1988: Treatment for Licence to Kill Part I

Licence to Kill’s poster

In March 1988, Richard Maibaum and Michael G. Wilson filed a “revised treatment” for what was still being called Bond XVI. The document resembles the finished Licence to Kill film. But, as often is the case, there are notable differences.

The treatment runs 66 pages with several pages of storyboards.

As in the film, James Bond and Felix Leiter are dressed up for the latter’s wedding and riding in a limousine.

“At the wheel is Jericho, a black friend of Leiter’s acting as chauffeur for him,” the treatment says. Leiter gets a telephone call. He “sees Hawkins, his assistant at the Drug Enforcement Agency, at the window of a Coast Guard helicopter skinning the water alongside them.”

As in the film, all of this concerns Franz Sanchez, “the legendary Colombian drug kingpin, an ex-army officer known as Colonel Crack.”

The treatment adds this bit of background: “Now with the D.E.A. Leiter has tried to arrest him for five years, but has never caught him out of his home base.”

Five years? Presumably, this means there was a longer time gap between the events of The Living Daylights (released in 1987) and this adventure.

Now, Leiter has a chance to nail Sanchez, who is on his way to Cray Cay (“a private Bahamian island”). Initially, Leiter wants Bond to explain things to his fiancee Della. “Send Jericho,” Bond replies. “I’ll come along as an observer.”

The treatment shifts to Cray Cay and includes a description of Sanchez as he steps out of his private jet. He “is forty, tall, strong, exuding authority and confidence. He has a rough surface charm but occasionally bursts into sudden murderous rages.”

At this point, Lupe Lamora, “his current inamorata,” is also on the plane with Sanchez goons including Dario, the chief bodyguard for Sanchez who gets out last.

Concerning Lupe, we’re told Sanchez “has pursued her relentlessly, turning her head with gifts and attentions. Once happy-go-lucky, she now feels trapped by his possessiveness.” Sanchez tells Dario to stay with Lupe in the plane.

Sanchez now catches up with Velasquez who is “nude in hot tub with two girls.” Sanchez tells the women (well, let’s hope they were young women) to leave and they grab towels and run off. Velasquez double-crossed Sanchez on a drug deal (“I sell real dope. I want real money”). Sanchez’s goons drown Velasquez in the hot tub.

What follows is similar to the final film. Sanchez heads to Velasquez’s single-engine light plane. The Coast Guard helicopter pursues.

“We almost got the bastard!” Leiter says.

“He’s not away yet,” Bond replies.

Bond is lowered by the Coast Guard helicopter, and attaches a cable. The Coast Guard helicopter gives it full power and the single-engine plane is helpless. “Bond sits triumphantly on the tail plane,” the treatment says.

The treatment, adds a scene not in the film. It describes the plane with Sanchez being taken to a Coast Guard base. Leiter approaches Sanchez with an arrest warrant. “Welcome to the U.S., Colonel Crack.”

The writers then describe how the main titles should unfold, with Leiter and Della getting married. “It ends as Leiter and Della, followed by Bond, come down the stairs of the church in a shower of rice.”

TO BE CONTINUED

1965: Jesus and the spy (actors)

Blu Ray cover for The Greatest Story Ever Told (1965)

The death this week of actor Max Von Sydow was a reminder for the blog of a Biblical film that highlighted actors from the 1960s spy craze.

The movie was The Greatest Story Ever Told (1965), about the life of Jesus Christ, played by Von Sydow.

The movie was years in the making. The writing of the script alone took about two years. Filming occurred in 1962 and 1963.

The producer-director was George Stevens (1904-1975). Over the years he had helmed movies such as Gunga Din (1939), I Remember Mama (1948), A Place in the Sun (1951), Shane (1953) and Giant (1956).

With the release of 1959’s The Diary of Anne Frank, Stevens was at the height of his powers. The film was both a popular and critical hit, winning three Oscars and nominated for five more.

For his next project, Stevens opted to tackle the story of Jesus. The film originated at 20th Century Fox (which had released The Diary of Anne Frank) but ended up at United Artists.

Major stars wanted to be part of the project. John Wayne got one line as a Roman centurion (“Truly this man was the son of God.”). Charlton Heston (as John the Baptist), Sidney Poitier, Jose Ferrer, Claude Rains, Dorothy McGuire (as the Virgin Mary), Shelly Winters and Ed Wynn were in the cast.

