U.N.C.L.E.’s connection to The Prize (1963)

Poster for The Prize (1963)

Poster for The Prize (1963)

This week, Turner Classic Movies televised a series of spy films, including The Prize (1963). The movie, released by Metro-Goldwyn-Mayer, had a number of connections to The Man From U.N.C.L.E.

Some of this stemmed from how U.N.C.L.E. was also produced at MGM. In any case, here’s a partial list of U.N.C.L.E. ties to The Prize.

Crew: These names show up on just about every production either produced by MGM or made at MGM in the 1960s: George W. Davis (co-art director), Henry Grace (co-set decorator) and Franklin Milton (sound or recording supervisor). Another name that shows up in many MGM-related productions is William Tuttle, who headed MGM’s makeup department.

(Totally as an aside: Grace resembled Dwight Eisenhower. As a result, he played the Allied supreme commander in 1962’s The Longest Day.)

The Prize also includes a score by Jerry Goldsmith. At this point, Goldsmith was transitioning from a television composer to a movie composer. Despite that, Goldsmith scored the pilot episode for U.N.C.L.E. as well as two additional episodes.

Speculation: The Spy Commander has long wondered if Goldsmith, in his early 1960s work, was influenced by Bernard Herrman. Both Herrmann and Goldsmith did work at CBS during this period. In his score for The Prize, there are bits of Goldsmith’s score that evokes Herrmann (this also applies to Goldsmith’s score for 1964’s In Harm’s Way).

Cast: The Prize (which, essentially is a star vehicle for Paul Newman) includes a number of cast members who would later appear in U.N.C.L.E. Among them:

Leo G. Carroll: Played U.N.C.L.E. chief Alexander Waverly. In the Prize, he plays a small, but key, role as a Swedish count who helps administer the Nobel Prizes.

John Banner: Most famous for playing Sgt. Schultz in Hogan’s Heroes, the character actor also played one of a group of scientists trying to take over the world in The Neptune Affair in U.N.C.L.E.’s first season. In The Prize, he plays a newscaster during the movie’s title sequence.

Teru Shimada: In U.N.C.L.E., he plays the head of an Asian country who’s the target of an assassination plot in Season Two’s Part Two, Alexander the Greater Affair. In The Prize, he’s another newscaster in the title sequence. Shimada also played Mr. Osato in the 1967 James Bond film You Only Live Twice.

Kevin McCarthy: He played the villain in the U.N.C.L.E. Season Two episode The Moonglow Affair (which was also the pilot for The Girl From U.N.C.L.E.). In The Prize, he plays a Nobel Prize winner.

Ben Wright: The character actor was in two U.N.C.L.E. episodes (The Deadly Games Affair and The Girls of Nazarone Affair). In The Prize, he plays a reporter who asks question of Andrew Craig (Paul Newman’s character) at a press conference.

Noel Drayton: Played a physician who conducts an autopsy on a seal in U.N.C.L.E.’s The Finny Foot Affair. In The Prize, he plays a policeman trying to verify what seems to be a wild story from Newman’s character.

Miscellaneous

Irving Wallace: The Prize is based on a novel by Wallace, who also had written some episodes of Have Gun — Will Travel, which was co-created by Sam Rolfe, who developed U.N.C.L.E. Wallace’s nephew was Danny Biederman, a first-generation U.N.C.L.E. fan who (with Robert Short) attempted to produce an U.N.C.L.E. movie in the late 1970s-early 1980s.

 

Manic-depressive days waiting for Bond 25 news

Image for the official James Bond feed on Twitter

Image for the official James Bond feed on Twitter

Nature abhors a vacuum. So in the absence of Bond 25 news, there’s the occasional 007 commentary that can come across as manic-depressive.

On the manic side, Forbes.com contributor Scott Mendelson weighed in with a Jan. 26 post about what a success SPECTRE, the 24th James Bond film, was at the box office. Part of the introduction read thusly:

So how did James Bond do this time out? Well, pretty darn spectacular, actually…(T)he film earned an obscene $877 million worldwide on a $240m budget, so it’s obviously a huge hit.

