Iron Man Three: Tony Stark’s 007 moment

Cover to Iron Man No. 125

In Iron Man Three, Robert Downey Jr.’s Tony Stark can’t use his Iron Man armor for an extended sequence. As he searches for the Mandarin, Downey/Stark seems downright 007-like infiltrating an estate in search of the villain and using gadgets and a firearm.

The movie’s sequence is partially based on a 1979 comic book story by writer David Michelinie and artists John Romita Jr. and Bob Layton, which was co-plotted by Michelinie and Layton.

Michelinie and Layton are included in a “special thanks” credit along with other writers and artists of comic book stories used in the movie. This is separate from a “based on the comic book by” credit for Stan Lee, Don Heck, Larry Lieber and Jack Kirby for creating the character.

The context of the Michelinie-Layton plotted story is different than the 2013 film, but the writer and artist also separated Stark from his armor. One major difference in the original comic book story is that Stark knows he needs additional physical training before he attempts 007-like deeds. He receives such training from none other than Captain America.

As in the new movie, Stark eventually regains access to the armor. But for a time he has to use his own wits and abilities. The cover to issue 125, drawn by Layton, evokes James Bond films.

To read more about the original comic book story, you can CLICK HERE FOR A SYNOPSIS OF IRON MAN 124 (which sets up the situation where Stark is separated from his armor) HERE FOR A SYNOPSIS OF IRON MAN 125, HERE FOR ISSUE 126 and HERE FOR ISSUE 127, which concluded the story arc.

Some unanswered questions about an U.N.C.L.E. movie

Tom Cruise

Talk about a movie version of The Man From U.N.C.L.E. isn’t going away. If anything, there are signs this project is, at the very least, inching ahead. So, naturally, there are questions begging to be asked, even if the answers aren’t forthcoming.

Is this thing actually going to happen? One sign the answer is yes was the news that a female lead may be cast. According to THE HOLLYWOOD REPORTER, an actress has emerged as the female lead. An excerpt:

Rising Swedish actress Alicia Vikander is in negotiations for the female lead opposite Tom Cruise and Armie Hammer in Warner Bros.’ Man From U.N.C.L.E. movie.

(snip)

Vikander will play a British agent who has a thing for cars. The character did not appear in the TV series nor the short-lived spinoff, The Girl From U.N.C.L.E., and is a new creation.

Why is that significant? Because during the long soap opera about a possible U.N.C.L.E. movie two years ago, when Steven Soderbergh was hired to direct, there was a lot of trouble casting the leads. For the past couple of months, reports from a variety of outlets have been consistently saying Cruise and Hammer would be the leads. During the Soderbergh project, you never heard about other parts.

Will this project use the Scott Z. Burns script that Soderbergh’s project was based on? Or is it another story entirely? That is one of the biggest of the unanswered questions. Burns’s script was a 1960s period piece that had some common elements to the 1965 007 film Thunderball.

Any red flags? A few. Warner Bros. hasn’t made an official announcement, though often lots of things leak out before a movie is announced. Meanwhile, Cruise is 50 (and turns 51 on July 3) and Vikander is 24 (turning 25 in October). May-December pairings can work. Humphrey Bogart and Lauren Bacall were a quarter-century apart while Gary Cooper and Audrey Hepburn were 28 years apart, to cite two examples. But will it work in U.N.C.L.E. or just lead to some sarcastic humor among fans?

A natural speculation among fans is that Cruise’s Napoleon Solo (presuming he does play Solo and not a new character) will intentionally be older than the Solo of the show. Robert Vaughn, the original Solo, turned 31 while filming the U.N.C.L.E. pilot. He was 50, the same age Cruise is now, when he played Solo in the 1983 television movie, The Return of The Man From U.N.C.L.E.

If it gets made, when would this movie come out? Cruise seems to have a lot on his plate, including A FIFTH MISSION: IMPOSSIBLE MOVIE. Even a workaholic like Cruise can squeeze so many projects in a year’s time. It would seem to be 2014 at the earliest, perhaps even 2015 or 2016.

EARLIER POST: The Man From U.N.C.L.E.: the long and the short and the tall

May 1963: Ian Fleming cries U.N.C.L.E.

Ian Fleming

May 1963 was an eventful month for James Bond author Ian Fleming.