And then there was the future spy actor contingent.

There were three future Blofeld actors — Von Sydow (Never Say Never Again), Donald Pleasance (You Only Live Twice) and Telly Savalas (On Her Majesty’s Secret Service). The latter shaved his head for the role of Pontius Pilate, a look he’d keep until the end of his life.

There was one Illya Kuryakin (David McCallum as Judas), one future Felix Leiter (David Hedison) and one future Rollin Hand (Martin Landau). In a 2007 extra for a home video release of The Man From U.N.C.L.E., Robert Vaughn told McCallum that he, too, had sought the Judas role that McCallum won.

Also present: Victor Buono, who screenwriter Richard Maibaum had recommended to play Goldfinger. Buono had his share of work during the 1960s spy craze in The Silencers, The Wild Wild West, The Man From U.N.C.L.E. and I Spy.

The Greatest Story Ever Told had an actual tragedy. Director of photography William C. Mellor, who had worked with Stevens on other films, died of a heart attack during production.

The movie proved to be a flop. By the time it came out in early 1965, the market for such films had seemingly run its course. The movie was earnest and sincere. So was Ben-Hur (1959), but that project had also ship battles and the famous chariot race.

Stevens would direct only one more film, 1970’s The Only Game in Town.

The Greatest Story Ever Told was nominated for five Oscars, including special visual effects. It lost out to another United Artists release.

Spy Command participates in two podcasts

Spybrary podcast logo

The Spy Command was part of two podcasts in the past week.

The Spybrary podcast on July 31 featured an interview with me. Host Shane Whaley asked for my “dead drop five.”

I named a combination of TV shows and books, including The Man From U.N.C.L.E., Mission: Impossible (the original TV series), and From Russia With Love novel and film as a joint entry. I also listed the Matt Helm series of serious novels (as opposed to the Dean Martin movies).

Shane and I have discussed this possibility for more than a year and it was fun to get it done. Shane also wants me to host a panel about U.N.C.L.E. in the future.

The Spybrary host followed up with an Aug. 5 podcast reviewing The Removers, the third Matt Helm novel by Donald Hamilton. It was one of the titles I had discussed on the July 31 podcast.

James Bond & Friends logo

Meanwhile, James Bond & Friends, produced by the MI6 James Bond website, is back with episode 0020, which came out on Aug. 6. This edition includes a new guest, Marcos Kontze of the James Bond Brasil website. I was there as well along with David Leigh of The James Bond Dossier, Ben Williams of MI6 Confidential as well as MI6 founders Paul Atkinson and James Page. A description from the MI6 website:

Observing the passing of David Hedison – two time Felix Leiter – we note how he became the first man to return to the role some 10 years later with the long-serving ally’s pivotal role in ‘Licence to Kill’. We continue by discussing Leiter and Bond’s relationship and how the re-casting has lead to some inconsistent characterisation. Along the way, we stumble on Leiter’s drinking habits, Felix’s faux pas, his Kennedy impersonation, Jack Lord’s moisturiser, Felicia Leiter, big livers, the martini olive scam, an ill-fated fishing trip, Le Chiffre’s undead exit, rewrites whilst boozing, and the Leiterverse.

David Hedison dies at 92

David Hedison (1927-2019)

David Hedison, star of the original film version of The Fly, the Voyage to the Bottom of the Sea TV series and a two-time Felix Leiter, has died at 92, according to various reports, including The Hollywood Reporter.

Hedison died last week and the news was released by a family spokeswoman, THR said.

Hedison’s IMDB.COM ENTRY lists more than 90 acting credits beginning in 1954 and extending into the 21st century.

The actor also was a friend of Roger Moore. “David phoned Roger regularly throughout his final illness in 2017 and was a great support.” according to a tweet from Moore’s official account on Twitter.

The two worked together in an episode of The Saint. They acted together again, with Hedison as Felix Leiter in Live And Let Die, Moore’s debut as James Bond. Hedison reprised the role opposite Timothy Dalton’s James Bond in Licence to Kill.

Hedison also had a relationship with producer Irwin Allen. The actor was in the cast of Allen’s 1960 version of The Lost World.