Depends on your definition of “obscene,” but SPECTRE did come in at No. 6 worldwide and No. 10 in the U.S. and Canada at $199.3 million. Neither figure was as good as 2012’s Skyfall but clearly SPECTRE was a popular movie.

However, Mendelson (who wrote a review saying SPECTRE was the worst 007 film in 30 years) may have gotten a bit carried away talking about how the film did at the box office.

“The next entry will probably be Daniel Craig’s swan song and will definitely be out by 2017 in order to capitalize on the 55th anniversary of Dr. No,” Mendelson wrote. (emphasis added)

A few things: 1) Daniel Craig is scheduled to be in an off-Broadway production of Othello this fall. The exact schedule hasn’t been announced, according to stories LIKE THIS ONE. But for Bond 25 to be in theaters in 2017, production may need to get started before the end of this year. Will Craig have enough time between Othello and Bond 25?

2) At this point, we don’t know what studio will release Bond 25. Sony Pictures’ contract with Metro-Goldwyn-Mayer expired with SPECTRE. It might be a little premature to assume a 2017 release until MGM reaches a new deal, either with Sony or another studio.

3) 55th anniversary? Do people really care about 55th anniversaries? This is the same franchise that passed up a once-in-a-lifetime marketing opportunity to have a Bond movie come out in 2007.

Neither Michael G. Wilson nor Barbara Broccoli is anxious to produce movies on an every-other-year schedule (which a 2017 release for Bond 25 would represent). It really seems hard to believe they’d move heaven and earth for a marketing tagline of “the 55th anniversary Bond film!”

On the depressive side, there’s a Jan. 7 commentary on the Cultbox website. The post, by on the artistic side, makes it sound like Bond 25 comes at a critical time.

While entertaining in parts, for many the 24th official Bond adventure was one of the biggest letdowns of 2015. The Blofeld twist was the least surprising reveal since Cumberbatch was Khan in Star Trek into Darkness, and him being Bond’s foster brother somehow added precisely zero depth to the narrative and characters.

Coupled with a fondness for lingering silently on dimly-lit moments of supposed tension for an interminable length of time and Daniel Craig’s unease with playing the lighter moments, audiences were left disheartened with the direction the franchise had taken.

It sounds a little dire. Almost every film generates mixed fan opinion. The post does explore alternate ideas (getting a new Bond, sticking with Craig, making a period piece 007 film) and it makes for an interesting discussion.

Reading the two articles back-to-back makes for interesting reading. With no real Bond 25 news to chew over, we can probably expect more varying interpretations of the state of the franchise.

Financial behind the scenes of Dr. No, Part III

Terence Young

Terence Young

Film Finances Inc. had agreed to provide a “completion bond” for Dr. No and provide contingency funding to ensure the first James Bond film would be finished.

However, because of continuing cost overruns, Film Finances under its agreement with Eon Productions and United Artists, exercised its right to take over responsibility for the production as it began post production.

According to the 2011 book, A Bond for Bond, published by Film Finances, such an option was supposed to be a last resort. In 1962, Film Finances would end up doing it three times on United Artists movies, including Tom Jones, another film plagued by overruns.

Dr. No producers Albert R. Broccoli and Harry Saltzman and director Terence Young would retain responsibility for creative decisions. Film Finances, however, now controlled the purse strings, author Charles Drazin wrote. The book reproduces documents in the archives of Film Financing.

Post-production included some additional film shooting to complete the movie, including shots of Bond (Sean Connery) in a shaft in Dr. No.’s headquarters, the agent laying on his hotel room when a tarantula arrives and two men exiting a hatch from the “dragon” that patrolled Crab Key.

Originally, these shots were to be performed over two days. With Film Finances now in control, they were done in a single day, April 26, 1962.

Other matters needed to be resolved. There had been 7,000 pounds (almost $20,000 at an exchange rate of $2.80 to the pound) in cost overruns for sets — overages that production designer Ken Adam had anticipated and informed Saltzman about.

