007’s love-hate relationship with The Beatles

Poster for A Hard Day’s Night starring The Beatles, another United Artists profit engine.

By J. H. Bográn, Guest Writer

Although it’s hard to imagine now, there was a time when some people didn’t like the music from The Beatles. Back in 1964, the group was still a relatively new band that the teenagers went crazy over. In contrast, adults thought of The Beatles as a fad, as ephemeral as a lightening. Oh, and they also thought The Beatles made nothing but noise.

1964 was the year Goldfinger was released. The movie is consistently in everybody’s top-five lists of James Bond’s movies. One scene in particular offers undisputed proof of the loathing that then-adults had for such musical styling. Upon finding a champagne bottle gone hot James utters this admonition to a wide-eyed Jill Masterson:

“My dear girl, there are some things that just aren’t done, such as drinking Dom Perignon ’53 above the temperature of 38 degrees Fahrenheit. That’s just as bad as listening to the Beatles without earmuffs!

Shocking, isn’t it? Positively shocking. The truth is that every adult thinks of the next generation’s music as garbage. There’s even a term for it: Generational Gap. During the ’60s the producers, directors and even actors in the Bond films were way above their 30s and The Beatles was the music of teenagers. Of course, they’d hate it.

It should be noted that both Bond (via the series produced by Eon Productions) and movies featuring The Beatles were major contributors to the profits of United Artists in the 1960s.

Now, fast forward to the next decade when the same producers wanted to introduce another actor in the role made famous by Sean Connery.

They were careful and hesitant. After all, they had attempted the same feat four years earlier with the then-unknown George Lazenby, a man who had a passing resemblance to Connery in that they were both broad-shouldered, black haired and squared-faced.

This time they were using a dark blond thinner man that had had his bit of fame in the small screen with The Saint. Still, the producers insisted on Roger Moore went a different way from Connery in every possible way.

That premeditated distance meant Bollinger replaced Dom Perignon. Gone were the cigarettes and in their place Moore smoked cigars when he was not making snake barbecue.

Design for LIve And Let Die’s soundtrack album

Not to mention the absence of vodka dry Martinis, Moore ordered Bourbon. By my count, Bond lost two Walter PPKs in the course of this adventure, and thus for the final battle he sported a heavy silver-plated revolver—perhaps influenced by 1971’s Dirty Harry.

There was one other major difference: The artist playing the title song was none other than a former Beatle, and the producers loved him enough they removed the earmuffs!

Paul McCartney’s song (written with Linda McCartney) went on to become a Bond classic in its own right. Of course, ten years had passed and The Beatles had proven themselves as artists with staying power, even after they broke up. Furthermore, the youngsters from the early ’60s had grown up and they were the target audience for the ’70s. What a difference a decade can make.

What’s more, former Beatles producer George Martin (1926-2016) helped sell producer Harry Saltzman on the song. Martin also scored the movie.

Despite its flaws, Live and Let Die has endured and has become Moore’s best performance of the character—perhaps followed closely by For Your Eyes Only. The self-imposed distance must have helped.

Then again, the old adage that the more things change the more they stay the same is also true in this instance.

Moore wasn’t imitating Connery, but as part of an ongoing series the movie kept enough mementos of the previous decade: Bond wore a Rolex as in Goldfinger; there were sharks like in Thunderball; and of course, double-entendre quips still ruled. “Sheer magnetism,” says Bond as he lowers the zipper of an Italian agent’s dress with a magnet.

J.H. Bográn, born and raised in Honduras, is the son of a journalist. His genre of choice is thrillers, but he likes to throw in a twist of romance into the mix. His works include novels and short stories in both English and Spanish. For more details, check out his website, http://www.jhbogran.com.

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Dr. No’s 55th: A peculiar anniversary

Dr. No poster

This week, the James Bond film franchise celebrates the 55th anniversary of its first entry, Dr. No. However, it’s a bit of peculiar milestone.

