Blast from the past: The Spy Who Loved Me (1975)

Bond collector Gary Firuta forwarded the following trade advertisement dated May 1975 in a publication called Cinema TV Today. It’s for The Spy Who Loved Me.

Of interest is that Harry Saltzman is still onboard at Eon Productions along with Albert R. Broccoli. Both are listed as presenting the movie. Also, at the time of the advertisement, Guy Hamilton was still slated to be director — with a 1976 release date.

Finally, in the 1975 ad, it says, “Ian Fleming’s The Spy Who Loved Me.” In the film, it said Roger Moore was playing “Ian Fleming’s James Bond 007 in The Spy Who Loved Me.” The final film with “Ian Fleming’s” affixed to the title was Moonraker.

There would be many twists and turns between this advertisement and the release of the movie in the summer of 1977. The biggest twist would be Saltzman’s exit from Eon, selling out his interest to United Artists, a development that still affects the franchise today. Metro-Goldwyn-Mayer picked up UA’s interest in 007 when it acquired UA in 1981. Hamilton would also exit the project, to be replaced by Lewis Gilbert.

UPDATE: Back in September 2011, we had a post about THE ORIGINAL POSTER for The Spy Who Loved Me and how it differed from the final version.

SPY - AD CINEMA 1975

007 Tweets of note from Jeremy Duns, Anthony Horowitz

On Sunday, Jan. 25, two rather interesting posts on Twitter emerged related to the world of James Bond.

The first was from journalist and author Jeremy Duns. He came across a 1963 story in the Daily Express indicating that, at one time, Bond co-producer Harry Saltzman was interesting in having actor-playwright Robert Shaw script a 007 film.

Shaw, of course, played Red Grant in 1963’s From Russia With Love. There are no details about what Bond project this might have been for.

Generally speaking, screenwriter Richard Maibaum was close to Albert R. Broccoli, the other Bond co-producer. Saltzman was always on the lookout for other scribes, including Len Deighton (who did uncredited work on From Russia With Love), Paul Dehn (Goldfinger) and John Hopkins (Thunderball).

Duns previously has detailed the work screenwriter Ben Hecht did for producer Charles K. Feldman’s ill-fated 1967 Casino Royale film. Duns researched how Hecht had a more serious take in mind. Duns has a e-book on the subject, ROGUE ROYALE.

The other Tweet came from Anthony Horwitz, writer of the next James Bond continuation novel coming out this fall.

The author, as it turns out, was watching the 1974 movie on television. On Jan. 15, HE TWEETED he had delivered his Bond novel. On Jan. 22, HE TWEETED that he had seen the cover, calling it “perfect.”

UPDATE: Horowitz later engaged in a dialogue with other Twitter users.

One commented to Horowitz that the Golden Gun novel isn’t one of Fleming’s best novels. Horowitz’s reply: “True. But that rubber nipple? Oh dear.” In a separate response, he said of the 1974 movie’s car jump: “Great stunt. But the sound and the sheriff? Oh dear.”

He was then informed by freelance writer and author Jeffrey Westhoff, “Slide whistle was John Barry’s choice, which he later regretted. But director, etc. could have nixed it.” Horowitz’s reply: “That’s a very interest piece of movie trivia!”

Majesty’s 45th: ‘This never happened to the other fella’

OHMSS poster

OHMSS poster

When Sean Connery was cast as James Bond in Dr. No, there was interest. Ian Fleming’s 007 novels were popular. President John F. Kennedy was among their fans. Still, it wasn’t anything to obsess over.

Six years later, things had changed. Bond was a worldwide phenomenon. 007 was a big business that even producers Albert R. Broccoli and Harry Saltzman hadn’t anticipated originally. Now, the role was being re-cast after Sean Connery departed the role.

As a result, On Her Majesty’s Secret Service, which debuted 45 years ago this month, was under intense scrutiny. The film required a long, exhausting shooting schedule. This time, Bond would be played by a novice actor, George Lazenby, and a first time director Peter Hunt.

Hunt, at least, was no novice with the world of 007. He had been editor or supervising editor of the previous five Broccoli-Saltzman 007 films and second unit director of You Only Live Twice. So he was more than familiar with how the Bond production machine worked. Also, he had support of other 007 veterans, including production designer Syd Cain, set decorator Peter Lamont, screenwriter Richard Maibaum and composer John Barry.

Lazenby, on the other hand, had to take a crash course. He was paired with much more experienced co-stars, including Diana Rigg and Telly Savalas. And he was constantly being compared with Connery.

When, at the end of the pre-titles sequence, Lazenby says, “This never happened to the other fella,” the statement was true on multiple levels.

Majesty’s was also the first time Eon Productions re-calibrated. You Only Live Twice had dispensed with the main plot of Fleming’s novel and emphasized spectacle instead. Majesty’s ended up being arguably the most faithful adaptation of a Fleming 007 novel. It was still big, but it had no spaceships or volcano hideouts.