Film Finances agreed not to force repayment of the set overruns. In return, Danjaq SA, the holding company for Eon Productions, agreed on April 10, 1962 to grant 5 percent of Dr. No’s profits to Film Finances.

However, Danjaq had the option to buy back Film Finances’ profit participation  for the sum of the 7,000 pounds (for the set overruns) plus an additional 2,500 pounds after Film Finances recovered all money advanced to finance the production. Danjaq ended up exercising the option, Drazin wrote. A copy of the agreement is on page 94 of the book.

Another issue was Terence Young’s compensation. The director had agreed to defer as much as 10,000 of his 15,000 pound fee. More than 8,600 pounds was to be withheld from Young until it “had been earned back at the box office,” Drazin wrote. (page 85)

This didn’t  make Young happy.

“But I do feel, and I feel this most strongly, that Film Finances have behaved very shabbily to put it mildly,” the director wrote in a letter to his lawyer (pages 95-98).

“When I got back from Jamaica, I expected to get a medal for what I had accomplished,” Young wrote. “I have never in my life worked so hard, I have never on any location film had to put up with so many difficulties, and at the end I got no thanks whatsoever but was told Cubby and Harry made a mistake in ever taking me.”

On page 99 and 100, there’s a copy of a memo by Film Finances executive Robert Garrett about Young.

“I do not dispute that Terence Young probably worked very hard on location, but I do suggest he is a director who seems quite incapable of ever making compromises when things do not go smoothly.”

In the end, Dr. No’s final budget was more than 392,022 pounds (almost $1.1 million), according to a copy dated Jan. 11, 1963 filed by associate producer Stanley Sopel to Film Finances (pages 103-106). The sources of the money were 322,069 pounds from a Bank of America loan (the budget before overruns), 10, 063 pounds from United Artists and 59,890 pounds from Film Finances.

Film Finances, in a letter to Eon daed Jan. 21, 1964, said as of Dec. 31, 1963, it had been paid back with interest. From that point forward, author Drazin wrote, Eon would not utilize Film Finances’ services for Bond films.

 Thanks to Gary J. Firuta for loaning the blog his copy of A Bond for Bond.

Financial behind the scenes of Dr. No Part II

Jack Lord, Ursula Andress and Sean Connery relaxing on the Dr. No set

Jack Lord, Ursula Andress and Sean Connery relaxing on the Dr. No set

The first day of filming on Dr. No had a bad omen.

Principal photography began Jan. 16, 1962 at the Kingston, Jamaica, airport. Jack Lord, playing CIA agent Felix Leiter, had been scheduled to arrive Jan. 14 and report for work at 8:30 a.m., Jan. 16.

Because of travel complications, Lord couldn’t get to Kingston until 12:20 p.m. on Jan. 16 and didn’t arrive on the set until 2:45 p.m. Sean Connery, playing Bond, and John Kitzmiller, playing Quarrel, had arrived at 8:30 a.m.

“Because of the sun angle, we lost his first shots,” production manager L.C. Rudkin wrote on a unit progress report on Jan. 16, referring to Lord. The Dr. No crew would have to return to the airport the following day, putting the production of the first James Bond film one-half day behind schedule on its very first day.

That report is one of the various documents in the 2011 book A Bond for Bond, describing the travails of Dr. No’s production. The book, by Charles Drazin, focuses on the contributions of Film Finances Inc., the company that provided the “completion bond,” ensuring the movie would be finished.

Nor was that the only delay the Dr. No unit would see.

Day 4: “Bad light and generator breakdown,” according to a summary of location shooting after principal photography concluded. “Nearly day lost yet we shot -” Day 6: “Rough seas made abandonment necessary. Had to move over to location 15 miles.” Day 17: “Rough seas and two locations with retakes.” Day 20: “Rained nearly all day – shot in rain.” Day 24: “Whole beach had to be rebuilt because of hurricane in night, yet we shot.” Day 25: The “dragon” broke down and a safety winch also broke down, causing another half-day delay.

