Hawaii Five-O: In the beginning

Hawaii Five-O logo in the main title

The recent news that Daniel Dae Kim and Grace Park are departing the Hawaii Five-0 remake that has aired since 2010 has created a stir.

Example: IndieWire posted a July 6 article about why the departures are “a huge problem” for the series that’s entering its eighth season.

As it turns out, the makeup of the Five-O (official spelling of the original show) is an issue goes back to the very beginning of the original series.

In 1996, the Spy Commander attended a Five-O convention in Los Angeles. One part of the event included an auction. One of the items up for auction was a photocopy of the first-draft script for the pilot episode written by creator Leonard Freeman.

The Spy Commander lost out in the auction, but had a chance to examine said script.

In that first version, the Five-O team only had one white member, Steve McGarrett (initially American actor Robert Brown, but replaced by Jack Lord days before filming). Five-O’s second-in-command was Kono Kalakaua, described as a Hawaiian in his mid-20s.

Another Five-O member was named Lee, who was described as a heavy-set Hawaiian. Rounding out the cast was Chin Ho, who worked for the Honolulu Police Department but was also a liaison with Five-O.

Between that script and filming of the pilot, Five-O got another white member, Danny “Danno” Williams (Tim O’Kelly in the pilot, James MacArthur in the series); the Lee character got the Kono name; and Chin Ho was made a full-fledged member of Five-O.

As an aside, arch villain Wo Fat was named after a restaurant in Honolulu. The character of Chin Ho Kelly was named after Chinn Ho, a successful Hawaiian businessman.

Advertisements

RIP, Joan Lee

Joan Lee, the wife of long-time Marvel Comics editor Stan Lee, has died at 93, according to an obituary published by THE HOLLYWOOD REPORTER.

Joan Lee, 93, in some versions of the story, encouraged Stan to try different comics ideas in the early 1960s, when Marvel began creating its line of super heroes.

By other accounts, Joan Lee was an influence in different ways.

Writer Gerry Conway, in Sean Howe’s book Marvel Comics: The Untold Story, described why it made sense to kill of Peter Parker’s girlfriend Gwen Stacy in a 1973 story.

“Only a damaged person would end up like a damaged guy like Peter Parker,” Conway told Howe. “And Gwen Stacy was perfect! It was basically Stan fulfilling Stan’s own fantasy. Stan married a woman who was pretty much a babe — Joan Lee was a very attractive blond who was obviously Stan’s ideal female. And I think Gwen was simply Stan was replicating his wife.”

A more detailed examination of all that is best left to another time. For now, here’s a sequence from a 1971 Daredevil comic by Conway, Gene Colan and Tom Palmer. Not only did Stan Lee make a cameo, but so did Joan Lee.

 

Cameo by Stan Lee and Joan Lee in Daredevil 79 (1971).

Nobody does it better: 40 years of The Spy Who Loved Me

The Spy Who Loved Me poster

By Nicolas Suszczyk, Guest Writer

Four decades after its theatrical release (on that apt 7/7/1977 date) , The Spy Who Loved Me remains one of the most beloved James Bond films — not only for the Roger Moore era but the entire Eon Productions series.

Moore himself declared a couple of times this was his favorite Bond film. His preference for this film was understandable.

The film’s production had a rough start. In 1975, shortly after the release of The Man With The Golden Gun, Harry Saltzman sold his share of the Bond rights to United Artists after facing serious debts and personal problems, leaving Albert R. Broccoli as sole producer.

Eon Productions was not allowed by contract to use anything from Ian Fleming’s 1962 novel except for the title. It is known that the James Bond creator wasn’t happy with his most peculiar book, written in first person from the viewpoint of Vivienne Michel, a young girl attacked by goons in a motel in the United States and rescued by James Bond.

Various writers were hired to devise a story. Christopher Wood and Richard Maibaum would receive the screenplay credit. Guy Hamilton departed the project, originally set for a 1976 release. Finally, Lewis Gilbert, who directed You Only Live Twice a decade before, was hired.

Attempts to bring back Ernst Stavro Blofeld and SPECTRE were cancelled after Thunderball producer Kevin McClory threatened with legal action. Nevertheless, scribes Wood and Maibaum penned a suitable Bond extravaganza that pleased audiences.

In the process from the script to screen, a huge set was built at Pinewood Studios to double for the tanker owned by the villain. Claude Renoir’s camera captured the exotic beauty of turistic spots like Sardinia and Cairo. In Egypt, the crew was constantly monitored by the government. The catering service was a disappointment, leaving Cubby Broccoli to step up and personally cook spaghetti for the whole crew.

The Spy Who Loved Me stands out as an improvement for the Moore 007 movies. After two entertaining but rather “cheap” Bond films, this third Moore/Bond adventure looks expensive.

The action scenes are tidy and organized proving to be a perfect syncronization between the soundtrack, the cinematography, the stunt team and Lewis Gilbert’s experience in delivering an extraordinary adventure in the scale of You Only Live Twice.

Also notable was the work of the model unit to turn Bond’s white Lotus Espirit into a mini submarine, which he uses to explore the villain’s lair beneath the Sardinian seas (actually shot in The Bahamas, as were most of 007’s underwater sequences).

However, honors for The Spy Who Loved Me should go for a very brave man who performed an unforgettable stunt.

1975 trade advertisement for The Spy Who Loved Me before Harry Saltzman sold out his interest in Bond

Rick Sylvester got on his skis and slided trough the snowy summit of Canada’s Mount Asgard. He jumped off a cliff and opened a Union Jack parachute. This moment that won cheers and applause over cinemas across the United Kingdom almost killed Sylvester when one of the abandoned ski poles nearly punctured the parachute.

Roger Moore kept his grace in his third Bond film. He dashingly wears a Royal Navy uniform and has the USS Wayne submarine troops in charge before a big scale gunfight takes place against the villain’s forces. He lets an assasin fall to his death after extracting him information. And, bravely, he tells her KGB companion Anya Amasova that he was responsible for the death of her boyfriend. “In our business, Anya, people get killed.”

Barbara Bach lacked acting talent as the leading lady. This weak aspect was compensated by Curt Jurgens magnificient performance of Bond’s nemesis Karl Stromberg who tries to ignite World War III as the initial step for the inception of a world beneath the sea.

However, the most memorable character in the film’s rogue gallery was Richard Kiel’s Jaws, the giant with steel teeth who would return to join the side of good in the next film, Moonraker. The popularity of Jaws was so big that Richard Kiel shared his likeness for three Bond videogames: GoldenEye 007 (1997), Everything or Nothing (2003) and 007 Legends (2012).

Marvin Hamlisch delivered a score in tone with the times, influenced by the Bee Gees music and the late 1970s disco tunes but also with the dramatic tunes some moments require, such as the tanker battle near the end.

Particularly good are his remixes of the classic James Bond Theme that heralded the many action sequences of the film. For the main title song, Hamlisch and lyricist Carole Bayer Sager took inspiration from Mozart and created the immortal ode to Bond: “Nobody Does it Better,” a title that could very well also fit the effort to deliver a Bond film with capital B.