Majesty’s global box office totaled $82 million, according to THE NUMBERS WEBSITE. That was a slide from You Only Live Twice’s $111.6 million. Twice’s box offce, in turn, had declined compared with Thunderball.

For Lazenby, once was enough. He subsequently has said he erred by not making a second Bond. “This never happened to the other fella,” indeed.

Today, Majesty’s has a good reputation among 007 fans. In 1969 and 1970, the brain trust at Eon Productions and United Artists concluded some re-thinking was needed. Things were about to change yet again.

Goldfinger’s 50th anniversary: the golden touch

Sean Connery and Honor Blackman projected onto the iconic "Golden Girl."

Sean Connery, Honor Blackman and the “Golden Girl.”

This month marks the 50th anniversary of Goldfinger, the third James Bond film.

Where Dr. No and From Russia With Love were wildly successful, Goldfinger turned 007 into a phenomenon. Where the first two films were escapist, Goldfinger was outlandish — a woman killed with gold paint, a car equipped with an ejector seat, machine guns and other weaponry, a plot to invade Fort Knox and a henchman who killed people by throwing a steel-rimmed hat at them.

Audiences could not get enough. Worldwide, Goldfinger’s box office was 58 percent higher ($124.9 million) than the box office of From Russia With Love ($78.9 million). In the U.S., Goldfinger’s box office more than doubled that of its 007 predecessor ($51.1 million compared with $24.8 million).

Sean Connery had become a star as Bond, his status confirmed by having his name “above the title” in the main credits. In the first two films, it was “Starring Sean Connery” immediately after the name of the movies was shown.

As noted here before, Goldfinger was the tide that lifted all boats of the 1960s spy craze.

In the U.S., The Man From U.N.C.L.E., which had struggled in the ratings early in its run, rallied around the time Goldfinger made its American debut. By the fall of 1965, spy shows would be a major attraction on U.S. television.

In theaters, Bond’s success encouraged both wildly escapist films (the Flint and Matt Helm series) and the occasional serious, “anti-Bond” film (The Spy Who Came in From the Cold and The Ipcress File, the later produced by 007 co-producer Harry Saltzman and having several 007 production crew members aboard.).

Television commercials likewise were inspired by Goldfinger and 007. Harold Sakata, who played henchman Oddjob, starring in a series of spots for cough medicine. Butterfinger candy bars had a spot that utilized the hit John Barry-Leslie Bricusse-Anthony Newley Goldfinger title song.

The movie has been analyzed in many, many places, including five years ago at this blog. It was a difficult film to script, with Richard Maibaum, and later, Paul Dehn tackling storytelling issues in Ian Fleming’s novel. The final script turned Fleming’s longest novel into a tight film that ran below two hours.

In the 21st century, some Bond fans will say Goldfinger isn’t the best 007 movie. Some even say they’ve seen it so many times they’re really not sure they can watch it again.

Still, whatever one’s opinion, Goldfinger changed everything in the 007 universe. For years, producers Albert R. Broccoli and Harry Saltzman sought “another” Goldfinger. Richard Maibaum’s first take on Diamonds Are Forever included Goldfinger’s twin brother, an idea that was rejected.

You can make the case that various 007 films are better. Some fans cite From Russia With Love, On Her Majesty’s Secret Service, Casino Royale and Skyfall among them. But Goldfinger, because of its impact not only on the 007 franchise but on other popular entertainment, may be the most important.

Early 1962: Dr. No’s script takes shape Part I

Sean Connery in Dr. No

Sean Connery in Dr. No

By early 1962, the screenwriters of Dr. No finished their fifth draft of a script adapting Ian Fleming’s novel. That draft, dated 8-January-1962, greatly resembles the film that would ultimately premier that fall. But there were still elements that either got dropped or significantly altered during production.

What follows is a summary based on a copy supplied by Bond collector Gary Firuta.

The draft’s title page lists Richard Maibaum, Wolf Mankowitz and J.M. Harwood as the writers and Harry Broccoli and A.R. Broccoli as producers. The production company name is listed as Eon Film Productions Ltd., later shortened to Eon Productions.

The early sequences are very similar to the final product, but scenes have additional dialogue than would make the final cut.

In the stage directions, John Strangways, R.N. (ret.) is described as “Carribean Universal Exports Agent, or, less discreetly, the local representative of the British Secret Service. He is a tall, lean man with a black patch over his right eye, and the sort of acquiline good looks associated with the bridge of a destroyer.”

The bridge game at the Queen’s Club includes an exchange after Strangways departs the bridge game for his daily call from headquarters. Potter, one of the players, asks, “What is his wretched Company, anyway?” Professor Dent replies, “He’s the Carribean Agent for Universal Exports…”

In the script, Strangways realizes, too late, he’s in danger. “The tapping of the sticks” of the supposedly three blind men “ceases. STRANGWAYS turns partially back to the, the moment of silence registering.” (Yes, there appears to be a dropped word.) The stage directions specify Strangways is hit between the shoulders, small of the back and the pelvis. The driver says, “Hurry it up, boys…” rather than the “Hurry, man, hurry!” of the final film. Meanwhile, inside the hearse, the killers put on “roomy black alpaca coats” and replace their baseball caps with black top hats.