By the end of location shooting, according to this summary, 10 to 12 days of work had been lost and two sequences (“Interior Hotel Foyer” and the interior of Playdell-Smith’s office) would have to be filmed when the production moved to Pinewood Studios in England.

The report also contained this passage: “It is questionable if any other major film, with a similar budget, had ever accomplished the feat of shooting on 22 major different sets in 23 days. This practically Television or ‘B’ picture scheduling, but on this film it was necessary, and had to be done.”

Trouble was also brewing at Pinewood. Production designer Ken Adam had written a letter to Film Finances that the budget for sets was adequate. It wasn’t.

In a Feb. 1, 1962 letter to co-producer Harry Saltzman, and cc’d to his partner Albert R. Broccoli, Adam said set construction, props and set dressing would be more than budgeted. “This is merely a note to make quite certain you have realised this,” Adam wrote Saltzman.

On Feb. 18, Saltzman wrote Film Finances executive Robert Garrett to reassure him about cost overruns — which were exceeding the financing for contingencies that Garrett’s company had provided.

“I must say that (director) Terence Young has behaved tremendously well, despite all our misgivings and I honestly must say that none of the hold-ups have been due to his proclivity from procrastination,” Saltzman wrote. At the same time, the producer wrote that Young still has a “grande seigneur” lifestyle. “He has spent money personally like water.”

Saltzman added, “In spite of all the ulcer-making frustrating situations and the invasion of a good part of our contingency fund, the stuff we have shot here is tremendously impressive and I think well worth our troubles.”

Garrett wasn’t reassured. In a March 16, 1962 letter to Saltzman, the executive outlined budget overruns for publicity, music, studio rentals, insurance and other expenses and said it appeared the pace of production had slowed during filming at Pinewood.

“I must ask you and Cubby to take all possible measures of economy and above all, to see that the schedule position does not deteriorate further,” Garrett wrote. “From the progress to date in the studio we had the impression Terence Young has lost his earlier sense of urgency.”

According to author Draznin, Dr. No had exceeded its budget by 57,027 pounds (almost $160,000) for the week ending March 23, 1962. Principal photography finally ended April 3. By that time, Film Finances took an action it normally considered a last resort.

Thanks to Gary J. Firuta for loaning the blog his copy of A Bond for Bond.

NEXT: Film Finances takes control of Dr. No.

 

Financial behind the scenes of Dr. No Part I

Dr. No poster

Dr. No poster

Squabbles over money, production delays and the exchange of terse words.

SPECTRE, the 24th James Bond film? No. Dr. No, the first.

In 2011, Film Finances Inc., which specializes in “completion bonds” that ensure movies get finished, published A Bond for Bond. The book presented the company’s history with Dr. No, including reproducing memos and production budgets.

For a fee, Film Financing, founded in 1950, guarantees completion of a movie, including providing contingency financing. With Dr. No, Film Financing ended up taking financial control of the film as principal photography ended and post-production began. That meant all expenditures from that point forward had to be approved by Film Financing.

According to the book, written by Charles Drazin and reprinted in 2014, Film Finances had previously provided completion bonds to earlier movies produced separately by Albert R. Broccoli and Harry Saltzman. While the new partners had a distribution deal with United Artists, Film Finances would provide the completion bond for the first Bond.

As Film Finances considered the project, executives were enthusiastic but had concerns.

A Dec. 16, 1961 memo analyzing the movie’s budget questioned whether shooting schedule was too optimistic and whether director Terence Young could meet it.

John Croydon, a consultant for Film Finances, wrote, “I must confess to alarm at the combination of Broccoli, Saltzmann (sic) and Young in charge of the picture, especially as (L.C.) Rudkin, although a good PM (production manager) is probably not the strongest controller of people of this type.”

Croydon wrote from first-hand experience. He had been associate producer on the 1960 Saltzman-produced film The Entertainer.

Dr. No had an initial budget of 317,399 pounds (almost $889,000 at an exchange rate of $2.80 per pound), later revised to 322,096 (almost $901,800), with 23,199 pounds in contingency funds.

