horse riding obstacle course while being pursued by a group of riders who are trying to knock him off his horse. The stunt was performed on the grounds of Chateau de Chantilly, which doubled as Zorin’s estate. The 16th Century palace was the perfect place to stage the Thoroughbred auction scenes, as it had a magnificent building with horse stables, dedicated entirely to horse breeding. Apparently, the Duke who had it built wanted to be reincarnated into a donkey. For this action set piece, the crew drew from the local talent to find stuntmen who had horse riding skills.
On a side note, the Rolls Royce in which Bond arrives at Zorin’s estate belonged to “Cubby” Broccoli himself. Not so the one that ends up sleeping at the bottom of a lake, after Mayday renders Bond unconscious, puts him inside the car, and pushes it inside the lake.
For the movie’s finale on top of the Golden Gate Bridge the crew was given permission by the Bridge authorities, which was outside City Hall’s legislation, to go to the top, and spend a short period of time shooting some scenes with the stunt doubles, and background plates to be used later on the Studio. The Mayor of San Francisco at the time was very keen on the crew shooting a Bond movie in the Bay area, and granted all kinds of permissions and facilities to the crew, even going as far as allowing John Richardson and his team to set up a system of pipes and propane tanks on top of City Hall to simulate a fire for the scene in which Bond and Stacey go down the fire escape ladder while the roof of the building is on flames. Which sadly is related to something that happened in real life.
Before the crew started working on the movie, the 007 stage in Pinewood burned to the ground. At the time it was being used to shoot Ridley Scott’s latest movie, Legend. This presented Production Designer Peter Lamont with a conundrum, as they had to use that set to build the mine set where most of the action takes place in the third act. Lamont had been told by the original sound stage builder, that after the rubble had been cleared, the stage could be rebuilt in three months. Lamont went to “Cubby” with this proposal, and surprisingly enough, he accepted. This also meant that the shooting schedule would have to be reshuffled to allow time for the sound stage and the set to be rebuilt. Construction on the mine set started before the roof was up on the new sound stage. Lamont accommodated as many of the sets as he could in the remainder, smaller sound stages like the interior of the City Hall (with the hall, the Mayor’s office, the Records room, and the elevator shaft), some of the interiors of Zorin’s estate, and Zorin’s oil pumping station which was built on a tank to recreate the scene in which Bond almost gets sliced to pieces by a propeller. The scene in which the propeller appears to be sucking Bond into the pipe was achieved by having the propeller rotate slowly, adding air bubbles and light bulbs to make it look like it was going at great speed. The City Hall set with its complete Hall and elevator shaft were set on fire by John Richardson and his team in one of the most hair-raising sequences in the movie. There were a series of flame bursts that could be controlled at any time, but still gave some cause for concern to some of the crew members; especially Roger Moore and Tanya Roberts, who had to work closer to the flames. The chase sequence in which Bond and Stacy steal a fire engine truck to escape the police was shot over a period of four weeks, having to close down several road sections in San Francisco for short periods of time as to disrupt traffic as less as possible. The sequence finishes with the fire engine truck jumping over an elevating bridge to the other side, which was done by real, as always by Rémy Julienne and his stunt driving team. The outside of the mine and the entrance was shot on location at the Amberley Chalk Pits Museum in West Sussex, England.
Construction on the new 007 Sound stage was finally finished, and in the inauguration celebration was re-named the Albert R. Broccoli 007 Stage, in honour of Albert Broccoli’s long standing relationship with Pinewood over the years. With that out of the way, and the last sets built, it was time to shoot the last sequences in the movie. The set was immense with built-in railway tracks for the mine carts, and a series of wooden huts, stairs, and corridors. A series of tipped water tanks were situated all around the set for the sequence in which the mine is flooded, which was actually achieved with a mixture of live footage and miniatures. For the sequence in which a series of underground explosive charges drain a lake, the crew travelled to the West Country; filmed a boat standing on a lake at high tide, and did the same thing with the lake at low tide; giving the illusion that the lake was completely dried up. What was left to shoot was the all important action set piece on top of the Golden Gate. The sequence in which Zorin’s airship gets tangled on the top of the bridge was a fairly laborious process. Almost every technique in the book was used, with the crew travelling to San Francisco before Pre-production started, to film footage of a publicity Fuji blimp flying over the Golden Gate bridge. That, added to the scenes that had been shot on the actual top of the bridge using stunt doubles, the background plates that had been shot there too, using Vistavision cameras, the use of miniatures of both the bridge and the blimp for establishing shots, and a section of the top of the bridge, and the underside of the blimp that had been built life size on the back lot at Pinewood for the close ups of Moore and Walken fighting, allowed the filmmakers through the magic of editing to achieve what still holds up today as one of the most amazing action set pieces seen on a Bond movie.
The movie, once again, did excellent numbers at the box office but, just like in the case of Octopussy, received mixed reviews at best. So, how does, in my opinion, Roger Moore’s last outing as 007 fare compared to the previous one?
As a matter of fact, it fares much better than Octopussy, but still rather disappointing when compared with everything that had come before. Moore is clearly out of his depth, and out of the appropriate age range, to play the part convincingly anymore. As you can clearly see by my babbling on about the craftmanship behind the movie, it’s the one element that saves the movie from falling into the pits of mediocrity. It’s a very well done movie, with amazing stunts and action set pieces, which came as no surprise at this point in the series. Christopher Walken provides an interesting villain, but not enough is made of his background story, being stuck with very generic dialogue. Moore’s age and his sexual encounters with his much younger leading ladies, make these scenes cringeworthy. He does the best he can with the action scenes, but you can clearly see that it’s a stuntman doing the brunt of the work, with Moore only being used for close-ups and some of the less hazardous action scenes. Tanya Roberts, a stunning-looking lady, it must be said, isn’t given the best of dialogue to work with, but her performance is rather underwhelming, especially when compared to Grace Jones’s performance, who oozes character and charisma. The best scenes are probably those between Moore and McNee. There’s a natural banter between them in those scenes usually difficult to replicate on-screen. As with all the Bond movies, the locations are stunning; be it Paris, Iceland, the Austrian Alps, England, and especially San Francisco. Alan Hume’s beautiful Cinematography makes the most of all of these; I’m especially partial to his soft lighting for the more intimate love scenes. John Barry provides yet another amazing score, with a main theme by Duran Duran which had the distinction at the time of being the only Bond song to reach the number one spot in the charts. My favourite Bond song, by the way. Not much else to say about it, really, except that given how old Moore was at the time, the crew did their best to make him look good. If you can live with the goofy humour, which pops up now and then, and have a healthy amount of suspension of disbelief; it’s definitely an enjoyable movie. Moore wasn’t clearly satisfied with the end result, and may have resented the fact that the producers weren’t willing to let him go easily, but he does his best with it, and is his usual charming self. As Swan songs go, this one isn’t half bad, but it could’ve been better. Fortunately, on the next Bond movie the character would be given a much needed revamp.
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After successfully breaking records at the box office with For Your Eyes Only, John Glenn had the utmost confidence on the part of ” Cubby” Broccoli to tackle the next Bond movie. A project that would face a few hiccups along the way. One of them being the possibility that Moore could abandon the role because of his age, and the other was a long-gestating project by Kevin McClory of remaking the novel Thunderball, to which he still had the rights, into an un-official Bond movie titled Never Say Never Again, with Bond played, once again, by Sean Connery of all people. A movie which would come out the very same year as Octopussy.
Roger Moore’s multi-picture deal with the Studio had already expired. It was expected of him to come back for the next one, but Moore wasn’t blind to the fact that he was getting a tad too old for the role. In the meantime, and in anticipation of Moore refusing to come back, screen tests were done with American actor James Brolin to take over. Surprisingly enough, Swedish actress Maud Adams, who’d previously played a Bond girl on The Man with the Golden Gun, was asked by Broccoli to come in to screen test against Brolin. Broccoli didn’t want an American actor playing the role of 007, and so ultimately, a deal between the Studio and Moore was worked out, and he stepped into the shoes of 007 once again.
As was the case with the previous Bond movie, the screenwriters took the title from one of Ian Fleming’s short stories, but little else. The crew had already scouted in India for possible locations for the previous movies, but had never managed to integrate it into the story. Going on from an original story by Scottish author George McDonald Fraser, better known for his Flashman novels, some of them taking place in India, and later on developed and re-written by both Richard Maibaum and Michael G. Wilson, they had now found a way to successfully integrate India into the story with both the main villain, Prince Kamal Khan, and the misterious Jewel smuggler known as Octopussy, both having their homes, and bases of operation there.
With Roger Moore set to come back as 007, so did the rest of the usual players like Lois Maxwell as Miss Moneypenny, and Desmond Llewellyn as Q. British actor Robert Brown, who’d previously played a Naval officer on The Spy who Loved Me, and who was an old acquaintance of Roger Moore’s, with whom he’d worked on the Ivanhoe TV show (1958-59), was to replace the late Bernard Lee as M.
A surprising twist in the series’ history saw Maud Adams returning to play a Bond girl; none other that the title’s protagonist; Octopussy. Just like it had happened before with Brit Eckland on The Man with the Golden Gun, Adams was to share screen time with another Swedish actress; Kristina Wayborn in the role of Octopussy’s right hand lady, Magda. In fact, a large number of beautiful actresses from all over the world were cast to play Octopussy’s band of female accomplices. For the roles of the main villains, Broccoli cast an old friend of his, French actor Louis Jordan, to play the role of Prince Kamal Khan. For the part of his faithful henchman Gobinda, the producers went with Indian actor Kabir Bedi. Bedi was better known for his role in the Sandokan TV show (1976). For the role of the other archvillain, Russian General Orlov, the producers went with British actor Steven Berkoff. Berkoff was a well known Stage and Big Screen actor who had worked with the likes of Stanley Kubrick on A Clockwork Orange (1971), and Barry Lyndon (1975). It was actually Dana Broccoli who suggested him for the role after seeing him on a play. German Actor Walter Gotell returned to play the role of General Gogol. Gotell had been a mainstay in the series playing the part of General Gogol since The Spy who Loved Me (1977). Another interesting addition to the series was that of famous Indian tennis player Vijay Amritraj, who plays the part of Vijay, Bond’s MI6 man on India.
Having been content with the way things had run so smoothly for the previous movie, John Glenn was determined to keep the same crew he’d had for For Your Eyes Only. And so it was that Production Designer Peter Lamont, Second Unit Director Arthur Wooster, Cinematographer Alan Hume, and the usual stunt team with people like Martin Grace, Paul Weston, Richard Graydon, and Rémy Julienne, all came back. Unfortunately, Derek Meddings couldn’t, and so he was replaced by John Richardson, who would step up to the role for the next 007 entries.
The film is filled with amazing stunts; starting with the amazing pre-credits sequence in which Bond blows up a military air base using a one-man mini-jet. John Richardson was in charge of Special Effects this time around, replacing Derek Meddings. The mini-jet Acrostar belonged, and was piloted by Corkey Fornof, who flew the prototype plane for the big aerial sequences which were shot in the US by an aerial unit. The Southamerican military base was shot on an airfield outside London, with the hangar being replaced by a foreground miniature for the difficult sequence in which Bond flies through the closing hangar doors vertically, and comes out the other door, all the while being chased by an air missile, which ultimately destroys the base. For the shots in which Bond flies through the inside of the hangar, the mini-jet was attached with a pole to a Corvette, whose top side had been completely taken off. The pole was constructed in a way that could bank the small plane from one side to the other, if needed. It was actually Richardson himself who drove the Corvette with the small plane attached to it, through the Hangar; with the pole being concealed by the plane’s right wing, and the car underneath by a myriad of extras running around, vehicles, and props. Rémy Julienne and his stunt drive team were called upon once again for two crucial sequences; the three-wheel Indian taxi chase through the Indian marketplace and Bond’s desperate car chase to get to the train, and the American Military Air Base in East Germany. First off, Peter Lamont and his team modified and built six of these Indian three-wheel taxis, and shipped them off to India. It was then up to Julienne and hist team to perform the incredible stunt driving around an exceedingly crowded marketplace in which would always show up double the extras the crew had asked for. Another interesting action set piece was that of Bond being chased through the jungle by Kamal Khan’s hunting party. Everything from close encounters with tigers, spiders, leeches, and even jumping from tree to tree using vines, Tarzan-like; happens in this set piece. The actual jungle where the action takes place was the Maharana Bagwat Singh palace’s garden. He was the maximum authority in the area, and it was thanks mostly to him that the cast and crew got all the collaboration and support they needed from the local authorities. A stuffed Tiger in the Maharana’s collection caught John Glenn’s eye during a dinner invitation to the crew at the Maharana’s palace, and he asked his host if he could borrow it for the jungle chase sequence. The Maharana agreed. The cast, and most of the crew were guests’s at the Maharana’s palace, which was, at the time, being converted into a luxurious hotel. It was also thanks to him that the crew was provided access to a floating palace in the middle of a lake, outside the city, which served as Octopussy’s floating palace/fortress. It is on this location that one of the most dangerous fight sequences takes place between Kamal Khan’s men and Bond, with one of the henchmen wielding a jo jo-like buzz saw that he can flip around to shredd his victims to pieces. The stuntman who performed this stunt, took a nasty fall from a balcony onto a bed downstairs when he decided to remove some of the safety struts holding the balustrade together. The stuntman broke his left arm, but insisted nevertheless in finishing the fight scene. Striking too was Kamal Khan’s mountain top fortress, that happened to be The Monzoon Palace, place of residence of the Princess of Mewar, during the Monzoon season.
One stunt, however, almost resulted in a career-ending accident. For the sequence in which Bond jumps from a moving car on rails, driving alongside a moving train, hanging on for dear life, and almost falling over the side while trying to get to Octopussy’s compartment, the crew moved to Nene Valley railway, in Peterborough, England. The wide variety of tracks available allowed the crew to plan out, and shoot the sequence in relative safety. Unfortunately, when it comes to running on top of a train, or hanging off the side of one going at speed, accidents do happen from time to time. One of such accidents happened when Martin Grace, who was doubling for Moore for the dangerous stunt, was hit by a metal pole by the side of the tracks, when the filmmakers went off the pre-programmed railway they were supposed to be filming on. Second Unit Director, Arthur Wooster, who was in charge of shooting the sequence, was witness to the whole thing. Grace was immediately taken to hospital, having broken his hip and several ribs. Paul Weston filled in for Grace to finish the sequence, and although he made a full recovery, it took Grace a long time to do so. The close ups of Moore and Bedi for that sequence were shot at Pinewood, to where the train carts were transported, suspended over the ground by huge cranes, and a revolving platform,with mocap rails put on it, placed under it to simulate the train moving. The wheels of the carts were electronically moved by Richardson and his team to further sell the illusion that the train was moving. For the scenes in which Gobinda is trying to hit Bond while he’s holding on to the undercarriage, an electrical cable run underneath Kabir Bedi’s sleeve connected to a 12 V battery, so the sword’s blade would produce sparks everytime it touched metal.