Five years ago, for the 50th anniversary, it was a time of celebration. The golden anniversary of Dr. No was marked with the knowledge that a new Bond film, Skyfall, would be out soon.

For Bond fans, it was a “win-win.” They could celebrate the franchise’s past while looking forward to the near future

For the 55th, not as much.

Eon Productions and Metro-Goldwyn-Mayer in July announced a November 2019 release date for Bond 25. But, as of this writing, there isn’t an actual distributor to get the movie into theaters. Such a distributor likely would provide a significant chunk of the funding for the project.

The incumbent 007, Daniel Craig, said in August he’s coming back for a fifth outing. However, besides the lack of a distributor, there’s no director in place, either.

Veteran 007 film scribes Neal Purvis and Robert Wade are working on Bond 25 story, according to that July announcement.

But until a director is on the job — and directors are known for bringing in their own writers to re-work a script — things can only proceed so far. One of the reported contenders, Denis Villeneuve, confirmed to The Montreal Gazette, that he has been in talks with Craig and Eon boss Barbara Broccoli. But Villeneuve, coming off Blade Runner 2049, is in demand for other projects.

What’s more, there have been fuzzy, imprecise vibes that Eon Productions might sell off its interest in 007 after Bond 25. Nobody has actually said this will happen but people have said it might happen.

Finally, tech giants Apple Inc. and Amazon.com Inc. are looking to get the Bond 25 distribution rights or perhaps acquire the whole thing, according to a Sept. 6 story by The Hollywood Reporter. Yet, major news outlets that follow both Apple and Amazon closely (think The New York Times and The Wall Street Journal) have ignored the story.

Is there anything to The Hollywood Reporter’s story or not? Who knows?

All this uncertainty overshadows Dr. No.’s anniversary. The first 007 film included Sean Connery introducing the line, “Bond, James Bond. It was a project the followed the unusual circumstances that brought Eon founders Albert R. Broccoli and Harry Saltzman together.

While a modestly budgeted production, the work of production designer Ken Adam made Dr. No look more expensive than it was. And actress Ursula Andress made an impression on audiences. Director Terence Young, not the first choice of either the producers or distributor United Artists, got the series off to a rousing start.

Some Bond fans fans are sure a major announcement about Bond 25 is coming on Oct. 5, Global James Bond Day and also the anniversary of Dr. No’s premiere. Maybe they’re right. We’ll see.

In any case, the 55th anniversary of Dr. No has an uncertainty that the 50th anniversary didn’t.

Fleming and U.N.C.L.E.: More than a footnote

Ian Fleming

This weekend marked the 53rd anniversary of the death of 007 creator Ian Fleming.

Understandably, there were the usual observations of his passing. After all, without Fleming, we wouldn’t have James Bond movies or the 1960s spy craze.

After all these years, however, there’s an oddity. That is, Fleming’s connection to The Man From U.N.C.L.E. television show.

U.N.C.L.E. originated because there was interest in turning Fleming’s Thrilling Cities book into some kind of television show.

That led to television producer (who concluded the book would not be the basis of a show) into doing a pitch for something different. In turn, that led to NBC saying it Fleming could be enticed into participating, it’d buy the series without a pilot being produced.

In turn, that led to meetings between Felton and Fleming in New York in October 1962. In turn, that led to Felton writing up ideas and Fleming (after days without much being accomplished) writing on 11 pages of Western Union telegram blanks. In turn, that led to Felton employing Sam Rolfe to concoct something that went beyond far beyond the initial Felton-Fleming ideas.

Eventually, Fleming exited the project (under pressure from 007 film producers Albert R. Broccoli and Harry Saltzman), selling off his interest for 1 British pound.

Regardless, without Fleming, U.N.C.L.E. wouldn’t exist given the history with Thrilling Cities. But some long-time (i.e. original) U.N.C.L.E. fans hesitate to acknowledge that. Felton and Rolfe did the heavy lifting — there’s no denying that at all. But Thrilling Cities was the catalyst.