Allen wanted Hedison for the 1961 film version of Voyage to the Bottom of the Sea but the actor turned it down. Robert Sterling got the part instead. But Hedison signed on when Allen launched the 1964-68 television version.

The first season, shown in black and white, had a lot of espionage and international intrigue stories. As the series progressed, there were a lot of monster story lines.

After Voyage’s run concluded, Hedison didn’t lack for work, often getting guest star parts from producers Quinn Martin (The FBI, Cannon, The Manhunter and Barnaby Jones) and Aaron Spelling (The Love Boat, Dynasty, Fantasy Island).

Here’s the tweet from the Roger Moore account.

One of Roger’s oldest and closest friends was David Hedison, who we have learned passed away a few days ago. David phoned Roger regularly throughout his final illness in 2017 and was a great support. Our thoughts and love go out to Serena and Alexandra at this hugely sad time.

— Sir Roger Moore (Legacy) (@sirrogermoore) July 22, 2019

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Licence to Kill’s 25th: 007 flops in the U.S.

Licence to Kill’s poster

Licence to Kill, which celebrates its 25th anniversary this year, is mostly known for a series of “lasts” but also for a first.

It was the last of five 007 films directed by John Glen, the most prolific director in the series; the last of 13 Bond films where Richard Maibaum participated in the writing; it was the last with Albert R. Broccoli getting a producer’s credit (he would only “present” 1995’s GoldenEye); it was the last 007 movie with a title sequence designed by Maurice Binder; and the it was last 007 film where Pan Am was the unofficial airline of the James Bond series (it went out of business before GoldenEye).

It was also the first that was an unqualified flop in the U.S. market.

Bond wasn’t on Poverty Row when Licence to Kill began production in 1988. But neither did 007 travel entirely first class.

Under financial pressure from Metro-Goldwyn-Mayer (which acquired half the franchise after buying United Artists earlier in the decade), Eon Productions moved the home base of the production to Mexico from Pinewood Studios.

Joining Timothy Dalton in his second (and last) outing as Bond was a cast mostly known for appearing on U.S. television, including Anthony Zerbe, Don Stroud, David Hedison (his second appearance as Felix Leiter), Pricilla Barnes, Rafer Johnson, Frank McRae as well as Las Vegas performer Wayne Newton.

Meanwhile, character actor Robert Davi snared the role of the film’s villain, with Carey Lowell and Carey Lowell and Talisa Soto as competing Bond women.

Michael G. Wilson, Broccoli’s stepson and co-producer, took the role as lead writer because a 1988 Writers Guild strike made Richard Maibaum unavailable. Maibaum’s participation didn’t extend beyond the plotting stage. The teaser trailer billed Wilson as the sole writer but Maibaum received co-writer billing in the final credits.

Wilson opted for a darker take, up to a point. He included Leiter having a leg chewed off by a shark from the Live And Let Die novel. He also upped the number of swear words compared with previous 007 entries. But Wilson hedged his bets with jokes, such as Newton’s fake preacher and a scene where Q shows off gadgets to Bond.

Licence would be the first Bond film where “this time it’s personal.” Bond goes rogue to avenge Leiter. Since then, it has almost always been personal for 007. Because of budget restrictions, filming was kept to Florida and Mexico.

The end product didn’t go over well in the U.S. Other studios had given the 16th 007 film a wide berth for its opening weekend. The only “new” movie that weekend was a re-release of Walt Disney Co.’s Peter Pan.

Nevertheless, Licence finished an anemic No. 4 during the July 14-16 weekend, coming in behind Lethal Weapon 2 (in its second weekend), Batman (in its fourth weekend) and Honey, I Shrunk the Kids (also fourth weekend).

Glen and Maibaum were done with Bond, the latter being part of the 007 series since its inception.

Initial pre-production of the next 007 film proceeded without the two series veterans. Wilson wrote a treatment in 1990 for Bond 17 with Alfonse Ruggiero but that story was never made.

That’s because Broccoli would enter into a legal fight with MGM that meant Bond wouldn’t return to movie screens for another six years. By the time production resumed, Eon started over, using a story by Michael France as a beginning point for what would become GoldenEye. Maibaum, meanwhile, died in early 1991.