Another amazing piece of stunt work is the one that has Bond jump from a horse onto Kamal Khan’s plane, before taking off, try to hang onto it, and fight off Gobinda, while trying to rescue Octopussy. The stunt was performed by famous skydivers B.J Worth, and Jake Lombard; who had been responsible for Moonraker’s amazing pre-credits sequence. Worth put a safety railing on the sides of the plane’s roof, so they could better hold on to it, while performing the stunt in mid air. All the aerial footage for this sequence was shot in the US, after which the plane was transported to the UK, to the back lot at Pinewood Studios, to be used for the close ups of Bond and Gobinda fighting on top of it.
After having Bond resort to his own devises on the previous movie, it was time for the gadgets to come back in full force. Not abused, however, to the extent they had been on The Spy who Loved Me and Moonraker, the movie mostly retained the grounded and realistic tone of the previous entry. Gadgets like the fountain pen filled with acid, that Bond uses to escape from his room at Kamal Khan’s palace, the homing device detecting watch, and the crocodile/submarine Bond uses to infiltrate Octopussy’s island, are but a few of the reminders that 007’s world is something special.
The movie, as per usual, was a smash hit. Unfortunately, from a critical standpoint, it didn’t fare as well as the previous movies had. And I’ll tell you why in a moment.
I hadn’t seen this movie in years, and I must say, age hasn’t improved it. As with all Bond movies, I tend to be forgiving of many of their shortcomings, but this one has several elements in it that just irk me.
First off, and this is the least of its problems, Moore was really starting to show his age. As I previously stated on my review of For Your Eyes Only, neither the Costume Design nor his pairing with vastly younger leading ladies is doing Moore any favours. On top of that, and this IS a problem, the goofy humour is back in full force. It’s not that it wasn’t present during the previous movie, but it was way more subdued. It also does the movie a diservice in scenes like the one in which Bond arrives in New Delhi, and identifies Vijray by way of a flute rendition of the Bond theme, and don’t get me started on the cheap jump scare Bond uses when, having disguised himself as a corpse shrouded in a sheet inside Kamal’s cold storage room, he’s about to be tossed out of the truck he’s being transported on with the rest of the corpses to be rid of, or the silly Tarzan yell that all but undercuts the highly dramatic hunt-through-the-jungle scene. These were John Glenn’s ideas, apparently. As openly admitted by him on the Audio Commentary. Bond disguising himself as a knife thrower with a horrendously red shirt, or a clown when he arrives at the American Military Air Base, can be somewhat justified, as he’s trying to avoid detection from both the baddies and the authorities. The plot, although not as indecipherable as many would let you believe, is unnecessarily convoluted. Enough with the nitpicking, though. Now for the good stuff.
The stunt work and special effects are top notch, so is the Production Design and Cinematography. Peter Lamont and Alan Hume are probably the best representatives of their generation in their respective fields since Ken Adam, and Ted Moore. Clearly understandable in the case of Peter Lamont, as he grew up artistically under Ken Adam’s wing, while Hume soft-filtered cinematography is a thing of beauty. The leading ladies in all the Bond movies lensed by him, especially benefitted from this. It is ultimately the great production values, and professionalism of the crew, that really rescues the movie from being a run-of-the-mill spy actioner. John Barry is back scoring the movies, providing another great Bond score. The title song All Time High sung by Rita Coolidge provides a beautiful Love Theme for the movie. Despite his age, Moore still brings charm and charisma to the role, but the age factor really lets him down in some of the action scenes. I did enjoy it, though. I always do. But Roger, as proved in A View to a Kill, stayed for one too many more Bond movies.
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After having reached the dizzying heights of Outer Space with the previous movie, it was time to give Bond a makeover, and ground the character in reality once more. Bring him back down to Earth, so to speak. It was felt by both the filmmakers, and producers, that the character had strayed too far from the source material, and become over-reliant on gadgetry to accomplish his missions. With a new director, who was familiar with both the mythos, and history of the character on-screen, it was time to give it a more subdued, but equally dangerous threat to deal with, without losing any of the glamour and style the character had acquired over the years.
John Glenn was a familiar face for all the Bond aficionados, as he’d been associated with the Bond movies as far back as on On Her Majesty’s Secret Service (1969). It was actually the director of that movie, Peter Hunt, who had recruited him to helm Second Unit directing duties on that movie for the brilliant skiing action sequences. From then on, he’d worked on and off on the Bond movies, and had moved up from Second Unit Director to Editing. Glenn had a clear understanding of the material, and had the experience to back him up. That didn’t make the prospect of helming his first Bond movie any less of a daunting task.
When “Cubby” Broccoli offered him the job, he accepted on the condition that he’d have a say of who he wanted to work with in the crew. Fortunately for Broccoli, he didn’t go too far away from home, as most of the people he’d end up picking were frequent collaborators in the Bond family. People like Peter Lamont, who’d been recently promoted from Set Decorator to Production Designer, Visual Effects Supervisor Derek Meddings, and screenwriter Richard Maibaum, who this time around would be working with Executive Producer Michael G. Wilson on the script. He also got to choose who would be directing Second Unit. For this he went with Arthur Whooster, who was an experienced Director of Documentaries. With this team around him, they set about working on the next movie.
The filmmakers wanted to take Bond into another direction, but didn’t want to deviate too much from its origins, and thought it would be a good idea to go back to basics, to the novels, and draw from there. At this point in time, the screenwriters had pretty much done away with most of Ian Fleming’s novels. Almost all of them had been adapted to the big screen in one way or another. For Your Eyes Only was a collection of 4 short stories from which the screenwriters Richard Maibaum and Michael G Wilson decided to take elements from two of them; from For Your Eyes Only the took the murder of the Havelocks, and based their hell-bent on revenge daughter Melina on their daughter on the book, Judy; who also avenges her parents’ murder with a bow and arrow; but the story they took more elements from was Risico, in which Bond goes to Italy to stop a drug-smuggling operation. In the story, Bond is also duped by Kristatos into believing that it’s really another smuggler by the name of Colombo, who is really in charge of the drug-smuggling operation, when is the other way around. As per usual, a few locations, names and events are moved around, or altogether altered; and there are even a few references by other Fleming novels already adapted to the big screen; like the original ending of Live and Let Die, in which Bond and his companion are tied to a boat and dragged over coral reef to make them bleed, and entice the sharks to eat them. The two writers mashed all these elements together, and built a story that was ultimately a blend of Roger Moore’s first outings as 007, and his last two outlandish romps. The result; one of the most grounded Bond movies in years, but not without its fair share of thrills. The plot revolves around the loss of a valuable piece of decoding equipment by the British Secret Service, known as the A.T.A.C, when the boat that carries it is sunk to the bottom of the Aegean sea by an underwater mine. Immediately after, a British marine archeologist Lord Havelock, who secretly works for the British government to try and locate the wreckage, and his wife, are assasinated by a Cuban hitman in front of their daughter Melina. Bond is tasked with locating the hitman, and bringing him in for interrogation, to find out who hired him. Unfortunately, it all goes awry; Melina gets to him before Bond, and they have to leave in a hurry. Following some clues, Bond ends up in Cortina D’Ampezzo, where the local Secret Service liason puts him in touch with a man named Kristatos, who may put Bond on the right track, or not…
For the cast we have British stage actor Julian Glover to play the role of Aristotle Kristatos, Israeli Actor, Comedian and Singer,Topol, from Fiddler on the Roof (1971), Norman Jewison fame, to play the role of Greek smuggler Milos Columbo, British actor Michael Gothard to play the role of Kristatos’ right hand man Emile Locque, American Actress and Ice Skater Lynn Holly Johnson as Bibi Dahl, Australian actress and, at the time married to Bond-to-be Pierce Brosnan, Cassandra Harris, to play the role of Countess Lisl; and most importantly, French Actress and Model Carole Bouquet to play the role of Melina Havelock. The casting process was a fairly straightforward one, as per usual when it came to casting for the Bond movies. In the case of Topol, it was actually “Cubby’s” wife, Dana Broccoli, who gave him the idea of hiring him after running into him in a party. Carole Bouquet had a fairly substantial career by the time she came to the filmmakers’ notice, having worked for the likes of filmmaker Luis Buñuel in the acclaimed That Obscure Object of Desire (1977). John Glenn was mostly impressed by, not only her natural beauty, but her striking looking blue eyes; which he intended to tie in with the movie’s title.
As for the rest of the cast, all came back except for Bernard Lee, who died while preparing to participate in the movie. That’s why they came up with the line that M was on leave during the movie, and Chief of Stuff Bill Tanner and Sir Frederick Gray, played by James Villiers and Geoffrey Keen, respectively, are there.
The movie is famous for the sheer amount of stunts performed in it. Right off the bat, on the pre-credits sequence that opens the movie, we have one of the most daring stunts with Bond climbing his way from the back to the front seat of a radio-controlled helicopter, while the helicopter is zooming around the Industrial area of London. The sequence is a mixture of on-location and on-set filming, with Moore shooting his close ups in a mocap of the helicopter against green screen on Pinewood, while his stunt double Martin Grace, performed the stunt on location. A foreground miniature of the building that Bond goes through had to be built by Derek Meddings, while a life-size replica of the helicopter was built to be used for the scenes in which it flies through the building, that could be radio-controlled by the crew. But, one of the funniest, but most difficult to shoot, was the chase sequence that takes place in Spain (the small Madrid village was actually recreated in a small and twisty village in Greece), in which Bond is trying to escape Locque’s goons in a mini car. The stunt is a showcase of precise driving, and was coordinated by French Stunt Driver Rémy Julienne, and his team. His talents would be called upon once again for the adrenaline-inducing sequence in which Bond is chased by motorcycles down the snowed slopes of the Northern Italian Sky resort of Cortina D’Ampezzo. The sequence was achieved with the combined efforts of Julienne, and professional German Skiier, Cameraman, and Bond veteran, Willy Bogner. Bogner had worked in a Bond movie for the first time on On Her Majesty’s Secret Service, planning and executing, along with Second Unit Director at the time, John Glen, the groundbreaking skiing sequences. He’d come back to do the skiing sequences on The Spy who Loved Me, too. Every time he was asked to come back, he had to dream up more and more elaborate action set pieces, but had always managed to deliver. This time was no different. The whole sequence that takes Bond from being pursued by mountain motorcycles down skiing slopes, and ending up jumping onto a Bobsleigh run, was heavily storyboarded, planned out, and executed to perfection. So was another one of the most vertigo-inducing action set pieces of the movie; that of Bond climbing a rock pinnacle atop which sits Kristatos’ hideout. The sequence came with its fair share of problems apart from the difficulty of the stunt itself. The striking location where the sequence was shot is a series of pinnacles atop which sit a series of monasteries from the Bizantine period in a region called Meteora, in Greece. The crew wanted to use the location of the rocky natural fortress and its monastery to shoot the sequence, and actually asked, and was granted permission by the Archbishop to do so. Unfortunately, whatever amount of money was paid to the Church didn’t reach the monks living in the Monastery, and they did all they could to disrupt the shoot; like hanging their laundry outside all the windows and putting up banners. In the end, the crew managed to shoot the scenes they needed on the next pinnacle over, leaving the monks well alone. As for the Monastery itself, it was painstakingly recreated at Pinewood Studios, using building materials from the period from an old Monastery soon to be demolished. The climbing stunt was performed by professional climber Rick Sylvester. Sylvester had previously worked on The Spy who Loved Me, performing the skii jump at the end of the pre-credits sequence. This time around, he was given the difficult task of letting go on purpose. The stunt involved Bond being kicked off, after having reached the top of the mountain, and slowly trying to make his way up while one of Kristatos’ men gets rid of all of Bond safe lines to the mountain. The difficulty was not so much the sheer drop itself, but the jolt the climber would receive when reaching the end of the rope, that could result in serious injury. It was actually Derek Meddings, who built a sort of brake system using sacks as counterweight to try and, slow down the fall.
Another key sequence in the movie is the scene in which Bond and Melina have to go down to the wreckage of the St George in a mini submarine to try and recover the A.T.A.C. It was a very difficult sequence to shoot, for two reasons; Carol Bouquet couldn’t do any diving because of a medical condition, and the difficulty of making it look like the sequence had been actually shot underwater. The underwater unit was headed by Al Giddings in the Bahamas, in which a Greek temple that had been built on Pinewood and shipped over to location, was placed on the sea floor, along with a life-size piece of the St George’s hull with a hole in it caused by the underwater mine, which Bond and Melina use as an entrance. The rest of the ship’s interior was recreated in a water tank on Pinewood. The close ups of Bond and Melina diving were achieved using an earlier technique of dry for wet in which the actors were shot in slow motion, with fans blowing their hair to simulate the effect of being underwater. The air bubbles were added by Derek Meddings later on in Post-production. All of the Deep dive equipment used in the movie existed for real. Production Designer Peter Lamont got in touch with the company that manufactured it, and the crew got to build models of most of it following the company’s specifications. Some pieces of equipment like with the diving suits and gear, they went with the real thing; others, like the bulky dive suit, or the one-man manned mini-submarine that Kristatos’ men try to kill Bond and Melina with, had to be built, as they would later on be smashed and blown up by the crew. Martin Grace doubled Roger Moore once more for the dangerous scene in which Bond and Melina are tied up to Kristatos’ boat and dragged underwater over coral reef.
For Your Eyes Only was a smash hit with both critics and audiences. It demonstrated that there was life after Space, and people got to see a more down to Earth and human character.