It was THE MONTH that Dr. No finally reached the U.S. market after a slow rollout that began the previous October in the U.K. At last Americans, who’d heard about how President John F. Kennedy was a fan of Fleming’s books, could sample the first film adaptation. Meanwhile, a second Bond film, From Russia With Love, was in production.

It was also the month that things were coming to a head with the television project that producer Norman Felton had wanted to title Ian Fleming’s Solo.

In the middle of the month, things were picking up steam. Here’s an excerpt from CRAIG HENDERSON’S FOR YOUR EYES ONLY WEB SITE:

Tuesday, May 14, 1963
New York entertainment lawyer Ronald S. Konecky, in a letter to Fleming, delivers his legal opinion that Solo is not an infringement on Eon’s James Bond film rights.

Tuesday, May 14, 1963

Sam Rolfe delivers five-page memo to Norman Felton outlining in print for the first time the Solo format developed to date — with an organization known as U.N.C.L.E., headed by a Mr. Allison, employing Solo and agents of all nationalities, “even Russians,” and recurrent encounters with an international criminal group called Thrush. Rolfe eliminates Doris Franklyn, who’s both a secretary to Solo’s boss and a part-time actress in the Fleming-Felton notes, adding Allison’s secretary Miss Marsidan, “who is fat, fifty and somewhat on the motherly side.”

According to the timeline compiled by Henderson, writer Rolfe agreed a few days later “to rewrite the existing Solo format, develop story ideas and make further contributions to the format.”

Meanwhile, Fleming was getting cold feet under pressure from 007 film producers Albert R. Broccoli and Harry Saltzman and their company, Eon Productions. In the early 1990s. Rolfe said at an event called Spy Con that Felton told him that Fleming was scared of Saltzman in particular. (Rolfe’s talk is on a YOUTUBE VIDEO but the sound is very feint; the Saltzman anecdote is around the 17:57 mark.)

The truth of this story is hard to determine. All concerned (Fleming, Felton, Rolfe, Broccoli and Saltzman) are dead and Rolfe was told about it second hand. In any event, on May 28, Fleming’s 55th birthday, the author wrote to the Ashley-Steiner Agency, where Phyllis Jackson, his U.S. agent worked, according to the Henderson timeline. The message: Fleming didn’t want to participate in Solo after all.

It was the beginning of the end for Ian Fleming’s Solo. Less than a month later, the author would sign away his rights to the show. Meanwhile, the James Bond films were gaining momentum and steps were being taken that would result in The Man From U.N.C.L.E. emerging in the place of Ian Fleming’s Solo.

Two spy events of note

–In Southern California, there’s an April 30 showing of Live And Let Die at the Alex Theater in Glendale.

You can read the full details by CLICKING HERE. here’s a preview from the Web site:

Glendale Arts and Prospect House Entertainment present the final film in a James Bond 007 – 50th Anniversary Series: LIVE AND LET DIE.

Roger Moore debuts as suave secret agent James Bond, who’s sent to the United States to go after a master criminal scheming to take over the country by turning the populace into heroin junkies. Paul McCartney provides the Oscar-nominated title tune.

The film features: Roger Moore (James Bond), Yaphet Kotto (Kananga/Mr. Big), Jane Seymour (Solitaire), and Gloria Hendry (Rosie).

Event includes a Q&A with appearances by Gloria Hendry (Rosie).

Special appearance by Danny Biederman author of ‘The Incredible World of Spy-Fi’ Sponsored by Larry Edmunds Bookstore.

Tickets are $15 and there may be additional fees.

UPDATE (April 29): Biederman said on his Facebook page that there have been program changes and his discussion won’t be taking place.

–Michele Brittany, a scholar of popular culture, with an emphasis on the spy and espionage genre, is accepting proposals for an anthology. Some details from an e-mail:

My goal has been to expand the scholarly dialogue regarding the expansive influence the Bond franchise has had on culture in all media forms….I have signed a contract to edit a collection of essays analyzing media inspired by James Bond.

Michelle Brittany has a blog and you’re interested in submitted an essay for her project, you can CLICK HERE. That post includes contact information.

The Man From U.N.C.L.E.: the long and the short and the tall

“Who’s going to play me?”
“Looks like you’re getting the short end, Napoleon.”

There’s the possibility that 5-foot-7 Tom Cruise may be paired with 6-foot-5 Armie Hammer in a movie version of The Man From U.N.C.L.E., according to a story this week on the DEADLINE ENTERTAINMENT NEWS WEB SITE.