Also, Fleming’s idea of naming the hero Napoleon Solo (Felton’s initial idea was Edgar Solo) was huge. The original idea was Solo would be an ordinary looking fellow. But a character named Napoleon Solo was not going to be your next door neighbor or the guy in the apartment down the hall.

At the same time, Bond movie fans don’t even consider it. And Ian Fleming Publications, run by Fleming’s heirs, don’t even mention U.N.C.L.E. in the IFP timeline of Fleming’s life. 

Fleming was connected to U.N.C.L.E. for less than eight months (late October 1962 to June 1963). Not an enormous amount of time but more than just a footnote.

It is what it is, as the saying going. The 2015 movie version of The Man From U.N.C.L.E. didn’t give a credit to either Sam Rolfe or Ian Fleming, while Felton (who died in 2012) got an “executive consultant” credit. Ironically, one of Fleming’s 1962 ideas — of Solo being a good cook — was included in the film.

It would appear that U.N.C.L.E. will remain Fleming’s bastard child (figuratively, of course) now and forever.

As Eon’s non-007 portfolio expands, what about Bond 25?

Image for the official James Bond feed on Twitter

Eon Productions is going to make a spy movie without James Bond. Naturally, that raises some questions. So here goes.

Does anybody think Bond 25 is coming out in late 2018?

There are always some die-hard believers. After all, Linus believed the Great Pumpkin was coming.

Still, the evidence available to outsiders suggest 2018 is no longer operative, if it ever was.

Eon announced July 12 it would make The Rhythm Section, a spy thriller featuring a female lead played by Blake Lively. According to the announcement, filming is to begin later this year.

The last two Bond films, Skyfall (2012) and SPECTRE (2015) began filming in November and December respectively of the years before they were released.

Bond 25, with no confirmed leading man, no director and no script, doesn’t seem to be on track for 2018.

At this point, the question is whether 2019 is realistic. Eon is supposed to be producing a historical war movie starting late this year, according to the James Bond MI6 website.

So when does Bond 25 actually get into production and come out?

Who knows? We won’t get much information until at least Metro-Goldwyn-Mayer reaches a deal with another studio to release Bond 25. As of today, there’s no such deal.

What does this mean?

It means this is not your father’s (or grandfather’s) James Bond film series.

Albert R. Broccoli and Harry Saltzman, the founders of Eon, had various non-Bond film projects. But, aside from 1963’s Call Me Bwana, Broccoli and Saltzman didn’t do them through Eon. They did them through separate production companies.

Eon has a lot on its plate. Not all of its various projects have become reality. In the early 2000s, a proposed Jinx movie was junked, for example.

But, for now, things are more complicated than the days (say 1977-1989) when Cubby Broccoli produced Bond movies every two years. Maybe every three years.

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.

“Without whom, etc.”

Ian Fleming, drawn by Mort Drucker, from the collection of the late John Griswold.

It was 109 years ago today that Ian Fleming was born.

Without him, James Bond novels wouldn’t have come to be. That would have freed up a slot for President John F. Kennedy’s list of his top 10 favorite books. Who knows what book would have benefited from being on that early 1960s list?

Also, James Bond movies wouldn’t have come to be. That’s 24 movies in the official series (and counting) plus two others.

Neither would have The Man From U.N.C.L.E., which originated when producer Norman Felton was approached about whether he’d like to a series based on Fleming’s Thrilling Cities book.

The author’s involvement (from October 1962 to June 1963) with U.N.C.L.E. spurred NBC to put the show in development. By the time Fleming exited (under pressure from Bond producers Albert R. Broccoli and Harry Saltzman), enough work had occurred for NBC to keep developing the series. One of Fleming’s ideas (that Napoleon Solo liked cooking) ended up in the 2015 movie version of the show.

For that matter, pretty much the entire 1960s spy mania (Matt Helm movies, Flint movies, I Spy, The Wild Wild Wild West, Mission: Impossible) probably doesn’t happen because Bond generated a market for such entertainment.

Happy birthday, Ian Fleming.