And what do I think about For Your Eyes Only? It’s definitely among the better Roger Moore movies. It doesn’t reach the levels of sheer wit and outlandishness that the previous ones had, but it doesn’t need to. The story is fairly straightforward, with no frills, but with a solid cast ensemble, and good performances all round. But the real star of the movie, as was the norm, are the stunts. As time wore on, the stunt people became bolder and bolder, but the level of professionalism went hand in hand. People like stuntmen Martin Grace, Bob Simmons, Rémy Julianne, and Willy Bogner always brought their A game to these movies, and it shows. That, coupled with Peter Lamont’s simple, but very effective Production Design, and Derek Meddings, and his amazing model, and in-camera work, make them the real stars of the movie. So much so, that even Roger Moore sometimes takes a back seat while we’re admiring the beautiful craftsmanship behind this movie. On a side note, I actually happen to enjoy what is generally regarded as one of the most bizarre, and out of place scores in a Bond movie. Bill Conti, who came highly recommended by John Barry, who was otherwise engaged, and unable to write the soundrack; comes up with what I think is one of the most energetic and fun soundtracks in the series. It’s, in my opinion, on par with what Marvin Hamlisch had done a few years earlier. You wanna listen to a weird soundtrack? Check out Eric Serra’s score for Goldeneye. Now, that’s an oddball.
This entry is one of the best in the series overall, in my book. It walks away from the campiness and outright silliness that marred Moonraker somewhat. Not that there isn’t any humour. But it’s less prevalent. The movie is played fairly straight, it’s got breathtaking locations (Cortina D’Ampezzo and Corfu had never looked this good on film), amazing stunts and action set pieces, an interesting villain, and a drop-dead gorgeous Bond girl in Carole Bouquet, easily one of the most beautiful women ever to grace the screen. It’s also one of the best looking movies in the series. Alan Hume does a wonderful job with the Cinematography, with its smoky ambient light, and soft lightning for the most intimate scenes, and bold and crisp colors for the scenes that take place in Italy and Greece. One thing that was definitely beginning to show was Roger Moore’s age. Even though he plays the role with his usual grace, wit, and charm; the producers did him no favours with either his wardrobe, or his leading lady. It’s negligible in the case of Cassandra Harris, but plainly obvious the age gap in the case of Carole Bouquet. He does save the day, however, through sheer charisma; but it was obvious that he was getting too long in the tooth to play the role convincingly. John Glenn also did try to give his Bond a harder edge, something that Moore wasn’t completely on board with; in scenes like the one in which after Bond shoots the windshield of the car in which Locque is trying to run away, the car ends up hanging on the edge of a cliff, and Bond kicks it over. Despite Moore’s misgivings, it was the right way to go, as that is exactly the way the character of Bond would react. As I said, remarkable stunt work and charisma saved the day, and he’ll always be my preferred Bond, regardless.
Thanks for reading.
The Spy who Loved Me had been wildly popular with audiences. ”Cubby” Broccoli had been very successful in ushering Bond into a new era, and as now sole producer of the Bond franchise, had achieved more financial success at the Box Office than never before. The filmmakers wanted to ride on that wave of success, and had already planned for For Your Eyes Only to be the next Bond movie. One thing happened, however, that would momentarily derail those plans; Star Wars. George Lucas’s massive Space Opera Box Office hit had everyone in a Sci-fi craze, and Broccoli, being wise to this, wanted to cash in on that craze, and turned his attention to Ian Fleming’s third James Bond novel; Moonraker. The plot in that book, however, of former British War hero, Industrialist, and founder of the Moonraker missile program Hugo Drax, who is secretly developing a missile to destroy London, was a bit on the low key side for Broccoli. Like with the previous entry; he wanted something larger and outlandish, which he knew the public would respond well to. That’s how, with the help of screenwriter Christopher Wood, who this time around would pen the script all by himself; Broccoli turned the original story on its head, keeping only the name of the villain, and turning him into a Space program Industrialist, who has secretly built a Space Station orbiting Earth, from which he plans to launch a series of Space capsules filled with a toxin that will render all life on Earth, but those of the plants and animals, sterile; only for Earth to be re-populated at a later date by a select chosen few, who Drax deem worthy. The concept, as described, is not disimilar to what Gilbert and Co, had done with The Spy who Loved Me; only this time it would be Outer Space instead of the Sea. An outrageous concept that, in time, would ruffle a few feathers between some of the fan base; and one not easily achieved at the time.
Due to a change in tax policies in the UK at the time, Broccoli had to seek out sound stages in other countries, large enough to fit in the next Bond movie. France was the chosen final destination, due in large part, to Ken Adam’s contacts in that country’s industry. Moonraker ended up occupying all three major Studios available, which didn’t make them very popular with the Industry there. During a promotion tour of The Spy who Loved Me in Brazil, ”Cubby” Broccoli had fallen in love with the country, and its culture, and was adamant that scenes from the next Bond movie should be shot there. In anticipation to this, Lewis Gilbert went there with a small crew to film a documentary about the Carnival. The footage could be used later on for the scenes of Bond in Brazil. Another location that Broccoli was taken with were the Iguazú waterfalls, which was another location that he thought would be great for the movie. In between Paris, California, Guatemala, Brazil and Venice, the crew went pretty much all around the world to get the most exotic locations. Now, it was only a matter of making them all fit into a movie for which they didn’t yet have a script for.
As the script started to develop, a number of action set pieces had to be retrofitted into it as these were things that people like Production Manager Michael G. Wilson would come up with in the day. Wilson had been playing for a while with the idea of opening the movie with a pre-credits sequence aerial stunt that would dazzle audiences. The idea was to have Bond thrown from a plane in mid-air, without a parachute, have him chase after the baddie, wrestle the baddie’s parachute off him, put it on himself, and open it up before crash landing. There was such a person in B.J Worth, a professional Sky diver, who could perform the stunt safely. Shooting it, though; was a whole different story. The problem was finding a camera that could carry enough film, with an anamorphic Panavision lense, light enough to be carried by the Cameraman on a helmet. If the camera was too heavy, the G force generated by the freefall could break the stuntman’s neck, when they opened up the parachute. After looking all over for such a camera, Wilson was lucky enough to find one in a shop in Paris. It was an experimental Panavision Anamorphic camera with a plastic lens that had never been used. This was fitted into a titanium-framed built helmet, light enough to film the stunt safely. It took more than 80 jumps to get the stunt in camera, for an opening pre-credits sequence that is barely 3 min long. To have time to prepare and rehearse this, Second Unit Director John Glenn, and a small crew started working on it three months before Principal Photography started. Another standout action sequence was that intended to be filmed around the Iguazú waterfalls. The stunt involved Bond jumping from a Speedboat that was about to fall over the edge of the waterfall, by turning the top half of the Speedboat’s roof into a Hand-glide. The stuntman would then have to fly over the edge of the waterfall, glide over the jungle and safely land on a clearing. Easier said than done. Due to the downdrafts created by the water and wind, and the fact that the stuntman would have to fly over an area which was in the border of three countries that were not in friendly terms with one another, it meant that there was no way of knowing where the pilot of the Hand-glide would actually land. The stunt was safely performed, but the downdraft from the waterfall forced the pilot to go in another direction, which meant that the crew could not film any footage of the stuntman gliding over the falls. The previous part of the stunt, however, proved to be the trickiest. The idea was to film the speedboat going over the edge of the waterfall in location, for real. The crew let go of the boat, but it got stuck on a large rock, right on the edge of the waterfall. Special Effects technician, John Richardson, who would later on gain a more prominent role in the Special Effects Unit for subsequent Bond movies, offered to fly over the site with a helicopter, strap himself to it, have the helicopter lower him over the speedboat, and try and push it over the edge. It would no budge, though and, after several attempts, had to desist. Needless to say that when the crew came back the next morning, the boat had already disappeared.
The casting for the actor who would play the villain was pretty straightforward. As the movie this time around was a Co-production, it was decided early on for a French actor to be cast as the main villain; Hugo Drax. The actor chosen was Michael Lonsdale. Lonsdale, like Curt Jürgens before him, could speak perfect English. This would save the editors the trouble of having to dubb the actor’s voices later on in Post-production, like they’ve had to do in the past with actors like Ursula Andress, Gert Fröbe and Adolfo Celi. Along with him was cast French actress Corinne Cléry as Corinne Dufour, a helicopter pilot for Drax Industries who pays a high price for helping Bond in his investigation, in one of the most bizarrely terrifying sequences in the movie. The next bit of casting was due to a chance meeting between Director Lewis Gilbert and American actress Lois Chiles on a plane. As fate would have it, they happened to be assigned seats next to each other, and being as he was, still involved in the casting process for Moonraker, Gilbert was looking for an American actress who could be Bond’s equal on-screen, as CIA agent, Holly Goodhead; very much in the same way they had done with Barbara Bach’s character on The Spy who Loved Me. Chiles was somewhat hesitant to take on the role, as she had just finished shooting a movie, and was ready to go back home with her family. Hearing Gilbert talk about the movie, and her role in it, convinced her that this was too much of a coincidence and opportunity to pass up, and accepted. Other important roles fell on Emily Bolton, who plays Manuela, Bond’s liason in Brazil, Geoffrey Keen and Walter Gotel who reprise their roles as Sir Frederick Gray and General Gogol, respectively, from the previous movie. For the roles of henchmen, two actors were chosen. Both familiar faces in the James Bond camp. The first one was Toshirō Shuga, Michael G. Wilson’s Aikido instructor, who plays the part of Chang, Drax’s bodyguard and Assistant. The other was an actor who returned by popular demand; American actor Richard Kiel as Jaws. The rest of the usual suspects, like Lois Maxwell, Desmond Llewellyn and Bernard Lee returned to reprise their roles as Miss Moneypenny, Q, and M, respectively. Sadly, this would be the last time Bernard Lee played the role of M. He’d die some time after, when he was getting ready to participate in the next movie.
One of the problems the British crew faced when they came to work in France was the Head of the Union representing the French crew, which was hired as a requisite for being granted permission to use the French sound stages. Ken Adam, and the rest of the crew soon found out that the French had a totally different way of working, and the Head of the Union was adamant in that they would not be made to work on weekends. This was a huge problem, as the Production team was dealing with an ever-encroaching release date, and they would not be able to deliver the movie in time, if they didn’t work seven days a week. It was thanks mainly to Ken Adam’s magnificent designs that the French crew ended up working overtime to get the job done in time. Most of the biggest sets from the movie were done in those French sound stages, like Drax’s control room and Amazonian base of operations inside a Mayan temple, the Venice laboratory where the toxin is manufactured, the Centrifuge Chamber where Bond has a nasty encounter with excessive G Force, but the crew also took advantage of some locations in Venice, like a Glass Museum, for which all the exhibits were removed and replaced by breakaway glass props, transported all the way from the UK, for the scene in which Bond faces-off against Chang, the Venetian channels for the Gondola chase, a real cable car in Brazil, for the nail-biting sequence in which Bond is fighting off Jaws while hanging on for dear life, and as I said before, they also took advantage of the outstandingly beautiful natural landscape in and around the Iguazú waterfalls, which double as the jungle in which Drax’s secret Space Launch Station is situated, even though the Mayan temple location was filmed separately in Guatemala.
Even though the crew ended up using all the biggest French sound stages in their entirety, there were still some parts of the Production for which they still had to go back to Pinewood Studios to shoot; these were most of the miniature and Special Effects scenes. An entire sound stage was devoted to recreating the interior of Drax’s Space Station, especially rigged with hundreds of wires to simulate the Cero G scenes in which hundreds of actors and extras float around the Station when artificial gravity is turned off. It was also appropriate, as the set had to be destroyed later on during the Space battle between the US astronauts and Drax’s forces. In was also in Pinewood where Derek Meddings shot the Outer Space sequences with all the Space Shuttles, the Space Station, and the background plates for some of the live action used in the Space battle, as well as the scenes of the Space Station blowing up.
The filmmakers have gone to seek the expertise of the big Effects Houses to begin with, but the amount of money they were demanding to do these was so high that, they ended up resorting to miniatures and high exposure photography opticals. The way to go about this was to shoot all of the elements separately. They would photograph a miniature Space Shuttle coming into the frame, on a black velvet background with painted stars to simulate Space. All the stars on that Shuttle’s trajectory would then have to be blotted out, so they wouldn’t superimpose on the image of the shuttle. They would then wind back the film, shoot another element, and repeat the process all over again. The problem with doing this is that the crew risked over-exposing the film too much, and degrading it. This process ended up being repeated a total of over 80 times, to get all of the elements in camera. It was a very slow, painstaking, and time-consuming technique that, fortunately paid off. The movie was nominated for an Oscar for Best Visual Effects. Not only did Meddings have to be ingenious with the Outer Space elements, but also with the scenes in which the Shuttles take off. To simulate the exhaust coming off the back of the Shuttles, he used a hollowed out miniature replica of a Shuttle, filled it up with salt, and use high speed photography to shoot it.
The movie is filled to the brim with outstanding action set pieces, among them; a Gondola chase through the Venetian canals in which Bond’s Gondola transforms into a speedboat capable of navigating at 60mph. It then rises out of the water, and transforms itself into car, driving around St Mark’s Square, through a pack of unbelieving tourists. It took the Special Effects people a few tries to get the stunt right, as they soon found out that when a motor was retrofitted into a Gondola, the sheer burst of speed on the slender boat would make it capsize. It also took Roger Moore five suits, and as many tries for the scene in which the underside of the Gondola inflates, and comes out of the lagoon. Another particularly dangerous stunt was that of Bond, Goodhead, and Jaws fighting on top of a swinging cable car over the dizzying hights of Rio de Janeiro. The stunt was a mixture of processed Studio shots and in location shooting, all achieved with the use of Vistavision lenses for the background plates, resulting in some mesmerizing aerial shots of Rio de Janeiro. The stunt wasn’t almost done. The crew had negotiated with whom they thought were the owners of the cable car to use it for the stunt. Turns out, the crew had been negotiating with the owners’ sons instead. When the man found out what the cable car was going to be used for, he refused to let them film there, for fear that after seeing what happens on the movie, people wouldn’t think it was safe, and he’d end up ruined. Luckily, an agreement was reached and the poor man’s business did not suffer for it. Though it may look like it, the last scene in which the cable car crashes against the building was achieved with an on-set replica constructed to the last detail.
Moonraker opened to good reviews, and great numbers at the box office, making it the highest grossing James Bond movie until Goldeneye (1995), Martin Campbell, came along. It has admittedly not aged very well within certain fan circles, due in part to its campy humour, and its over-the-top plot.
I hadn’t seen this movie in years, but I always had fond memories of it from the very first time I saw it. I’m not blind to its faults, though. There is a healthy amount of campiness and silly humour that doesn’t do it any favours. Things like the Gondola chase (admittedly very well executed), are taking way too far. That bloody pidgeon double take!!. But the general tone of it, and its outlandish Sci-fi elements, do it for me. Even when the story is basically a copy and paste of The Spy Who Loved Me, in Space.