You’d think it’d be hard to film the pair together. But it’s actually only the latest twist in a spy property that’s had its ups and downs when it came to the subject of height.

It began with executive producer Norman Felton, who began work on U.N.C.L.E. in 1962. The 1950s and the early 1960s were a period when Westerns, with stars such as 6-foot-7 James Arness and 6-foot-6 Clint Walker, dominated U.S. television. Even in other genres, other stars might be tall. Felton himself had cast 6-foot-1 Richard Chamberlain as the title character in the television version of Dr. Kildare.

Felton, in a 1997 interview (portions of which can be seen on U.N.C.L.E. DVD extras), said he wanted a different type of lead character for U.N.C.L.E. and not “big, ballsy men.” He was looking for heroes who were more average looking.

Eventually, the producer cast 5-foot-10 Robert Vaughn as Napoleon Solo (who had worked on the Felton-produced The Lieutenant) and 5-foot-8 David McCallum as Illya Kuryakin. They were hardly runts, but definitely not built like Arness’s Matt Dillon.

Supposedly, according to dossiers held by the evil Thrush organization (in The Thrush Roulette Affair in the show’s FOURTH SEASON), Solo the character was 6-foot while Kuryakin was 5-foot-10 1/2.

Thrush clearly had some faulty information. In the FIRST SEASON episode The Never-Never Affair, 5-foot-8 1/2 guest star Barbara Feldon wears flat shoes to appear shorter than the leads. Even wearing the flat shoes, there is an Act II scene where her Mandy Stevenson character is clearly taller than McCallum’s Kuryakin.

That doesn’t mean McCallum was insecure was his height. The late writer-actor Stanley Ralph Ross, in a 1997 INTERVIEW with THE MAN FROM U.N.C.L.E. EPISODE GUIDE said McCallum used his height to his advantage in a scene where Ross played a thug.

Question: What was it like for you a pretty tall fellow, working with a somewhat shorter David McCallum?

Ross: David asked me to stand on a box. I am already 6-6 and said that he would look like a midget but he replied the taller I was, the stronger and more macho he would seem for having beaten me up.

The Man From U.N.C.L.E. began almost 50 years ago but even in the 21st Century, height or the lack of it can still create a stir. In 2005, Amy Pascal, a Sony Pictures executive, told THE NEW YORK TIMES that the newly cast 007 Daniel Craig “is tall. He’s the same size as Sean Connery.” Craig is 5-foot-10 while Connery is 6-foot-2 and change. Eight years later, the subject doesn’t come up that much, at least with Craig.

In any case, U.N.C.L.E. fans have been buzzing about the possibility about a new movie, and are getting worked up whether Cruise and Hammer have the right look, etc. For now, we’ll bide our time and have a cocktail — maybe a short one — while we wait for things to develop.

Armie Hammer may join U.N.C.L.E. film, Deadline says

Armie Hammer

Armie Hammer may join the cast of a movie version of The Man From U.N.C.L.E. and play Illya Kuryakin, according to A STORY on the Deadline Hollywood Web site.

An excerpt from the story:

EXCLUSIVE: Armie Hammer, who plays the title character opposite Johnny Depp in the Gore Verbinski-directed The Lone Ranger for Disney, is set to star with Tom Cruise in The Man From U.N.C.L.E., the remake of the classic TV series that Guy Ritchie will direct for Warner Bros.

(snip)

Hammer would play a version of the role originated by (David) McCallum, an NCIS regular who strangely doesn’t seemed to have aged since the ’60s.

This story raises a few questions. Deadline’s PREVIOUS STORY on the subject said Tom Cruise was in talks but made it sound like nothing had been settled. The new story almost makes it sound like it’s a done deal. Is it? Or are there some more twists in store?

Also, Deadline has never said if Cruise, should he join the project, play Napoleon Solo, the character played by Robert Vaughn in the original television series. The character was co-created by Norman Felton and Ian Fleming with the rest of the series, including the U.N.C.L.E. organization and the Kuryakin character, devised by Sam Rolfe.

What if Fleming hadn’t exited U.N.C.L.E.?

The cast of Checkmate

We’re coming up on the 50th anniversary of Ian Fleming crying U.N.C.L.E. and opting to end his participation in the television series that would become The Man From U.N.C.L.E. But would have happened if he had stuck around?