Today, some fans like to blame MGM’s marketing campaign or other major summer 1989 movies such as Batman or Indiana Jones and the Last Crusade. But Licence came out weeks after either of those blockbusters. In the end, the U.S. audience didn’t care for Licence. The movie’s total U.S. box office of $34.7 million didn’t match Batman’s U.S. opening weekend of $40.5 million. Licence’s U.S. box office was almost a third less than its 007 predecessor, The Living Daylights.

Licence to Kill did better in other markets. Still, Licence’s $156.2 million in worldwide ticket sales represented an 18 percent decline from The Living Daylights.

For Dalton, Glen, Maibaum and even Broccoli (he yielded the producer’s duties on GoldenEye because of ill health), it was the end of the road.

Col. Klink IS Ernst Stavro Blofeld!

Today, Voyage to the Bottom of the Sea is remembered as part of producer Irwin Allen’s collection of 1960s science-fiction (or in the eyes of some critics schlock) TV shows. And, of course, for 007 fans, it’s where two-time Felix Leiter David Hedison was a star. But in its first season, 1964-65, it had some spy themes.

One such episode was the show’s pilot, written and directed by Allen himself. It features a villain that evokes Ernst Stavro Blofeld’s early appearances in the James Bond film series of a shadowy mastermind.

Well you can watch that episode on Hulu by CLICKING RIGHT HERE. The voice certainly sounds like actor actor Werner Klemperer, who’d gain his greatest fame as Col Klink in Hogan’s Heroes. In fact, despite being in shadows, he LOOKS like Klemperer/Klink as well.

UPDATE: At the 34:17 mark, there’s a close-up of the mystery villain. Despite the shawdows, it defintiely looks like Klemperer. Yet, at the 35:40 mark or so, it appears character actor Theo Marcuse (1920-1967) is playing the mystery leader.

UPDATE II: Marcuse is credited in the end titles as “Dr. Gamma” but a close look shows he and Klemperer were doing the same role. There’s also a James Bond connection: the film editor of the episode is John W. Holmes, one of two film editors credited in Diamonds Are Forever.

HMSS nominations for best lines from James Bond movies

What’s the best line from a James Bond movie? Here are a few for consideration:

“Bond, James Bond.” Sean Connery (James Bond, natch) from Dr. No.
Analysis: Perhaps a cliche now, but Connery established a classic introduction line.

“She should have kept her mouth shut.” Sean Connery (Bond), capping off a tense sequence in the movie From Russia With Love that was mostly a faithful adaption from a memorable chapter of the Ian Fleming novel of the same name. Connery had delivered a number of quips in Dr. No, but this one reflected perfect timing and Connery’s growth in the role of 007.

“No, I expect you to die!” Comeback by Auric Goldfinger (Gert Frobe dubbed by Michael Collins) to Bond’s witticisms from Goldfinger.

“Somebody’s probably lost a dog.” Bond (Connery again) skeptical that about the emergency for which he has been summoned in Thunderball. Often overlooked among 007 witticisms, it’s a perfect example of Connery at his peak in the Bond role.

“Wait till you get to my teeth.” Bond (Connery) muttering to himself following his first encounter with Domino in Thunderball. The line isn’t as memorable as Connery’s delivery, a perfect example of what was the actor’s polished confidence in the role.

“Mr. Osato believes in healthy chests!” Helga (Karin Dor) to Bond in You Only Live Twice. An early sign of how the series was starting to parody itself.

“But darling we have all the time in the world.” Bond (George Lazenby) to his soon-to-be-deceased bride Tracy (Diana Rigg) in On Her Majesty’s Secret Service. A line based on Ian Fleming prose, something that would soon be rare in the film series.

“Look after, Mr. Bond. See that some harm comes to him.” Hugo Drax (Michael Lonsdale) to his manservant Chang in Moonraker. An example of subtle humor and menance in an otherwise over-the-top film.

“I’m glad I insisted you brought that cello!” Bond (Timothy Dalton) to Kara in The Living Daylights. For most of a key sequence, Dalton/Bond had been more than a little annoyed that Kara had insisted on bringing the cello. The instrument turns out to be both a clue and a means to a getaway from Cold War-era Czech troops.

“He disagreed with something that ate him.” A note attached to Felix Leiter (David Hedison) in Licence to Kill, which took the idea from Fleming’s Live And Let Die novel.

“The bitch is dead.” Bond (Daniel Craig), referring to double agent Vesper Lynd in Casino Royale. Once again, going to the Fleming source material.