Various crew members, including Young and production director Ken Adam, wrote brief letters to Film Finances saying the budget was adequate for the movie. Harry Saltzman wrote a similar but more detailed letter.

Young was slated to receive a fee of 15,000 pounds ($42,000), but agreed to defer 10,000 pounds of it into an escrow account. This would cause tension later.

The pre-production documents in A Bond for Bond also show the distinguished British director of photography Geoffrey Unsworth worked on Dr. No for a day. On Dec. 21, 1961, Unsworth photographed screen tests of four actresses contending for the role of Miss Taro, including eventual winner Zena Marshall.

In January 1962, principal photography on Dr. No began. Before it was over, executives at Film Finances would make a move the company rarely made because of financial concerns.

Thanks to Gary J. Firuta for loaning the blog his copy of A Bond for Bond.

NEXT: Dr. No falls a half-day behind schedule on its first day.

 

The Ballad of James and Madeleine

SPECTRE promotional art

SPECTRE promotional art

By Nicolás Suszczyk, Guest Writer

“As the daughter of an assassin, she can understand Bond in a way others cannot.”

This is how the official SPECTRE synopsis describes Madeleine Swann, the female lead character of the 24th James Bond adventure, about to hit the stores in DVD and Blu Ray home video formats.

Played by French actress Léa Seydoux, known for movies like Woody Allen’s Midnight in Paris, Mission Impossible: Ghost Protocol and the acclaimed Blue is the Warmest Color, her character was built by scribes Jez Butterworth, Neal Purvis, Robert Wade and John Logan to –- apparently –- give Daniel Craig’s James Bond the first and only happy ending he’s ever had in the series.

The first encounter 007 has with Madeleine Swann is at the Hoffler Klinik in Austria. Posing as a patient, Bond visits her and suspects that Swann, a doctor in psychiatry graduated in the Sorbonne who worked with Medicine Sans Frontiers, is hiding from someone in the clinic. Of course, the secret agent was led there by her disgraced father, none other than his previous Quantum nemesis Mr. White, who took his life right after Bond promised to protect her of the tentacles of SPECTRE.

She first resists to Bond, but ultimately she sees he’s the only one who can keep her alive after her hideout clinic is discovered by SPECTRE agent Mr. Hinx.

Much in the way of previous Bond girls Natalya Simonova (from GoldenEye) and Octopussy, she dislikes 007’s violent life, seeing him as a man who is the same kind as her father: determined to leave him right after he returns for a final assignment to stop Denbigh, the mole placed at the British Intelligence by the organization leader Franz Oberhauser, aka Ernst Stavro Blofeld.

There is, in contrast to the previous affairs of Craig’s Bond, a happy ending this time as 007 opts to leave the wounded Blofeld alive instead of shooting him. As the Special Forces arrest the SPECTRE leader, the happy couple walk together -– holding hands — across the Westminster Bridge.

Madeleine Swann is no match for Vesper Lynd, Tracy Di Vicenzo or even Paris Carver when it comes to exploring Bond’s human side. Yet, the idea of Madeleine’s persona was originally very good and sadly more of her connection with 007 would have been explored a lot better.

“Is this really what you want? Living in the shadows, hunting, being hunted, always looking behind you? Always alone?” the doctor asks a white tuxedo-clad Bond as they have a soft-light dinner travelling in the Oriental Desert Express trough Morocco.

In one of the first drafts of the (leaked) script, the couple had a conversation that included Vesper, Eva Green’s ill-fated character from Casino Royale, the film that opened the arc that SPECTRE has apparently closed.

“You’re not like my father at all. He was cold, but you’re wounded,” the doctor said. As she asks him if he has ever been in love, he replies “Once. She died.” Quickly, he tells her he “dealt with it.”

The Bond-Swann relationship would have had a bigger emotional impact if more deep dialogue was added as the first draft shows. If Vesper Lynd and her death were the main subjects of the first two films of Craig era, the girl who makes him move on should have deep-delved into his emotions.