To me the absolute standout here are Ken Adam’s Set Design, and Derek Meddings elaborate Visual Effects. Whatever qualms you may have with the movie, these two elements are outstanding. That, and the brilliantly executed action set pieces and stunt work. Always a hallmark of the James Bond franchise. Among these are the excellent pre-credits sequence with the sky diving stunt, the centrifuge scene in which Bond escapes by using a dart gun attached to his wrist, and activated by his nerve system, the cable car fight sequence, and the whole of the third act in Space onboard and outside Drax’s Space Station. This latter sequence is a showcase of miniature and optical wizardry. Visual Effects for the Bond movies had gotten increasingly sophisticated since Dr No, and the ones used here are in a league of their own. They may look dated now, but at the time, these were state-of-the-art. As for the rest of the movie, the story, as I said, is somewhat generic and repetitive, the acting is fine (Lois Chiles doing a far better job than Barbara Bach did, giving her character a sassiness in her delivery that was sorely lacking from Bach’s performance), Michael Lonsdale does basically a repeat of what Curt Jürgens did on The Spy who Loved Me. At one point, he even appears to be wearing Donald Pleasance’s outfit for You Only Live Twice, minus the cat. Richard Kiel’s Jaws makes a reappearance, and has a more prominent role this time around. Although I don’t know how I feel about his love story with the petite blond. I think it detracts from the story, and dumbs it down ever further. Roger Moore comes through oozing charm and charisma, as per usual, and we’re once again treated to another wonderful John Barry score; after a short hiatus on the previous movie. It’s undoubtedly one of his best efforts. Sweeping, epic and romantic, all at the same time. The Love Theme, with that wonderfully sung by Shirley Bassey main credits song, ”Moonraker”, with lyrics by Hal David, and the cues that go when the Space Shuttles rendezvous at the Space Station have a majesty to them that only someone like Barry can deliver. Goofy humour aside, a healthy dose of suspension of disbelief is needed to enjoy this one. But, then again, it’s a Bond movie. Fantasy and escapism are to be expected. For what it is, a very entertaining watch.
Thanks for reading
With Roger Moore firmly established in the role of 007, and the success of the last two entries; the producers wanted to push on with a third successive movie. The book chosen to be adapted this time was The Spy who Loved Me, but the producers encountered a series of obstacles no one was counting on.
The first problem the producers encountered was a clause in a contract the producers had signed with Ian Fleming, in which it was expressly forbidden for any of the plot elements in the book to be used in a screenplay; thus the screenwriters would have to come up with an entirely original plot for the script, only being allowed to use the book’s title. That’s how the concept of megalomaniac multimillionaire Sea-biologist Carl Stromberg; who is bent on worldwide destruction by hijacking several Nuclear Submarines, and creating a new underwater world afterwards, was born. But the next problem would delay the release of the next movie for several years.
Harry Saltzman had been having financial difficulties for the last few years. He’d made a series of investments that hadn’t panned out, and was now facing serious debt. To overcome this, he’d used his shares at Eon as collateral; which put the whole company in jeopardy, and it also meant that they couldn’t move forward with the next movie until these legal issues had been resolved.
After years of court battles, the Studio managed to prevail. Broccoli found an Executive Producer , William P. Cartlidge, who was willing to foot Saltzman’s bill, but the title of Producer, from that point on, would solely, and squarely fall on Broccoli’s shoulders; meaning that the eventual success, or failure of the franchise from that moment on was totally dependent on him. Sadly, Saltzman, after having sold his shares, had to give up his Co-producer title, and would never return to the series. One more legal obstacle remained, however.
Producer Kevin McClory, who due to having ownership of the rights to the Thunderball novel, had received a Producer’s credit for that film, sued Eon on the grounds that The Spy who Loved Me’s screenplay closely resembled a script he’d worked on. He lost the case, however, which finally cleared the way for the producers to start work on Pre-production.
Guy Hamilton had been offered the movie right after he’d finished filming on The Man with the Golden Gun. Sadly, after all the delays, he lost interest in the project, and had moved on to something else. It was then that Broccoli contacted a former associate of his, and someone who had already successfully directed a Bond movie for them; Lewis Gilbert. You Only Live Twice had been somewhat of a turning point in the James Bond saga, as it was the first time that the series fully embraced the fantastical elements of the character, and further separated the film character from his more-grounded-in-reality, book counterpart. It can be argued that Goldfinger had already started going down that path, with larger-than-life megalomaniac villains bent on world destruction, sophisticated henchmen, and the extended use of gadgetry; but it was thanks to the outlandish plot, gadgetry, and Ken Adams’s work in the design of the villain’s lair inside an extinct volcano, that further helped enhance the concept. The last two Bond movies, though financially successful, had been very low-key in that respect. It was time to throw everything, but the kitchen sink into it, to make Bond the pop culture icon he was always meant to be, and further cement Roger Moore in the role.
The first thing that Gilbert did was to bring along his frequent collaborator, screenwriter Christopher Wood, to help spice up Richard Maibaum’s draft; adding more humour, and outlandish elements to the plot. He also changed Roger Moore’s dialogue to play to the actor’s strengths. Gilbert felt that the producers had tried to go with a more serious tone for Moore, that didn’t necessarily match with Moore’s personality; trying to make him act more like Sean Connery’s Bond would. The tone in both the story, and the character, was definitely lighter; with some goofy elements thrown in, that somewhat undermined the more serious elements of the plot. This penchant for goofy humour would further undercut the filmmakers efforts in the next entry in the series; Moonraker.
One positive aspect that came out of this re-work of the character was the extensive use of gadgetry, the visit to even more exotic locations, and the building of sets, that were taken to a level never achieved before.
The movie was shot in locations as different as Egypt, Sardinia, Canada, and once again in Pinewood Studios, London; the choice of so disparate locations highlighting the globe-trotting nature of the story. But it was, once again, Ken Adam’s amazing set design that really gave the whole thing that larger-than-life quality the filmmakers were looking for. His was the design of Stromberg’s underwater lair, Atlantis, the Supertanker which Stromberg uses to hijack the nuclear submarines, and the Lotus Esprit car which could transform into a gadget-loaded submarine when needed. Most of these designs were achieved with the help of Visual Effects Supervisor and miniature model wiz, Derek Meddings.
Another important aspect that the filmmakers paid a lot of attention to was the cast. For the role of the main villain, Carl Stromberg, the producers cast Austrian-German actor Curt Jürgens. Stromberg falls in the category of those Bond villains who rely heavily on their minions to accomplish their goals, like Bloefeld and Goldfinger. The actor definitely lends a threatening presence to the character, and the make up artists even went as far as giving him webbed hands to further enhance the illusion that he’s one with his aquatic environment. But no villain would be complete without a charismatic henchman. The character of the steel-toothed assassin was actually sourced from the novel, in which his alias is actually Terror, and not Jaws, as he would be finally known. At over 7ft tall, American actor Richard Kiel was chosen to portray the role, who ended up being so popular with audiences that he was asked to reprise it for the next movie in the series. The Art department made him a special metal mouth piece that was perfectly molded to fit inside his mouth. The contraption, however, was so uncomfortable to wear that he could only wear it for a few seconds before he started gagging. All the scenes in which he wears the metal-platted teeth were carefully edited with short cuts to overcome this particular situation. For the roles of the main Bond girls the producers went with model Caroline Munro to play the rode of Stromberg’s personal assistant and helicopter pilot, Naomi; and actress Barbara Bach to play the role of Soviet secret agent, Anya Amasova; who would, years later get married to The Beatles drummer, Ringo Starr. The rest of the recurring characters came back.
The film starts with a bang, with possibly one of the most dangerous stunts ever performed in a Bond movie. I’m, of course, talking about the scene in which Bond is skiing down a snowy mountain slope, being pursued by Russian agents, and ends the sequence by jumping off a cliff and opening a parachute with the Union flag all over it, in mid-air. The sequence was the brainchild of Lewis Gilbert, who though it would be a neat way of opening up the movie. The tricky thing was finding the right place and conditions to perform the stunt, and someone daring enough to do it. The pre-credit sequence is supposed to take place in the Austrian Alps, but these were difficult peaks to reach during the Winter time, in which most of these mountains would already be snowed in. An experienced skier and mountain climber by the name of Rick Sylvester was contacted, and agreed to do it. He also told the producers that he knew the perfect spot where it could be done. The chosen place was in Canada. Sylvester, along with a small filming crew went to the spot, only to find that the mountain side was heavily snowed in, and the high winds made it too dangerous to jump. A few weeks went by without much luck, to the point in which Broccoli talked to Sylvester to ask him if he’d changed his mind about doing it. Sylvester reiterated that he was just waiting for the right conditions, which did come a few days later; and the stunt was finally filmed from numerous angles, and with 4 different cameras to ensure that it was sufficiently covered on film.
Things didn’t get any better when the crew moved to Egypt to shoot in location. The numerous challenges that some locations presented when it came to filming them, like the Giza Piramids exhibition, along with the stifling heat and dreadful local food; really tried the crew’s patience and endurance. The first problem was fairly easy to solve. Given the inmensity of the Pyramid exhibition, and the impossibility of getting enough artificial illumination to light the whole thing, it was decided that a Matte Painting of the Pyramids would be used as a background plate for the scene. The second problem though, was slightly more difficult to overcome. The crew was so worried about getting sick from food poisoning, and so tired of the hot conditions, that they suggested to Broccoli breezing through the shots as fast as they could, so they could return to England as soon as possible. Having always had a reputation of taking really good care of his cast and crew, Broccoli ordered a refrigerated truck with food shipped from England to be delivered in location. The truck did arrive, only empty. To avoid further delays, Broccoli flew in, went about shopping for ingredients and kitchen implements, and personally cooked a huge vat of Spaghetti Bolognese for his crew. That little gesture earned him the respect of the crew, who re-doubled their efforts to get off-location as swiftly as possible. Among the many striking locations the crew got to shoot in were some abandoned ruins out in the desert, outside of Cairo. This is the spot in which Bond, Anya, and Jaws’s first confrontation takes place, which ends up with Jaws almost crushing the van in which Bond and Anya are trying to run away. The second confrontation, aboard a train, proved to be a trifle more challenging, due to the confined quarters that the train cabin set provided. The crew was more than up to the challenge, as they’ve already done similar train fight sequences in From Russia with Love, and Live and Let Die. The entire interior of the train cabin was recreated in Pinewood Studios, and the fight was exhaustively rehearsed by Stunt Coordinator Bob Simmonds, and actor Richard Kiel. It was actually Bob Simmonds who doubled for Kiel when Bond kicks him out of the window.
As soon as the crew had wrapped in Egypt, they moved on to Sardinia, where the scenes in which Bond and Anya follow the clues to Carl Stromberg’s underwater lair Atlantis, and the submarine/car chase would be filmed. The bulk of the Special Effects and Set Design work kicked in then, which presented the producers with a problem of huge dimensions.
It had already been discussed during Pre-Production the best way to go about the sequence in which a retrofitted Supertanker swallows and holds inside it three enormous nuclear submarines. At first, the crew went looking for a real tanker, preferably a disused one, that they could use to double as both the interior and exterior of Stromberg’s Supertanker. They knocked on many doors, and finally got Shell to lease them an empty one from their own fleet. Unfortunately, the filmmakers soon discovered that an empty tanker was actually more dangerous to film in than a full one, because of all the gases left inside. That made it completely unsuitable to have electric filming equipment inside as the smallest of sparks could potentially blow the whole thing up. The practical solution was to build practical models of both the Supertanker and Atlantis for the establishing shots, and blow them up later on. The life-size interior of the Supertanker, which not only had to hold all three hijacked nuclear submarines, but Stromberg’s control room, detention cells, and missile silos, was too big to fit into any of the existing sound stages in Pinewood. What remained was to build an entirely new sound stage. Adam proposed building the Supertanker set first, and the rest of the sound stage around it. It was a huge undertaking, and the resulting sound stage was baptized as The 007 Sound Stage.
Once construction on both the set and stage were finished, another problem arose. The set was so huge that it was incredibly difficult to light. On top of that, Claude Renoir, the Cinematographer, had been slowly losing his sight over the years, and was finding it difficult to do his job. It was then that Adam came up with a solution that was controversial, to say the least. He recruited the help of Stanley Kubrick, with whom he’d worked before in Doctor Stangelove (1964), and Barry Lyndon (1975). Kubrick agreed to help him on the condition that no one would find out about it. Adam made sure that no one from the crew was around and upon arriving, Kubrick suggested that it might be a good idea to put up lots of flood lights on the ceiling, and thus allow these set lights to illuminate the set without any additional artificial lighting.
Another important element was the incredible model work done by Derek Meddings. Not only did he build miniature models of all the sets like the Supertanker, and Atlantis, but he was also mainly responsible for the model work in the Lotus Esprit. As many as seven models of the Lotus Esprit were built, in different sizes; to simulate all the different stages the car goes through from the moment ii falls into the sea, to when it becomes a fully formed underwater vehicle with the usual array of gadgets to escape from the bad guys. The bulk of the underwater scenes, and all those establishing shots of both Atlantis, and the Supertanker on the sea were shot in the Bahamas. The waters in the Bahamas are world renowned for being extremely clear, which makes them very useful when shooting underwater scenes. The crew had already gone there a few times before to shoot the underwater sequences for both Thunderball and You Only Live Twice.
Between both Ken Adam and Derek Meddings, they achieved one of the best looking Bond movies when it comes to Set Design, and Visual Effects. The interior of both the Supertanker, and Atlantis look magnificent. As was always the case with his sets, Ken Adam always strived to make them mobile and fully functional. A small crew even went to Japan to take photos of a real life Marine research centre. They brought back hundreds of pictures, with all kinds of exotic fish that would be latter used as background plates for the observation windows.
Meddings’ work on the models is superb, shot in a way that it never gives away the real size of the models. Brilliant examples of this are all the establishing shots for the Supertanker and Atlantis, and their respective explosions later on. So are all the underwater shots for the model Lotus Esprit. A life size mocap of the car was built to be submerged, that had to be moved around underwater by a team of scuba divers. The interior was completely sealed, and only used for close up shots. A remarkable feat of engineering, considering how little screen time it has in the movie.
The Spy who Loved Me proved to be wildly successful with both audiences and critics. It’s generally regarded as one of the best Bond movies, and the best in Roger Moore’s run in the role. Little else can be said about it, except for the fact that it made more money at the Box Office than any other Bond movie had ever made before.