Roger Moore, 7-time film 007, dies at 89

Roger Moore in Live And Let Die

Roger Moore in Live And Let Die

Roger Moore, who played James Bond in 007 films in 12 years, has died at 89. His family announced his death via his Twitter account.

Moore died following “a short but brave battle with cancer,” according to the statement.

The actor was the third film Bond, following Sean Connery and George Lazenby.

During his tenure, from 1973 to 1985, the Bond films took a more lighthearted tone. But his films established, once and for all, the series could survive — and more — without Connery, the original film 007.

Moore’s first Bond film, 1973’s Live And Let Die, was an international hit. Its worldwide box office totaled $161.8 million, the first Bond movie to exceed Thunderball’s $141.2 million. The U.S. box office was more modest, $35.4 million. That didn’t match the U.S. take for Connery’s Eon finale, Diamonds Are Forever ($43.8 million).

Regardless, both Eon Productions and its feuding producers Albert R. Broccoli and Harry Saltzman along with studio United Artists were satisfied. Moore would continue.

The Man With the Golden Gun, released in late 1974, was a letdown with audiences, with the global box office falling 40 percent compared with Live And Let Die. The series, though, faced a larger crisis. The Broccoli-Saltzman partnership was about to fall apart because of Saltzman’s financial problems.

UA bought out Saltzman, leaving Broccoli in charge. But the next film, The Spy Who Loved Me, would tell the tale whether 007 still had a future in the cinema.

The answer was yes. Spy had magnificent sets designed by Ken Adam, an Oscar-nominated score by Marvin Hamlisch and photography by the well-regarded Claude Renoir. Director Lewis Gilbert determined to play up the actor’s strengths. With Moore as the headliner,  James Bond once again was an undisputed hit.

The actor remained 007 for four more films. Eventually, Moore negotiated his Bond movies one production at a time. Broccoli would test screen potential replacements, including American James Brolin in 1982.

Roger Moore in a 1980s publicity still

Roger Moore in a 1980s publicity still

But Broccoli kept returning to Moore, long after the actor turned 50.

Moore returned for 1981’s For Your Eyes Only. It was a much more grounded Bond outing following 1979’s Moonraker, which saw 007 go into outer space. The pre-credits sequence was filmed as if it the movie was intended to introduce a new Bond, with 007’s face not initially revealed.

Eyes was the first film in years to extensively use Ian Fleming story lines, utilizing two short stories from the author’s 1960 For You Eyes Only collection. While things beccame more serious, Moore showed himself up to the task.

Two years later, Moore was back again for Octopussy. Sean Connery was starring in a rival Bond film, Never Say Never Again, a remake of Thunderball. Broccoli eventually went with Moore.

The 1983 movie was more uneven than Eyes. But Moore gave off a “I know exactly what I’m doing” vibe. The “Battle of the Bonds” generated big publicity but the actor appeared as if he were unfazed by it all.

Many fans felt Moore, now nearing 60, stayed for one 007 adventure too many with 1985’s A View to a Kill. Fans who never warmed to Moore — and there are some who’ve spent decades decrying the actor — felt vindicated. For those who enjoyed Moore’s performances, it felt like the end of an era.

For more than three decades, Moore continued to be the Bond franchise’s best ambassador. He expressed support for his Bond successors, Daniel Craig in particular. 

Moore lived to a ripe old age. So long, he outlived and said good-bye to a number of colleagues. Among them: director Guy Hamilton (who helmed his first two 007 films), Ken Adam and fellow actors Christopher Lee and Patrick Macnee.

The actor, of course, did much more than Bond. He had become a star playing The Saint on television in the 1960s. He followed that up with another television project, The Persuaders, with Tony Curtis as his co-star. And he was a goodwill ambassador for years for UNICEF.

From a 007 perspective, he helped establish the longevity of the Bond franchise. As late as 1972, people could ask in all seriousness whether Bond could survive Connery’s departure. After Moore’s 12 years as Bond, that wasn’t a question anymore.

Here is the Twitter post from the Moore family:

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