Show the audiences how Vesper was important then and why Madeleine is important now. A contrast between the two characters and how Bond slowly recovers what he lost during that black day in Venice nine years before. In the same way the connection between SPECTRE and the previous villains isn’t fully explained, the importance of Madeleine can’t overshadow the image of Vesper in an emotional context.

The barn scene between Bond and Tracy in On Her Majesty’s Secret Service, or the Pierce Brosnan-Izabella Scorupco scene at the Cuban beach in GoldenEye, or Bond’s love declaration to Vesper at the Lake DiGarda in Casino Royale, just to name a few scenes. These are wonderful examples on how to explore Bond’s feelings.

SPECTRE is a celebration of all things Bond in terms of excitement, perhaps the closest one to “a classic one” so far. Daniel Craig is a wonderful actor and the role now fits him as a tailored Tom Ford tuxedo. Léa Seydoux also has great acting talents as she proved in movies such as The Lobster, Blue is The Warmest Color and La Belle Personne.

The James Bond and Madeleine Swann relationship is not wasted at all. But, surely, should have been better exploited and contextualized.

TCM has a night of spy films on Jan. 25

TCM logo

Turner Classic Movies will show five spy films the evening of Jan. 25 and early-morning hours of Jan. 26.

Here’s the lineup. All times EST.

8 p.m.: Arabesque (1966), directed by Stanley Donen: Donen had a success with 1963’s Charade, a suspense film that included a bit of humor. That movie also included a score by Henry Mancini and titles by Maurice Binder.

Mancini and Binder reunited with Donen on Arabesque, with Gregory Peck as a university professor who gets involved with spies as well as a woman played by Sophia Loren.

Also present was Charade scripter Peter Stone. However, Stone took an alias (Pierre Marton) and shared the screenplay credit with Julian Mitchell and Stanley Price.

 10 p.m.: The Ipcress File (1965), directed by Sidney J. Furie: James Bond co-producer Harry Saltzman launched a second, less flamboyant, spy film series based on Len Deighton’s novels. This was a source of tension with Saltzman’s 007 partner, Albert R. Broccoli.

The name of Deighton’s spy wasn’t disclosed in the novel that’s the basis of this movie. The character, as played by Michael Caine, was christened Harry Palmer for the film.

For the first of three Palmer films, Saltzman hired a number of 007 film crew members, including composer John Barry, production designer Ken Adam and editor Peter Hunt.

12 a.m.: Our Man Flint (1966), directed by Delbert Mann: The first of two spy comedies with James Coburn as Derek Flint.

The movie takes nothing seriously, with an organization called ZOWIE (Zonal Organization for World Intelligence and Espionage). ZOWIE is headed by Kramden (Lee J. Cobb), who gets exasperated when he’s forced to recruit Flint (who wouldn’t follow orders when Kramden knew him during their military days). Kramden has no choice because ZOWIE computers have pinpointed Flint as the only man who can foil a plot by Galaxy.

The best things about the movie are Coburn’s winning performance as Flint and Jerry Goldsmith’s score. Goldsmith’s music elevates the proceedings. In terms of production values, it looks only slightly more expensive than the television series produced at the time by 20th Century Fox.

2 a.m.: Our Man in Havana (1959), directed by Carol Reed:  The director again collaborates with Graham Greene, who adapts one of his novels. Vacuum cleaaner salesman Alec Guiness is recruited by British spook Noel Coward to do some spying in Cuba before the revolution. The cast includes Maureen O’Hara, Burl Ives and Ernie Kovacks.

4 a.m.: The Prize (1963), directed by Mark Robson: A spy tale starring Paul Newman centered around the Nobel Prizes being awarded in Stockholm. The script is by Ernest Lehman, who wrote 1959’s North by Northwest. Here Lehman adapts an Irving Wallace novel. The cast includes Leo G. Carroll, who was also in North by Northwest and who would shortly take the role of Alexander Waverly in The Man From U.N.C.L.E. Jerry Goldsmith provided the score.

Shoutout to Mark Henderson who brought this up on Facebook.

 

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