The Spy who Loved Me is definitely my favourite James Bond movie with Roger Moore playing the titular character. It’s one of the most sophisticated, wity and wildly entertaining movies in the franchise. It has everything going for it; the beautiful Soviet Spy who is Bond’s equal, a madman bent on world domination, an iconic henchman, an outlandish plot, beautiful locations, and lots of gadgets, among them a submarine car!!.
It definitely has some goofy stuff in it; like some of the silly musical cues used to play up the comical elements of the story, but it’s generally speaking a fun romp. A rollercoaster ride of emotions that never lets up; but what is most fondly remembered for is the incredible stunt work, the set design and especially, its over the top, but thoroughly enjoyable action set pieces. One of the aspects of the movie that it’s often overlooked is the soundtrack. In addition to a very memorable theme song sung by Carly Simon, it has one of the most energetic scores to be found in the series outside the ones John Barry composed. Marvin Hamlisch’s score for the movie is a “disco extravaganza”, that often comes up in fan circle conversations, citing it as one of the reasons why the movie has aged so badly. I entirely disagree. I think it fits the movie like a globe, and gives it that unique quality that makes it stand out from the rest as a product of its time.
Sadly there are also some bad things in it. While generally speaking, all the cast does a decent job, with Roger Moore being his usual charming self; the same cannot be said about Barbara Bach. While definitely a beauty, she clearly lacks in the acting department, coming off as stiff and wooden, especially in her line delivery. Curt Jürgens does a serviceable job as Stromberg. He does have a rather laid back attitude about it, but has enough charisma to come off as menacing sometimes. But the absolute standout in the villain camp is Jaws. Richard Kiel does wonders with the role, coming off as menacing, but with a humorous side to him. Some of the funniest scenes are the ones with him in them. No wonder the public wanted him back.
The action set pieces are done to a very high standard, and are amongst the best in the series. The sky jump in the pre-credits sequence, the car chase sequence with ends up in an underwater chase sequence with a submarine car, Bond and the newly rescued nuclear submarines crews trying to break into the Supertanker’s control room, the final showdown between Bond and Jaws aboard Atlantis….Gilbert would try and repeat the same formula for the next movie, and although he succeeded to a certain extent, it doesn’t quite reach the same heights. This, to me, is definitely one the best in the bunch, and a real treat. Nobody does it better.
Thanks for reading.
After having succesfully jumped the hurdle that was his first appearance as 007, James Bond; Roger Moore was ready, once again, to tackle his next obstacle; trying to top what the creative team at United Artists, and himself had done in Live and Let Die.
“Cubby” Broccoli and Harry Saltzman were very satisfied with the way the two previous entries had been handled, and the consequent financial success achieved by both of them. Riding on a wave of success, they felt that they had to make the most out of this momentum, and immediately started work on Pre-production for The Man with the Golden Gun.
This was a book that they had tried already to adapt, back when Sean Connery first expressed his desire to quit the role, and the producers were in talks with Roger Moore to take over as 007. That proyect had to be scrapped, however, as the producers’ desire to film the movie in Cambodia ground to a halt because of the political upheaval in the area. Moore also had to abandon the role, as he was already committed to another TV show; The Persuaders (1971-1972).
Both Guy Hamilton, and screenwriter Tom Mankiewicz were asked to come back, and even though Mankiewicz wrote a first draft of the script; he felt he wasn’t giving it his best. He asked the producers to retire from the proyect, as he was suffering from creative exhaustion, and wasn’t able to come up with a satisfying enough script. The producers decided to get in contact with Richard Maibaum, who had successfully written the scripts for the first Bond movies. While in the process of writing, Mankiewicz, Hamilton and the producers were also scouting for locations. The story in the book originally takes place in Jamaica, but as the crew had already filmed there twice for Dr No and Live and Let Die, it was felt that they had to come up with somewhere exotic where they hadn’t filmed before. After watching a French film that had been shot in Iran, and being mesmerized by the magnificent locations; the team flew there to check it out by themselves. None of the locations lived up to the crew’s expectations, and anyway, on their flight back they learned that the Arab-Israeli War had sprang up, mirroring a similar situation when the crew had wanted to shoot The Man with the Golden Gun in Cambodia, before the Civil War started. It seemed that the James Bond crew was out of luck once again. Or were they?
The misshap in Iran ultimately proved to be nothing more than a temporary set back. Hamilton, the eternal innovator, had always been fascinated about the idea of shooting a Bond movie on one of those isolated islands that formed a chain of rugged, and beautiful looking pinnacles off the coast of China. Hamilton had learned about these while thumbing through a traveller’s magazine, and although they couldn’t get any of those actual locations, they found something similar off the coast of Thailand. Permission was granted to the crew to shoot there, but as none of the islands had suitable establishments were the cast and crew could stay in, being the islands compressed mainly of small villages along the coast; the crew had to make do with the village’s brothel, which was the only house big enough to accommodate the whole filming crew, and convert in into a hotel of sorts. This was the least of the cast and crew’s problems, though, as they had to travel to the island chosen to be Scaramanga’s island by boat every day, carrying tons of wardrobe, set decoration building material, props and filming equipment. The crew had to also watch out for changes in the tide, and weather conditions. After filming, the island became a famous tourist destination, and would in time be dubbed as The James Bond Islands. Being fairly close to Hong Kong and Macau, it was decided that the bulk of the movie would be shot there, with interiors, like the sunken Queen Elizabeth in Hong Kong harbor, the interior of Scaramanga’s island retreat, and the solar energy laboratory, all faithfully recreated in Pinewood Studios.
The movie gives us the opportunity to enjoy one of the best Bond villains ever to come out of Ian Fleming’s pages; the assassin Francisco Scaramanga, a.k.a, The Man with the Golden Gun. To find an actor capable of bringing across the menace and sophistication of such an iconic character, the producers went to the most unusual of places; the British Hammer Film Productions. Christopher Lee had made a name for himself portraying Count Dracula in numerous movies for the film production company, and was tired of being type cast in the same role. The part of Scaramanga would give the actor the opportunity to explore, and widen his acting range. He was also, in a way, related to the Bond series in that Ian Fleming and him were cousins, they had a mutual affection for golf, and would often play together many times. He was more than delighted to accept the role after he read the script. Tom Mankiewicz, who ultimately had to come back to do some re-writes on Maibaum’s script, had made several changes to the character from the way he was portrayed in the book. In the book, Scaramanga lacks the air of sophistication given to him by Mankiewicz, and comes across as nothing more than a mere thug for hire who happens to have a penchant for golden plated weaponry. Lee welcomed those changes, as he saw his character as a dark reversal of James Bond; a fact that comes to light during the dinner scene in Scaramanga’s hideout in the third act of the film. Even more unusual, and surprisingly effective was the casting of French painter-turned actor Herve Villechaize as Scaramanga’s pint-size second hand, Nick Nack. The actor turned out to be a lively presence on set, always in good spirits and, according to his fellow cast members; with a voracious appetite for the opposite sex.
On the Bond girls front, the producers turned to two Swedish beauties; Maud Adams and Britt Ekland. Ekland, who plays the part of agent Mary Goodnight, would be later on better known for her marriage with actor Peter Sellers than for her acting career, while Maud Adams, who plays Scaramanga’s lover Andrea Anders, would get the chance to play the enchanting and mysterious Jewl smuggler Octopussy, opposite Roger Moore, in the Bond film of the same name, years later. The role of Scaramanga’s employer, the Chinese Industrialist Hai Fat, was played by famous American-Chinese actor Richard Loo. The role of Bond’s assistant in Hong Kong, Hip, fell to Korean-American actor Soon Tek-Oh. Another surprising bit of re-casting was that of Clifton James reprising his role as Sherriff J.W. Pepper, who just happens to be vacationing in Hong Kong with his wife while Bond is on assignment there. Go figure!!.He came back by popular demand, and participates in one of the most exciting action set pieces in the movie; just like he did in the previous one.
The producers tried to accommodate the needs of its crew and cast as much as possible, but the isolated location on the island of Khow-Ping-Khan, which the crew was using as Scaramanga’s island, was a tricky location to get to in the best of circumstances. The whole cast and crew was staying on a nearby island where accommodations and means of transportation were limited, to say the least. Shooting in location was divided into the island and back on the mainland on Hong Kong, and a floating casino in Macau. The scenes in which Bond follows Andrea from the floating Casino in Macau to the Hotel Peninsula, in Hong Kong, in which Bond travels on a Hidrofoil for one island to the other, were shot in the same day. It was actually in this hotel where most of the crew stayed for the duration of the shoot in location, being treated with the utmost care by the producers, as a way of making up for the uncomfortable accommodations and shooting conditions on the Scaramanga island.
The movie, once again, excells in its death-defying, action set pieces. There are not as many car chases, or action set pieces as there had been in the previous movies. In fact, this is one of the few Bond movies that is really restrained in that department, and it takes, for the most part, a very low key approach when it comes to this particular facet of the production. But what little there is, it’s outstanding. First off, we have a speed boat chase through the water markets and houses of the Bangkok area, immediately preceded by a kung fu fight sequence between Bond, Hip and his two nieces against a bunch of Kung Fu fighters in a Temple. The fight sequence was thoroughly rehearsed before hand, presenting little problems; but the speedboat chase sequence had to be carefully planned by the Stunt department, as the nimble boats used by the locals to traverse the river on a daily basis, were too fast, too unstable, and highly unreliable. They were powered by a rotor attached to a pole, which when sunk in the water by the boatman would reach high speeds on a moment’s notice. The peculiar way in which the boats were powered and steered around, also meant that, when bending a corner too fast, the pole with the rotor attached to it, could come out of the water and spin out of control. There was also the added health issue of speed boating around in dirty water, running the risk of falling in and catching all kind of diseases. Not something to be snuffed at.
But the action set piece that is the absolute standout in the movie is the car spiral jump. This jaw-dropping action set piece was performed by W.J. Milligan Jr’s stunt team. “Cubby” Broccoli had heard on the news about a daring car jump stunt performed for a live audience in an auditorium in the US, over a spiralling wooden bridge. It occurs while Bond is chasing after Scaramanga and Nick Nack, and mistakenly takes the wrong turn and ends up in the opposite lane with a river in between. Halfway through, Bond spots a broken-down, rickety, chopped-in-the-middle wooden bridge, with two very steep and short, spiralling ramps on either side. This is the point he chooses to cross over to the other side. The spiraling ramps were designed and constructed to Milligan’s specifications, after careful mathematical calculations were made using a computer model; taking into account mass of the vehicle, weight and speed necessary to achieve the jump. The steering wheel had to be placed in the middle of the car to even out the weight, while a mocap steering wheel, with two dummies seating on both front seats standing in for Moore and Clifton James were put there to perform the stunt. One driver from Milligan’s team was chosen to perform the stunt, who did it to perfection on the first take. It was actually Hamilton who was concerned that the jump looked too perfect, and asked if it could be repeated. Given the dangerous nature of the stunt, Milligan refused.
Another bit of funny business was the scene in which Scaramanga turns his car into a flying machine. Special Effects Supervisor John Stears, a veteran of the Bond movies, was asked to do the required modifications to a real car for close ups, while the shots of the car flying away were achieved using a model car.
For a movie light in action set pieces, it sure had a lot of, at times, overlooked work put into his Props and Set Design. Peter Murton was the man in charge this time around to provide the necessary background glitz to James Bond’s newest adventure. With Peter Lamont as his right hand man, Murton was in charge of designing not only Scaramanga’s entire island hideout and its Solar Energy lab which, by the way, is very reminiscent of Ken Adams’s design for Dr No’s lab from the first movie in the series, but he also was in charge of designing one of the most bizarre and psychedelic sets seen in a Bond movie; Scaramanga’s fun house, which he uses as a target practice arena for would-be assassins who come over the island to kill him. The set was recreated in its entirety in Pinewood Studios, using an assortment of mannequins, mirrors, period-themed areas, like a Western town Saloon, and an Al Capone gallery, and even a life-size wax sculpture of Roger Moore’s Bond himself!!. Another challenging set whose interior had to also be built in Pinewood was that of M’s office inside the capsized, half sunk, and water corrugated Queen Elizabeth in Hong Kong harbor. The real life ship was used as a establishing shot, while a mocap of the exterior and an access hatch were built in Pinewood. As the real ship was tilted to one side, so had to be the rest of the set’s interior. Doors, furniture..everything was built on an angle; making for one of the most bizarre sets seen in a Bond movie. One prop that gave the designers a run for their money, and especially Peter Lamont, who was in charge of designing it; was the Golden Gun. Lamont was given instructions to build two models of the Golden Gun; one that was constructed as a whole piece, and other that could be taken apart, and put back together. Lamont took the design to a company they frequently worked with, to have them design a gold-plated lighter. In addition to this, a golden pen for the cannon and cuff links for the trigger completed the design, which was put together by a London-based company that specialized in Jewellery design. Lamont got used to assembling and disassembling the gun so much, that he could do it without looking at it. A trick that was never completely mastered by Christopher Lee himself.
In addition to all the Set and Prop Design, a great deal of miniatures were used, especially for the finale, in which Scaramanga’s entire rock-hidden Solar Lab blows up. For this, the producers recruited the help of Derek Meddings. Meddings had been hired in the previous movie to simulate the explosion of Kananga’s poppy fields at the end of the movie; which was all achieved with the use of miniatures. This time around, the use of miniatures was going to be even more extensive; as he had to, not only, recreate some of Murton’s sets in miniature for the long establishing shots, but also blow them up in the finale. The end result is so seamless, that I didn’t notice the difference between the real set and the miniature set until it was pointed out to me in the Audio commentary.
One other problem surfaced when Principal Photography in location for the movie had been completed. Ted Moore, the Cinematographer responsible for lighting most of the previous Bond movies fell ill. Faced with an ever encroaching delivery dead line, and with a good chunk of the movie yet to be filmed in Pinewood, Broccoli and Saltzman got in touch with Oswald Morris’ agent. Morris was a well known Cinematographer by then, with such credits as Fiddler on the Roof (1971), Norman Jewison, and Lolita (1962), Stanley Kubrick. Morris was reluctant to take the job, as he’d done it several times before, and wasn’t comfortable with walking into someone else’s set, taking over, and having to complete the job adhering to someone else’s style. It took him some convincing, especially by Broccoli, but he finally relented, and completed the movie on schedule.
The movie was generally well received on both fronts. Moore was firmly established as 007’s new face and everyone was happy. Or were they?