It might have been similar to Checkmate, a 1960-62 crime drama on CBS.

Checkmate featured two dashing private detectives (Anthony George and Doug McClure), aided by an academic (Sebastian Cabot). Two things stood out about the show: it was produced by a production company owned by Jack Benny and it was billed as having been created by novelist Eric Ambler (1909-1998), a contemporary of Ian Fleming. In fact, in the novel From Russia, With Love, Fleming’s James Bond has an Ambler novel with him on his journey to Istanbul. Amber in 1958 also married Joan Harrison, an associate of Alfred Hitchcock, who oversaw production of the director’s television series Alfred Hitchcock Presents.

According to IMDB.com, Ambler never wrote an episode of Checkmate. According to the IMDB.com information, he sometimes got a creator credit and sometimes didn’t during the two seasons of the show. (From a few episodes we’ve seen, the “Created by Eric Ambler” credit appears in the main titles during the first season and shows up in the end titles in the second.)

Ambler’s participation (or lack of it) in Checkmate mirrors what was shaping up with the television project originally named Solo: it was originally to have billed Ian Fleming’s Solo, but the heavy lifting of devising a pilot episode story was done by writer Sam Rolfe. Once Fleming signed away his U.N.C.L.E. rights for 1 British pound, Rolfe still only got a “developed by” credit instead of a “created by” credit for the 1964-68 series.

Based on a sampling of episodes, Checkmate is entertaining. One episode (The Human Touch) featured Peter Lorre as the villain. Also, the series, including its theme music, was an early credit for composer John Williams (who called himself Johnny Williams at the time). Still, Ambler didn’t do the heavy lifting in terms of coming up with stories. That was left to others.

As a result, we suspect had The Man From U.N.C.L.E. come out as Ian Fleming’s Solo, the author would have been a kind of front man (even if he had lived past August 1964) while executive producer Norman Felton, Rolfe (who produced the show’s first season) and others done most of the work of devising story lines.

Anyway, (as long as YouTube doesn’t yank it) you can check out The Human Touch episode of Checkmate for yourself:

Hawaii Five-0′s fixation with Die Another Day

Goldfinger said, “Mr. Bond, they have a saying in Chicago: `Once is happenstance. Twice is coincidence. The third time it’s enemy action.”‘

We’re way beyond coincidence now. Clearly, the makers of CBS’s Hawaii Five-0, a remake of the 1968-80 television series, have a thing for Die Another Day, the 20th James Bond movie, released in 2002.

The April 15 installment featured an episode where the setting, for the second time in consecutive seasons, was set in North Korea. One of the villains was played by Rick Yune, who played Zao, the “physical villain” of Die Another Day.

Well, that could be happenstance, you say. Except, the show previously has had Will Yun Lee, who played North Korean Colonel Moon (who transforms himself into Gustav Graves, played by Toby Stephens), from the same movie. Lee has had a recurring role since the start of the show.

More tellingly, a November 2011 episode borrowed even more from Die Another Day. In that episode, scenes set in North Korea are photographed so they’re all dark while scenes set in other locales have bright colors. Also, there’s a scene where McGarrett 2.0 (Alex O’Loughlin) is tortured much the same way that Bond (Pierce Brosnan) is tortured in the 2002 Bond movie.

We’re definitely passed coincidence. Die Another Day these days tends to get mixed reviews among 007 fans. But it seems clear that it has fans among the Five-0 crew.

EARLIER POSTS:
McGarrett 2.0 clearly has never watched Die Another Day (Nov. 21, 2011)

Compare Die Another Day vs. Hawaii Five-0 (Nov. 24, 2011)

Open Channel D: William Boyd’s Fleming research gap

William Boyd

For more than a year now, fans of the literary James Bond have been told how William Boyd is the right man to do a new James Bond continuation novel.

For example, an APRIL 12, 2012 story in the U.K. newspaper the Telegraph had this passage:

Corinne Turner, managing director of Ian Fleming Publications Ltd, said: “William Boyd is a contemporary English writer whose classic novels combine literary elements with a broad appeal.

“His thrillers occupy the niche that Ian Fleming would fill were he writing today and with similar style and flair. This, alongside his fascination with Fleming himself, makes him the perfect choice to take Bond back to his 1960s world.” (emphasis added).