At Strangways house, Mary Prescott, “STRANGWAYS’ secretary and No. 2,” is described as “a striking-looking young woman despite her tailored dress.” As described in the stage directions, she only sees one of the assassins before she dies.

As in the final film, the scene switches to London. The script references “the M.I.6. building, a square eight-storey structure near Regent’s Park.” An operator even says, “Urgent. M.I.6. RT Control.”

We’re then off to Le Cercle Casino. On page 10, the stage directions refer to SYLVIA TRENCHARD, who is “willowly exquisitely gowned with a classic, deceptively cold beauty. The stage directions say at first she is playing the “MAN” As the game progresses, it’s specified “we have still not seen” the Man. He is then identified as BOND when he “takes a cigarette from a flat gun-metal case on the table besides him.”

The game continues. On page 11, Sylvia introduces herself as “Trench…Sylvia Trench.” Bond lights her cigarette.

SYLVIA
And I admire your luck, Mr….?

BOND
(as he brings the lighter up to his own cigarette, and for the first time we see his face.)
Bond….James Bond.

TO BE CONTINUED

MI6 Confidential features Armstrong, Picker in new issue

David Picker

David Picker

MI Confidential is out with A NEW ISSUE that, among things, includes features on stuntman/second unit director Vic Armstrong and former United Artists executive David V. Picker.

Armstrong worked on the 007 film series in such films as You Only Live Twice and On Her Majesty’s Secret Service. He was interviewed for John Cork-directed documentaries about those movies, providing some behind-the-scenes perspective about how stunts were performed. From 1997-2002, Armstrong assumed the helm as stunt coordinator and second unit director for three Bond films starring Pierce Brosnan.

Picker was among the UA executives who reached a deal in 1961 with producers Albert R. Broccoli and Harry Saltzman to get the 007 film series started. His memoirs were published last year, including A CHAPTER ON THE BOND FILM SERIES.

Also included in the issue are stories about Lana Wood and her experiences filming Diamonds Are Forever and Ian Fleming’s taste in cars.

The price for MI Confidential No. 25 is 7 British pounds, $11 or 8.50 euros. For more information about the contents or to order, CLICK HERE.

Golden Gun’s 40th anniversary: 007’s sacrificial lamb

goldengunposter

Normally, we’d have waited to do a post about The Man With The Golden Gun’s 40th anniversary. But with this week’s passing of co-director of photography Oswald Morris, this is as good a time to examine the ninth James Bond film.

Let’s face it: Golden Gun doesn’t get a lot of love among James Bond fans or even professionals. It’s exhibit A when the subject comes up about 007 film misfires. Too goofy. Too cheap. Too many of the crew members having a bad day.

Over the years, Bond fans have said it has an average John Barry score (though one supposes Picasso had average paintings). It has too many bad gags (Bond watches as two teenage karate students take out a supposedly deadly school of assassins). And, for a number of first-generation 007 film fans, it has Roger Moore playing Bond, which is bad it and of itself.

Golden Gun is a way for fans to establish “street cred” — a way of establishing, “I’m not a fan boy.” The 1974 film is a way for the makers of 007 films to establish they’re really talking candidly, that not every Bond film has been an unqualified success.

The latter point is true enough. Golden Gun’s worldwide box office plunged 40 percent compared with Live And Let Die ($97.6 million versus $161.8 million, according to THE NUMBERS website). Within a few weeks of its December 1974 U.S. release, United Artists hurriedly paired Golden Gun with Thunderbolt and Lightfoot, which UA released earlier in 1974, to make a double feature.

In terms of long-term importance, Golden Gun was the finale of the Albert R. Broccoli-Harry Saltzman 007 partnership. Saltzman would soon be in financial trouble and have to sell out his share of the franchise to United Artists. In a way, things have never really been the same since.

This is not to argue that Golden Gun is the best offering in the Eon Production series. Rather, in many ways, it’s the runt of the litter that everybody likes to pick on — even among the same people who’d chafe at criticism of their favorite 007 film.

The documentary Inside The Man With The Golden Gun says the movie has all of the 007 “ingredients.” Of course, such a documentary is approved by executives who aren’t exactly demanding candor. But the statement is true. It has not one, but two Oscar winning directors of photography (Morris and Ted Moore); it has a score by a five-time Oscar winner (Barry); it is one of 13 007 movies Richard Maibaum contributed writing.

Then again, movies sometimes are less the sum of their parts. It happens. Not everyone has their best day.

For many, Golden Gun is a convenient piñata. Despite some positives (including a genuinely dangerous driving stunt), it’s never going to get much love in the 007 community.

Follow

Get every new post delivered to your Inbox.

Join 171 other followers