The reason why I asked the question is because, for some reason or another, The Man with the Golden Gun seems to hold the record as the Bond movie most people make fun of. And this is totally undeserved. We also get some of that with Live and Let Die, but with this one, people really like to stick the knife in, and twist. Ok, granted it’s not the most exciting, or groundbreaking of Bond adventures at times, as say; Goldfinger, Thunderball, or Moore’s next Bond movie; The Spy who loved me. But it still has a lot going for it. It’s got a great villain, great locations, amazing action set pieces and stunts, and John Barry is back to compose the soundtrack. What more can you ask for?. Its heart is definitely on the right place. I’ll be the first to admit that there’s some goofy stuff there, we could’ve done without; the return of J.W. Pepper, (funny though Clifton James may be), the kung fu fight scene in the temple, and consequent speedboat chase sequence that’s done for the sake of doing it because of the kung-fu craze prevalent at the time, and an excuse to have an extra action set piece (as brillianty executed as always, I might add), and especially the blow whistle effect used for the car spiral jump scene, which totally undermines the effectiveness of such a wonderful stunt. An inclusion that John Barry has admitted, regrets having done. All that aside, there’s much to be enjoyed here. Moore is clearly in his element, and has some very good dialogue to work with thanks to Tom Mankiewicz’s contributions. Both Bond girls are beautiful, and in the case of Maud Adams, though admittedly inexperienced at the time, has some real meat to her role. Ekland does her best as the silly and clumsy assistant, but is regrettably nothing more than that. As for Herve Villechaize as Nick Nack, he’s a hoot. It’s unusual to have a short person as a sidekick, but I think it works wonders with this setting, and this story. The clear standout here is Christopher Lee. His interactions with Moore are very well written and acted, and Moore really has to step up his game to be on par with him on an acting level on occasion. The final duel is well shot, and very suspenseful. Editing and music play a great part in this, and the conclusion is rather surprising. This one is a minor title in the Bond/Moore movie run, but it’s got a lot of charm, and should be seen without prejudice and an open mind. It’s also the last time that Guy Hamilton directed a Bond movie, which was definitely a loss for most of us. One of the best directors in the series, and a consumate innovator.
Thanks for reading.
After Sean Connery’s refusal to come back to the role of James Bond, it was time for producers Harry Saltzman and Albert R. Broccoli to try out an actor who had already been approached even before Sean Connery was cast for Dr No; Roger Moore.
Roger Moore was an old acquaintance of Harry Saltzman and Albert R. Broccoli’s. He’d been on the run up to play the part of Bond back in 1961 when the producers were casting for the role, and was again approached by them when Sean Connery expressed his desire to abandon the role after You Only Live Twice (1967). The first time around, Moore had to pass up on it, because he was working on The Saint tv show, which run from 1962 to 1969. The second time around he was asked to come back, and the idea was to shoot Ian Fleming’s last 007 novel; The Man with the Golden Gun in Cambodia. That idea had to be scrapped because of the Civil War in the region, and by the time the producers were ready to tackle another proyect, Moore was already engaged in another TV show; The Persuaders (1971-1972). Moore had stayed in contact with both producers over the years, however, as they use to go gamble and socialize in the same casino, and when the time came to cast another actor for the role; Moore was asked once again to come back.
Tom Mankiewicz, who had worked with Richard Maibaum in Diamonds are Forever; was asked to pen the script, and was given the choice of picking which one of the remaining Ian Fleming novels he wanted to adapt next. He immediately jumped at the idea of adapting Live and Live Die. Fleming’s second 007 book was a controversial one. The main villain and henchmen were black, and the way they were portrayed and spoke in the book was the subject of heavy editing when it came to publishing the novel in the US. Nevertheless, the idea of Bond going after an Afroamerican baddie fascinated Mankiewicz, as he thought that the characters and the story would give the film an edge that would differentiate it from any other Bond movie before it. It was also the perfect opportunity to go in a different direction, as there was a different actor coming into the role. Guy Hamilton was once again on the director’s chair and, as he’d always been someone to experiment and try, and come up with unusual and original ideas to try and surprise his audience, he was all in on it.
Apart from the recurring cast members like Bernard Lee, Desmond Llewellyn and Lois Maxwell, a very interesting number of actors were cast for this movie, some of whom; like David Hedison as CIA agent Felix Leiter, and Clifton James as Sheriff J.W. Pepper, would even reprise their roles in subsequent movies. For the part of the main baddie Mr Big/ Dr Kananga, the producers went with a very interesting choice. Yaphet Kotto was an MGM player who was actually wrapping up on Across 110th Street, Barry Shear (1972), when he got a call from the head of United Artist, David Picker; to participate in the movie as the main villain. Kotto was at first reluctant to accept the role, as he was concerned about the way in which the Black community, and especially his character would be portrayed. He was quickly put at ease when he read the script, and saw that his character was a dark reverse of James Bond. Actually, Kotto took those elements of his character, ( the suave demeanour and intelligence), to heart; in such a way that it would take the actor years to get rid of the habit of trying to behave and live like Bond, much to the detriment of his finances. In turn, Kotto pulls off one of the best villains in the Bond series; a mixture of extreme intelligence, ruthlessness, and sadism; that had been sorely missing from the villains portrayals in the latter movies. A definite return to form on the villain front.
For the part of the main henchman, Tee-Hee; we have actor Julius Harris. Tee-Hee joined a illustrious line-up of henchmen with special “gifts” or peculiarities, like Odd Job, Mr Kitt and Mr Wint, and later on; Jaws and Mayday. His peculiarity was a hook-arm that could cause considerable damage. That, coupled with Julius Harris’s imposing physique; made for one hell of a henchman. His presence, however, was topped by that of actor/choreographer/dancer Geoffrey Holder, who portrays the other “henchman”/ “voodoo doctor”, Baron Samedi, who lends the movie a supernatural element that had never been present in any of the previous movies. Now for the Bond girls. Because of the movie setting in Jamaica, and the impossibility of getting native actresses who could convincingly portray the two main Bond girls in the movie, the producers chose New Yorker Gloria Hendry to portray the role of MI6 liason, and double agent, Rosie Carver. Being such a small part, and in such an important franchise; Carver was worried that she would not get the part after a rather unusual interview with “Cubby” Broccoli. The producer didn’t give her the part right away, and even though she was asked to stay in Jamaica at the expense of the producers until they reached a decision; she decided to reject the generous offer, and move to California to try and get another acting gig, much to the disappointment of her agent. She was actually already lined up for a movie there when she got the call from her agent to catch a plane back to Jamaica, as soon as possible, as she had been given the role. It was a more straightforward affair when it came to casting the actress Jane Seymour. Seymour was an up and coming British TV and Theater actress who was asked to come to “Cubby” Broccoli and Harry Saltzman’s office for an audition. After just one look, Broccoli was convinced that they had their Solitaire. The Tarot toting, mystical lady portrayed in Fleming’s novel had to have a certain virginal innocence about her. It was argued at the time that Seymour might’ve been too young for the role; but that quality that the actress exuded in spades, was spot on for the role, and exactly what the producers were looking for.
On a funny note, we have New York actor who had to pull off the no mean feat of playing a Lousiana native Sheriff; Sheriff J.W Pepper. His character brings a touch of levity and comic relief to the movie that proved so successful, that he would come back for the following Bond adventure; The Man with the Golden Gun.
The movie was shot in location in Jamaica, New York, New Orléans, and in Pinewood Studios, England. The lavish locations were used to their fullest extent. Guy Hamilton was a director which always looked for the unusual and different in each one of the Bond movies he directed; so scouting for locations was a very important part of this process. He at first thought that they would struggle to find something different , or surprising enough, to dazzle the audience. That turned out not to be the case. Right off the bat, two locations were used for the pre-title sequence that were completely opposite in both tone and feel. They managed to get inside the United Nations while they were not in session, to photograph as much of the interior of it as they could, and recreate it on set in Pinewood later on. It was surprising to find out how they managed to recreate it so faithfully and realistically, though. Apparently, while the crew was there photographing everything, they stumbled upon a set of blueprints of the building that apparently the electricians had been using to do some re-wiring. Needless to say, as Hamilton jokingly remarks on the DVDs Audio commentary, they were more than happy to “pinch” those to design their set. The other setting was New Orléans. Looking for locations in the area, Hamilton was told about the Jazz “Funerals”. This odd costume is apparently a hallmark of the city, in which the whole town gathers to celebrate the passing of a celebrated citizen in a colourful and musical fashion. Those two settings, plus the use of a recreated Jamaican voodoo ceremony in Pinewood, filled with snakes, dancers, torches and the like; help set up the dark, but whimsical tone of the movie right away.
Location shooting in New York involved a car chase in which various highway intersections were closed off for the day, and some exterior shooting in downtown Harlem. Most of the interiors for those buildings would later on be recreated on Pinewood.
Most of the in location shooting was done mostly in and around Jamaica and New Orléans. The standout set piece that takes place in Jamaica in which Bond and Solitaire escape Kananga’s goons on a Double-decker bus, and go under a low bridge shearing off the top half of the bus, had to be thoroughly planned out and rehearsed. An expert British Double-decker bus driver was approached to perform the stunt. A mocap of the low bridge was built on Pinewood Studios, and the top half of the bus was taken off and put back on a sliding mechanism which would allow the top half to slide off when the bus hit the low end of the bridge at the appropriate velocity. After constant and tireless trial and error, the stunt team managed to performed the stunt on the third try. It wasn’t the only dangerous stunt that the bus was used for. The driver had to be able to skid from one side of the road to the other to get rid of the motorcycles that are chasing after it. Despite all the necessary precautions taken to avoid danger; some of the motorcycle riders ended up going off road into the shallow end of the coastal waters and landing on some coral reef. Despite some minor injuries, no major incidents were reported.
Back in New Orleans, two major stunts were in the cards. First off, was a chase sequence in which Bond gets rid of Mr Big’s henchmen in a biplane zooming around a small airfield. For this stunt, Assistant set decorator Peter Lamont, who would later go on to work in many Bond films, was to secure the supply of derelict and beat up planes, which could be used for the stunt team to be crashed into, while pursuing Bond.
The other major action sequence was actually connected to a daring stunt which was actually the brainchild of Guy Hamilton. This set piece was conceived when Guy Hamilton while scouting around for locations, happened upon a Crocodile farm. The owner, Ross Kananga, a professional stunt performer, was actually who screenwriter Tom Mankiewicz named the villain after. After meeting Kananga and having taken a look around the crocodile farm, Hamilton decided that it would be a great idea to build an action set piece around the farm in which Bond is taken by Tee-Hee and his men to the crocodile farm, and left stranded on a little rock in the middle of a crocodile-infested swamp. The way in which Bond escapes the dangerous reptiles by jumping onto their backs and using them as sort of a thrashing and biting bridge, is something to behold. The original idea was for Bond to escape the snake pit situation using his magnetic watch, seen at the beginning of the movie; to bring over a small boat that, unfortunately, happens to be tied up to a nearby tree on the shore. The stunt was performed by Ross Kananga himself, who had to do it a total of five times before he was successful. That sequence, jaw dropping in and of itself, was to be followed by what Mankiewicz described in the script as “the most terrific boat chase scene you’ve ever seen”. That boat chase sequence was another brilliant occurrence by Hamilton after exploring Louisiana’s swampy bayous. The boat chase was brilliantly planned out, and executed by a team of stunt men, performing what was considered at the time the biggest speed boat jump seen on-screen at the time. The idea was for the boat to jump as high up as 80 ft, over a parked police cruiser which was on a small stretch of road in between two river fronts. As was the case with the double-decker bus stunt, this too was exhaustively rehearsed, causing no small amount of on-set accidents. It was one of the most daring stunts seen on a film filled with many, and one that; contrary to the case of Diamonds are Forever, was placed in the latter half of the movie, so it wouldn’t be outstaged by any other stunt seen later on. Running over a stretch of road or a lawn on a, at times, uncontrollable speed boat was no easy task, and one that required careful preparation and skill.
Despite the brilliance of all the action set pieces in the movie up to that point, the finale wasn’t without danger. Real snakes, sharks and compressed air bullets were part of the fun. The scene in which Bond faces off against Baron Samedi, and the latter ends up in a coffin filled with snakes; was a major cause for concern for actor Geoffrey Holder. Holder wasn’t very keen on performing the stunt, and Guy Hamiltin knew this. Fortunately for Hamilton, a member of the Royal family showed up on set, which forced Holder to perform the stunt out of a sense of pride. Here is too where Syd Cain’s set design came to the fore, showing off what he’d learned working with such masters of the craft as Ken Adam. His design for Dr Kananga’s underground hideout are very reminiscent of Ken Adams’s previous designs for some of the Bond movies. This location is also the setting for Bond and Kananga’s final confrontation, in which after being tied up along with Solitaire over a shark-filled pool, being cut up by Kananga, so the dripping blood will attract the hungry predators; Bond manages to escape using his magnetic watch as a buzz saw, and has a final fight to the death with Kananga, in which Bond force-feeds him a compressed air bullet; causing Kananga to explode. The scene in and of itself is ludicrous, and the effect of Kananga exploding as kind of an oversized, inflatable doll, is rather wonky; but makes for one of the most funny moments in the movie.
And, as it’s traditional with all Bond movies written by Tom Mankiewicz, there’s one final showdown between Bond and Kananga aboard a train, which serves as kind of a nice coda to round up the adventure.
The movie was a resounding success, and in spite of Roger Moore’s initial misgivings; it was well received both critically and financially. This time around, there was definite proof that there was life for 007 after Sean Connery’s departure.
Live and Let Die is a fun romp. As with all Bond movies scripted by Tom Mankiewicz, and directed by Guy Hamilton; it is enormously witty and entertaining. It boasts one of the best and most original villains seen in a Bond movie up until that point, and a definite improvement on the somewhat un-charismatic performances by the previous actors. Dr Kananga/Mr Big is one of the best villains in the series. The clever mixture of intelligence and cruelty, coupled with an all-seeing, all-controlling criminal organization; was something that hadn’t been seen since the times of Spectre and Dr No, Goldfinger or Emilio Largo. He doesn’t reach the levels of brilliance and sadism of Robert Shaw’s Grant in From Russia with Love, but he’s definitely up there with the best. So is Tee-Hee, who unfortunately doesn’t get enough screen time to show off what he can do. The same, unfortunately, cannot be said about the Bond girls this time around. Gloria Hendry doesn’t get enough time to fully develop her character before she’s killed off, and although she does a good job, and looks wonderful on-screen, Jane Seymour doesn’t get to do much, apart from playing the damsel in distress. As for the rest, the action set pieces are imaginative, and brilliantly executed, the title song by Paul McCartney and The Wings is one of the best, George Martin does a very good job taking over from John Barry, who had been the official Bond composer up until that point, and the dialogue is deliciously funny. And that’s the real strength of this movie, and one that allows Roger Moore to shine throughout. Despite his initial misgivings about taking over from Sean Connery, he does a brilliant job. His take on the famous spy is quite different from what Connery had done, and Mankiewicz writes the dialogue for him accordingly. His excellent comedic timing, witty comebacks, and one-liners are some of the best in the series; some even add-lipped by Moore himself. His Bond is definitely more sophisticated and definitely not as rough as Connery’s was. Two different takes from two completely different actors in both style and mannerisms. Overtime, Live and Let Die, along with The Man with the Golden Gun, became the butt of jokes for most people familiar with the series on account of its supposed campyness, and silliness. Things had not yet become as campy as they would later on, and it’s unfair to label this movie as such. On my part I think this is a fun, well written, acted and thoroughly entertaining Bond entry that needs to get more love.