Apparently the author’s fascination with Ian Fleming himself didn’t extend to titles. Boyd said April 15 that his 007 novel will be called Solo. In a written statement, Boyd said that Solo is “also a great punchy word, instantly and internationally comprehensible, graphically alluring and, as an extra bonus, it’s strangely Bondian in the sense that we might be subliminally aware of the “00” of “007” lurking just behind those juxtaposed O’s of SOLO…”

Of course, many people who are fascinated with Ian Fleming know he used the very same title — but for a television series, not a novel. While Fleming left the heavy lifting to others (principally writer Sam Rolfe), there were title pages for scripts and presentation materials that said “Ian Fleming’s SOLO,” featuring a character named Napoleon Solo, co-created by Fleming and producer Norman Felton.

The series, of course, became The Man From U.N.C.L.E., which ran from September 1964 to January 1968. The reason it wasn’t called Solo was 1) Fleming, under pressure from 007 film producers Albert R. Broccoli and Harry Saltzman, pulled out of the TV project, selling his interest in the series for 1 British pound; 2) Broccoli and Saltzman unsuccessfully attempted to shut down production of the TV show, claiming their rights to Goldfinger (including a minor villain named Mr. Solo) had been violated but settling for the title being changed.

The Solo that William Boyd forgot

This is not an especially hard piece of information to find. Andrew Lycett, one of Fleming’s biographers, reminded his Twitter followers of the connection in a POSTING ON THE SOCIAL NETWORK SERVICE.

Andrew Lycett‏@alycett1
#IanFleming discussed Bond style tv series in US with producer Norman Felton, then backed out. Sold name Napoleon SOLO to Felton for £1.

Apparently, Corinne Turner also forgot about Solo and Ian Fleming (or, for that matter, the Mr. Solo character in Goldfinger). Here’s a Turner quote from the official PRESS RELEASE (VIA THE BOOK BOND WEB SITE): “Ian Fleming had a great aptitude for naming his books and his Bond titles have become true classics. Solo is a simple yet striking title which fits perfectly alongside the other books in the Bond canon.”

Now you might say, “Hey, The Man From U.N.C.L.E. hasn’t been broadcast for 45 years now.” True. “Hey, that’s just a footnote in Ian Fleming’s career.” Not really. Fleming was involved with the TV show from October 1962 to June 1963. It wasn’t just a passing fancy. He was seriously interested for a time. More importantly, it’s not just the name of an old television series. It was the name of an old television series that Ian Fleming was a participant. Some people might even find that fascinating.

William Boyd’s new 007 novel to be titled, ironically, Solo

No! Not that Solo

William Boyd, the newest James Bond continuation author, said today at the London Book Fair that his 007 novel will be called Solo.

Boyd’s presentation began about 6:30 a.m. New York time and VARIOUS PEOPLE TWEETING FROM THE FAIR have put it out. Here’s the text of a Tweet from VINTAGE BOOKS:

Bond will travel to America and Africa in the new @jonathancape book, Solo #Bond #LBF13

Also this:

Follow

Vintage Books
‏@vintagebooks
#Bond will be ‘a mature age’ in Solo, just do y’all know #LBF13

No surprise on the latter point. Boyd in interviews has said Bond will be about 45 in the novel and that it will be set in 1969.

Boyd probably didn’t intend this but the title is ironic because Ian Fleming helped create the character Napoleon Solo in the 1964-68 television series, The Man From U.N.C.L.E.. The author sold out his interest in the series for 1 British pound because he was under pressure from Bond film producers Albert R. Broccoli and Harry Saltzman to exit the project.

The show was to have been called Solo. Eon Productions sued trying to stop the series from going into production. The movie production company wasn’t successful, but Metro-Goldwyn-Mayer agreed to change the title.

UPDATE: Ian Fleming Publications has a STATEMENT ON ITS WEB SITE about William Boyd’s Solo. It has a quote from Boyd:

‘Titles are very important to me and as soon as I wrote down Solo on a sheet of paper I saw its potential. Not only did it fit the theme of the novel perfectly, it’s also a great punchy word, instantly and internationally comprehensible, graphically alluring and, as an extra bonus, it’s strangely Bondian in the sense that we might be subliminally aware of the “00” of “007” lurking just behind those juxtaposed O’s of SOLO…’

Closing Channel D.

EARLIER POST: March 1963: Ian Fleming caught between two worlds.