Thanks for reading.
When the last installment of Peter Jackson’s three-part epic adaptation of J.R.R Tolkien’s literary masterpiece,The Return of the King, finally came out on Christmas, 2003; the director completed what was thought to be impossible at the time. Not only had he adapted a seemingly unadaptable book to the big screen; the critical and financial appraisal for his work on the saga had gone from strength to strength. The Fellowship of the Ring had already set the bar quite high, but when The Two Towers came out, Jackson did the impossible. He took it another step further, and garnered even more critical and financial acclaim. It was only fitting that the last movie in the Ring saga would be even more spectacular and epic in scale. And Jackson and Co, did not disappoint.
Jackson and his creative team had already achieved great things, not only for the previous entries, but had also made big waves in the world of Practical and Special Effects with the New Zealand based Weta Workshop and Weta Digital Effects Houses. Theirs had been the groundbreaking creation of a software and Motion Capture technique that had helped bring to life the completely CGI rendered character of Gollum; so succesfully, that his range of emotions and physicality was undistinguishable from those of his live action counterparts. The extensive use of massive miniatures, lovingly dubbed “Big-atures” by the crew; used largely to recreate some of Middle-Earth’s most amazing sites like the Elf cities of Rivendel and Lothlórien, the Mines of Moria, Saruman’s stronghold Isengard, with its numerous underground Orc pits, the fortress of Barad-Dúr, and that of Helm’s Deep, were of great help. These are only just a few examples of Weta’s mastery when it came to bringing the physical and fantastical elements of Middle-Earth to life. But their work load for this movie was going to be even greater. Something they knew coming in, but didn’t make it easy on them either. It was a “All hands on deck” type of situation that forced the crew to come up with imaginative solutions to tricky problems, and being able to resolve these quickly. The scope and size of this movie required a greater number of effects shots that put even more pressure on a crew who was already dealing with a dwindling Post-Production schedule. Once again, massive miniatures and digital extensions were used for the recreation of Minas Tirith. Entire chunks of its numerous streets were built for the actors and crew to work in. These sets were filled with such a level of detail that the cast was amazed at how realistic and lived-in they looked. Most members of the cast, like actor Ian Mackellen liked to get lost strolling around them, taking in all the details. These sets, both miniature and life-size,were built in the same place were the sets for Helm’s Deep had been built; in the same quarry outside of Wellington, and using most of the leftover material salvaged from the Helm’s Deep set; most of its walls and courtyards being re-purposed to be used for the Minas Tirith set. Not the whole of the city could be built life-size, though. Sets like Denethor’s courtroom and the inside of Edora’s Grand Hall were recreated inside of warehouses, big enough to accommodate them. On top of that, most of these sets were built in different sizes to be used as long establishing shots, and to recreate elaborate camera moves in and around them. It is amazing to think that what most audience members took to be CGI recreated cities and landscapes, are mostly miniature sets recreated in such a realistic way that they effectively passed up for the real thing, or a very realistic digital recreation. Miniature sets like those of Minas Morgul, and the stairs of Cirith Umgol, Mount Doom and its entrance, and the Black Gates, are just some of the convincing miniatures, and in some cases; matte paintings and digital extensions used for the movie. One of the biggest action set pieces of the movie, and one that required the most use of visual effects was that of the Battle of the Pelennor Firlds, outside of the gates of Minas Tirith. It was a huge set piece that required the use of every trick in the book; from matte paintings to digital extensions, miniatures, live action footage and digital replication of crowds to double the number of extras seen on-screen. The software used for this latter Visual Effect, named “Massive Crowd”, had already been used to a big extent on The Two Towers for the battle of Helm’s Deep sequences. This time, however, it would be implemented to an even larger extent. Aside from that particular scene, the crew also had to deal with the CGI creation of yet another important character of the story; the slimy giant spider She-lob who has her lair at the top of the Cirith Umgol staircase. Her character was one that was eagerly awaited by fans of the book, and one that was supposed to make an appearance of the previous movie. Due to the restructuring of the plot for all three movies, her presence was delayed to be included in Return of the King. It was, along with the Pelennor Fields battle scene, one of the highlights of the movie. Her design was largely based on that of a New Zealand tunnel spider. Large in size; it was decided early on that the spider would have the physical attributes of most of her real-life counterparts, but with added fantastical elements like large pinzers, a large mouth, enlarged stomach, and a sting. It was a completely CGI rendered creature. In the scenes in which Sean Astin had to interact with it, the special effects team had to build a crude replica of the creature which was basically a little section with the pinzers that were operated by a couple of puppeteers. Jackson and his Visual Conceptual Designer Christian Rivers, long-life arachnophobics, came up with a design that would represent their worst nightmares; and it was actually Rivers who brought a live tunnel spider from his own back garden as a model for the designers and animators to take inspiration from. Another element that gave the She-lob sequence an extra level of creepiness was her underground lair; which was reconstructed as a set in Studio as a series of overlaying tunnel pieces, that could be easily moved around to give the impression that the cave in which She-Lob lived went on forever. The interior of the cave was built and recreated to the smallest detail based on the sketches and drawings done by John Howe and Alan Lee. Even the spider webs were hand-made of a sticky glue-like substance that had to be heated up to 200° to give it a consistent frame. These would be later on glued to the sides of interior set. The special effects crew also brought in a lot of rubber pets like birds, skulls and bones to be spread all over the floor. The floor was also made to be uneven, and in some cases even tilted. All in all, this additions gave the set the desired creepy factor the filmmakers were looking for. Another sequence that gave the Visual Effects renderers at Weta Digital its fair share of headaches, was that of the creation of the Army of the Dead Aragorn uses to fight alongside him in the Battle of Pelennor Fields. It was thought at first to be a blend of actors in makeup and CGI. Their approach at first wasn’t that different to what the artists at ILM ended up doing in Pirates of the Caribbean: The Curse of the Black Pearl (2003), Gore Verbinski, with Captain Barbossa’s cursed crew. Having seen what the people at ILM were up to, they had to change their ideas mid-stream, and try something different. Their appearance on the movie is more ghost-like, but not radically different from those un-dead pirates seen on the Gore Verbinski film.
As per usual, the shoot was a very long and difficult one. Having shot all three movies back to back, it was a Herculean effort for all those involved to keep track of which scenes for which movie had been shot first as, it’s mostly the case, movies are usually shot out of order, in order to accommodate actors’ schedules, location availability, and ever changing weather conditions. This would result in the cast and crew having to make changes on the fly, and find a suitable location in which to shoot scenes indoors when the weather turned bad. Such was the case in which, after only a few days into the shooting, a great flood in the area prevented the crew from shooting the scenes they had planned, and the entire crew had to move into a nearby hotel with a large Squash court where, after asking management for permission, had to rapidly put together a rocky set, which resembled the Cirith Umgol stairs, and shoot a few sequences from The Return of the King. So, it wasn’t unusual for footage, 3 to 4 years apart, to be seemlessly edited together with the help of a skillfull editor or editors as was the case for this movie, ( Jaime Selkirk and Annie Collins doing the honours this time around). The amount of footage coming in every day from all the filming units spread all over the island, made it an almost impossible task to get through it all. It was thanks to Jackson and Fran Walsh, who intimately knew the scenes backwards, and Jackson being able to remember which shot went where, after checking daillies in shooting order, that the editors were able to sift through the footage, and pick the best takes. Most of the battle scenes for The Return of the King proved to be a logistical nightmare due to the large number of horses and horse riders that had to be used in the second and third acts of the movie. A call was put out by the filming crew, looking for all available trained horses and riders around the island to act as extras. The idea proved to be a success. Riders with their horses from horse riding clubs all over the island came to the assigned location; a large field called Twizel, that would double as The Pelennor Fields. Riders in their hundreds congregated, and camped out on this field for the scene in which the Rohirrim cavalry charges against the Orc Army assembled outside the gates of Minas Tirith. The principal actors taking part in these scenes were also trained in horse riding, and some of them like Bernard Lee and Viggo Mortensen got quite good at it, while others like Miranda Otto and David Wenham were so hopeless that they had to resort to a contraption designed by Weta Workshop, which consisted of a wooden barrel with a saddle, on which the actors sat, and a rig that moved the barrel back and forth, giving the illusion, when used off-camera, that the actor, or actress was riding an actual horse. A stunt double was used for the more dangerous scenes. This technique had already been used for the first movie; for the sequence in which Arwen is riding away from the Názgul carrying an injured Frodo on her way to Rivendel. For the third movie, though; Jackson asked Weta Workshop to build a rubber horse which could be used for close-ups, and to give a more realistic feel to the whole thing. This rubber horse was jokingly dubbed “The phony Pony” by the crew. The field on which these riders were going to ride had to be checked every morning, though. The field was filled with hundreds of holes dug up by rabbits and covered by grass, which made it very difficult for a rider at full speed to spot in time before the horse fell through it and broke their legs. Another shooting location, which was ideal for another pivotal scene in the movie, also proved to be challenging. While scouting for locations, the crew had found a large stretch of deserted land which was perfect for the last confrontation between the Army of Gondor led by Aragorn and Sauron’s Army outside the Black Gates. The land happened to be owned by the New Zealand Army and had been used over the years as a shooting range, and to test out explosives. The difficulty resided in that a large amount of mines and explosives that hadn’t gone off during exercises were still buried all over the place. The crew was granted permission to use the land, on the condition that the Army was in charge of clearing up the field of any potential explosive devices before actual filming started. The crew was also given a lecture on what to do in case of running into any of this explosives, and given the sense of discipline that the soldiers brought to the crew; they ended up being used as extras in the Gondor Army, and organising the logistical aspects of moving a large group of extras in a orderly, and military fashion. Another striking location was the Mountainous region known as The Pinnacles, criss-crossed by huge ravines which was used for the Passage of the Dead sequence. It was an eerily beautiful region that had been previously used by Jackson in one of his first movies; Braindead (1992).
The crew was also given permission to shoot at the feet of Mount Rupeuhu, an active volcano; for the scenes in which Frodo and Sam are trying to reach the entrance to Mount Doom. Due to the fact that the volcano itself, and the mountains surrounding it, were considered sacred land by the Maori; the crew couldn’t show any images of the actual volcano and the surrounding volcanos, and these had to be digitally replaced by CGI replicas of Mount Doom.
As expected, The Return of the King was a massive hit with both audiences and critics alike. It walked away with a worldwide total of $1,140,444,782, making it the most successful of all three movies, and achieving a record breaking 11 Oscar Awards at the 2004 Oscar ceremony for Best Picture, Best Director, Best Adapted Screenplay, Best Editing, Best Art Direction/Set Decoration, Best Costume Design, Best Makeup, Best Soundtrack, Best Original Song, Best Sound Mixing, and Best Visual Effects, putting it on par with Ben-Hur (1959), William Wyler, and Titanic (1997), James Cameron, each having been awarded the same number of Oscars.
As previously stated on my first two reviews with the Extended Editions of those two movies, the Extended Edition of The Return of the King is the way to go. By adding and extending scenes to enhance the richness of the story, and further help to explore Middle-Earth lore, and give an extra layer to already richly developed characters, the experience of watching the movie can only get better. Most of the added scenes left on the cutting room floor for the Theatrical version of the movie, are extended scenes and moments that help to draw the audience more deeply into the story; but there is one particular scene that stands out among the rest, and was sorely missing from the Theatrical cut; Saruman and Wormtongue’s demise in Isengard. The scene was cleverly edited out of the Theatrical cut of the movie, but fully restored into the Extended Edition. This scene plays an important part in the last book, and although it doesn’t play out the same way it does in the book; it does resolve a very important plot hole that wasn’t satisfactorily explained in the version released in cinemas. Jackson does insist that these are not to be thought of as the definitive versions of the movies but, in this case, I strongly disagree. As someone who likes to delve into the sticky subject of whether alternate versions of a movie, like Director’s cuts, Extended cuts, or Ultimate cuts might be necessary or not; or if they simply are nothing more than a shameless cash-grab, in this case I have to side with Peter Jackson. He has had a tendency, as of late, of overinflating the running time in some of his movies (King Kong, The Hobbit trilogy), but is spot on in this instance. The added material makes the movies richer, and give the story the necessary breathing room they need for such an epic tale. It’s just a pity that the same idea applied to The Hobbit trilogy he’d direct a few years later didn’t yield the same results. But then again, that story didn’t need the epic structure this one does. But that’s a story for another day, and one that I’ll be talking about in detail in the future.
There’s not much to say here that can add to what I’ve already said on the other two reviews. As I’ve said, when it comes to this trilogy, I tend to judge them as one movie. One movie, that because of the length of its story, happens to be divided into three parts. But when push comes to shove, I would have to say that the third installment is definitely the most epic of the three. Epic in size, story and performances. Such epic showpieces like the Battle of the Pelennor Fields, Frodo and Sam’s confrontation with She-lob, or the amazing finale intercutting between the battle between the Armies of Gondor and Sauron at the Black Gates, and Frodo and Sam’s struggles to reach the top of Mount Doom are among some of the most epic, and breathtaking sequences ever seen on the big screen. With this trilogy as a whole, but this movie in particular, Jackson and Co, achieved something so epic and magical that makes it worth it of all the critical accolades, and financial success it received. Every element of the production is on point; from Screenwriting, Set Design, Makeup, Cinematography,Wardrobe, Soundtrack, Acting and Direction. It’s a superb exercise in epic filming. Something that had never been attempted before. Sure, the Salkinds had done it with Richard Lester’s The Three Musketeers two-parter back in 1973, the failed attempt by the Salkinds, once again, to repeat the same feat with Richard Donner, and shoot two Superman movies at the same time in 1978, or when Robert Zemeckis decided to shoot his Back to the Future sequels back to back; but nothing came even close to the scale of what Peter Jackson and his team did with Tolkien’s masterpiece. I would definitely rank these three movies among the best movies of all time. This is what Cinema is all about. Stories and characters larger than life, and amazing world-building to boot. These three fantasy tales demand to be seen back to back, and if possible, in their extended versions. One can never get enough of Tolkien’s wondrous world. One of the best trilogies ever made. Period. Right up there with Back to the Future and Indiana Jones.
Thanks for reading.
After having switched actors to play the part of James Bond for the previous entry in the series, the producers were concerned that the series was falling out of favour with audiences, and wanted to reignite the spark at the box office. They wanted to go back to the formula that had been so successful for movies like Goldfinger and Thunderball. The problem was finding someone to fill in the shoes of Sean Connery.
Having gone with an unknown, and inexperienced actor like they had for the previous movie, hadn’t really worked out for the producers. It didn’t help the grounded, realistic, and somewhat gritty approach that On Her Majesty’s Secret Service had taken. In order to be more faithful to the source material and present a more adult movie, Peter Hunt had kind of walked away from everything that had made the Bond movies so successful; the outlandish plots, larger-than-life, and highly charismatic villains, and the gadgets that got Bond out of any kind of sticky situation over, and over again. The public wasn’t ready for that yet. Martin Campbell would successfully pull it off years later, but the mindset, and the era, were completely different back then. And even though the movie did make money, the producers wanted to go with a safer formula; one that would put them on the number one spot of the box office once again. And for that, they hired the director and writer who had given them the massive success of Goldfinger; Guy Hamilton and Richard Maibaum. Hamilton accepted, because he felt he’d been away from the character and its world long enough that he could bring something new to the table. Richard Maibaum started working right away on a first draft that would be loosely taking elements and characters from Fleming’s book, but coming up with an entirely new villain for the piece. He decided to re-use Goldfinger as a starting point, and so came up with a twin brother for the main villain in that movie who would be Bond’s new archenemy. But there was one missing element that they had to get, in order for it to work out the way it used to; Sean Connery. The heads at United Artists were adamant that they wanted Connery back in the role, whatever the cost. The casting people had been over a few names already, to replace Sean in case he said no. Of all of them, the chosen one was American actor John Gavin. He was a TV and stage actor, who’d had a supporting role in Alfred Hitchcock’s Psycho (1960), alongside Janet Leigh. He had the good looks and the presence, and the producers were even willing to give hime an American persona, which would’ve gone against everything Fleming wrote about the character. He was actually already under contract by the time the producers managed to lure Sean back with an offer he couldn’t refuse. In addition to paying him the record-breaking sum of $1.2 million, which was unheard of at the time, UA also agreed to sign him up for a three movie deal in projects that would interest him. In the end, he would only manage to do one of these three movies. Another condition Connery had was to take a look at the script, the first draft of which, he didn’t like very much. Cubby Broccoli and Harry Saltzman decided to hire another screenwriter to re-write Maibaum’s script. They wanted an American writer, but someone who was adept at writing in the English idiom as to not sound too jarring when compared to previous movies. Tom Mankiewicz, the son of legendary Hollywood director Joseph L. Mankiewicz, of Cleopatra (1963), and All About Eve (1950) fame. The result was the seal of approval by Connery after having read Mankiewicz’s first 40-page draft. Mankiewicz was a very young screenwriter who injected a lot of wit and dynamism into the script. After having secured a director, screenwriter, and an experienced leading man who could carry the movie through; it was time to seek out the rest of the crew and cast that would accompany Bond in his next cinematic adventure.
Most of the all guard came back. Trusted people like Production Designer Ken Adam, Director of Photography Ted Moore, and Composer John Barry, were all on board from the very beginning. These were all people whom Hamilton had worked with in Goldfinger, and whom he trusted implicitly. For the newly rewritten script, Cubby Broccoli had come up with an idea that pretty much outlined the entire plot of Mankiewicz’s script. Broccoli had had a dream in which he was being called out by a familiar voice; that of his long-time friend Howard Hughes, and when Broccoli turned around to face him, there was a complete stranger there. The eccentric Texan millionaire was already a recluse at that time, and Broccoli wanted the story to play around with the idea that a Howard Hughes-type, completely made up for the movie, but clearly based around Hughes real-life persona, had been kidnapped, and secreted away atop his own private building; pretty much like Hughes was at the time, for his personal fortune, and unlimited resources to be used for nefarious purposes by a third party posing as him. The person who replaced him was none other than Ernst Stavros Bloefeld. This would make the fourth appearance of the character in the series, played by as many actors. After having being played by Anthony Dawson and voiced by Eric Pohlman in Thunderball, and by Donald Pleasance and Telly Savallas in You Only Live Twice, and On Her Majesty’s Secret Service respectively; another familiar face would come into the part; that of known British stage actor Charles Gray. Gray had already played the part of British Secret Service Japanese liason Henderson in You Only Live Twice. His take on the character couldn’t have been more different than that from the previous actors. His Bloefeld, as Mankiewicz so aptly describes him, was a much fussy one, but equally cruel. Mankiewicz had also some very interesting ideas when it came to casting the villain’s henchmen. He thought it would be an amusing idea to have a gay couple of assassins doing Bloefeld’s biding; Mr Wint and Mr Kidd. For the roles, the director went outside the usual channels. Putter Smith was a bass player who’d played alongside Thelonious Monk. It was indeed while he was performing in one of Monk’s shows that he was spotted by Guy Hamilton. Putter had no previous acting experience, and would never act again after. His perfomance as the quirky, but deadly Mr Kidd is quite good, and amusing; considering the lack of experience. For the role of Mr Wint, Hamilton chose American actor Bruce Glover, father to Crispin Glover, of Back to the Future fame. Both actors complement each other brilliantly on-screen, and have some of the most amusing scenes and lines of dialogue in the movie. As the bulk of the movie would be shot in location in Las Vegas, the producers ended up recruiting a lot of actors and artists who either lived, or worked there. That’s why people like stand-up comedian Leonard Barr, and country-western singer Jimmy Dean were cast in prominent roles. The first one as Shady Tree, a full-time stand-up comedian, part-time crook for hire, and Jimmy Dean as “reclusive” millionaire Willard White. American actor Norman Burton was also the fourth actor to be cast in the role of CIA agent Felix Leiter. On the recommendation of screenwriter Mankiewicz, both Jill St. John and Lana Wood were chosen to play the role of this entry’s Bond girls. The first one as Jewel smuggler, Tiffany Case, and Lana Wood as Casino working girl Plenty O’Toole, continuing with a long tradition of funny names given to Bond girls. This time around, though, this fact wouldn’t be exclusive to female characters. Making full use of his penchant for black humour; Mankiewicz gave the name of Morton Slumber to the owner of the funeral parlour where Bond escapes one of the most impossibly tricky snake-pit situations in which the character had found himself in thus far; being locked inside a coffin, and almost burned alive in the parlour’s cremating oven!!. This little character role would be played by American actor David Bauer, in a rather amusing exchange with Bond. The rest of the cast were all pretty much returning members like Bernard Lee as Bond, Lois Maxwell as Miss Moneypenny, and Desmond Llewellyn as Q.
Being set as it was, mainly in the city of Las Vegas, the crew moved early on to the Nevada State, and the city of Los Angeles to shoot everything in, and around the eternal gambling city. The entire crew moved into the Riviera Hotel, and filmed most of the scenes in Las Vegas thanks to the collaboration of long-time friend of Cubby Broccoli; Howard Hughes. It was thanks to him that the crew was able to close down downtown Vegas for the car chase between Bond’s Red Mustang and Las Vegas Police. The scene was a combination of in location and back lot shooting. Universal Studios was the place chosen by the producers to do most of the on- set filming while on the US. It was a three-night shoot in downtown Las Vegas, where the amount of ligts illuminating the Strip was a blessing,on the one hand, as the DP didn’t have to set up any artificial lighting; and on the other hand, the constant mass of crowds was something of a hindrance. This car chase finished with Bond squeezing the Red Mustang through a narrow alley by leaning it on the right side. Unfortunately, due to a mistake of the stuntman doing the flip, the car came out the other side leaning on the left side. By the time the editors realized this, they were already back in England, and couldn’t go back to the States to repeat the stunt. They came up with the solution of doing a flipover,midway through the alley in the Studio in Pinewood, with Jill St. John and Connery riding a mocap of the Mustang mounted on a gimble. The footage was hastily integrated into the footage shot in location, and the end result, though not physically possible; was an agreeable compromise. The Hilton Hotel doubled for Willard Whites’ The White House, whose top part was replaced with a matte painting by the amazing matte artist Albert Whitlock, who’d made a name for himself working for Alfred Hitchcock in movies like The Birds (1963). Other locations were an industrial plant, out in the Nevada desert, which doubled for Willard White’s Space Lab, around which the Moon buggy chase was staged. This would prove to be one of the most difficult action set pieces as the flimsy structure of the moon exploration vehicle coupled with the rough and rocky terrain of the Nevada desert, would force the filmmakers to constantly re-stage and reset these scenes, until they came up with the idea of fitting the lunar vehicle with a sturdier and wider set of tires to keep the vehicle from constantly tipping over. The three-wheeled buggies with which the stuntmen were chasing it, didn’t fare any better. A lack of control, and speeding would cause more than one close call. Other important set pieces in the movie were Bond climbing onto an elevator to access White’s Penthouse, and using a python gun to climb the rest of the way hanging onto a ledge hundreds of metres over the blinking lights of the city. This last part of the climb was recreated on a set in Pinewood, put together by Production Designer Ken Adam, and with a matte painting of the city in the background to give it realism. Another striking looking set was the privately owned hilltop mansion, that was basically built around the mountain, and which served as Willard White’s reclusive site, guarded by Bambi and Thumper. The idea of having two gymnasts be White’s custodians was entirely Guy Hamilton’s. He didn’t want to have another Odd Job-type character play the heavy once again, and thought it would be interesting to turn the idea of having a strong male play the heavy on its head, and change it for two graceful, agile but, at the same time, lethal henchwomen; who give Bond a run for his money. For the scene of the diamonds exchange, the crew had to go on location to a real Casino/Circus that had been running for a few years already. The owner of the place, which was called Circus Circus; allowed the crew to use the location on the condition that he could do a cameo in the movie. One final filming location off the coast of San Diego was an unused oil rig that doubled as Bloefeld’s base of operations. It was a very dangerous location to film around, especially during the finale, in which a serious amount of explosive charges had to be set up to go off on cue with the helicopter attacks. The cast and crew had to travel to and from the oil rig either by boat or helicopter each day, which proved to be something of a nerve-wracking affair for the likes of Tom Mankiewicz. The interiors of the oil rig were recreated on set in Pinewood Studios, as were most of the interiors like Tiffany Case’s apartment in Holland, Bond and Tiffany’s Las Vegas hotel suite, the interior of Bloefeld’s mini submarine; a replica of which was built by the prop department, and used for exterior shots, the complete interior of the small and narrow, glass elevator in which Bond fights Jewel smuggler Peter Franz, was also recreated in Pinewood, and the crown jewel of them all; Willard White’s Penthouse suite. The set was a sprawling, futuristic and elegant design which is among the best ever designed by Adam.
As expected, the movie was a success. Overtime, though, people have regarded it as one of the silliest, which is understandable to a certain extent; but so are most of the Bond movies, and one of the worst; which is confounding. And I’ll explain why in a second.
I hadn’t seen this movie for a long time before I did it for the purposes of this review, and I must say; I had a ton of fun. It’s outlandish, witty, with very funny and very well executed action set pieces, (the the moon buggy chase, the car chase through downtown Las Vegas), memorable characters and scenes ( the scenes in the tacky Las Vegas-style funeral parlour had me in stitches, they were so funny), very well written, and quotable dialogue and one-liners, and Connery seems to be having the time of his life. Maybe because he knew that, for once, he had one over the producers and was getting the money and conditions he wanted to play the role. Plus, this was the last time he would be officially playing the role under the EON/UA banner. He was well into the role by the time he did From Russia with Love, but he seems at his wittiest and most comfortable here. If there is one thing that really stands out above all of the above mentioned, is the script and the dialogue. Mankiewicz was given the freedom to take the basic idea of the novel, and let his imagination fly. Things like having a couple of homosexual henchmen was something that would be frowned upon in this day and age, and for the life of me; I don’t have the slightest idea how they got away with it back then. It was an outrageous concept for the time. And to come up with the idea of calling the owner of a funeral parlour Morton Slumber. Who doesn’t find that funny? It’s not all laughs and giggles, though. Connery toughens up when he needs to. The pre-credit sequence in which he beats the hell out of a bunch of people to get to Bloefeld, how he disposes of him later on, the elevator fight between him, and the Jewel smuggler in a cramped space of broken glass and metal. How well choreographed, executed and shot it is. The use of John Barry’s soundtrack during that scene; which amps up the tension and action in the scene. Somethings that reminds you of a scene out of a Alfred Hitchcock movie. The quips between Bond and Tiffany during their first meeting; the sexual innuendo implicit in Bond’s words. Again, not something you would find in today’s cinematic and social landscape.
All of the cast do a marvellous job. Even Charles Gray does a surprisingly good turn as Bloefeld. He comes off as breezy, not so stiff; but definitely menacing. Jill St. John does what is probably the best performance out of a Bond girl since Honor Blackman in Goldfinger. It does help that she’s given wonderful dialogue to work with. Actually, the movie is peppered with little great performances, and moments from all of the actors. Bruce Glover and Putter Smith do a superb job as Mr Wint and Mr Kidd. They have such good chemistry on-screen, and theirs are the funniest moments in the movie. Everything they say, or do, has a double meaning. The movie is not without its goofy moments, of course. The moon buggy chase and the Mustang spinning through an arrow alley on its side come to mind, but I find those moments of levity and humour necessary to lighten up the movie’s mood. It’s the total opposite of what Peter Hunt did on the previous movie, but then again, Guy Hamilton was someone who was always in for the tongue in cheek stuff. As for why people seem to have a problem with this one, and they usually rank it amongst the worst in the series, is something beyond me. The movie offers exactly what the movie-going audience expects from a Bond movie. All of the above. Plus, Shirley Bassey is back singing one of the most emblematic and recognizable credit’s songs in the series with John Barry in tow offering a dynamic and melodic soundtrack in his best tradition. For those who’ve never seen it, or haven’t for a long time; don’t mind the bad reviews. You’ll have a lot of fun. Sean’s back.
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