A few things best to forget about the first 3 007 films

Poster for a 1972 007 triple feature

Poster for a 1972 007 triple feature

After we did a post about things best to overlook about You Only Live Twice, two readers suggested earlier 007 movies deserved similar treatment.

Thunderball, the fourth Bond film, is rather notorious for a number of continuity flubs (not to mention a certain dog). So, we’ll keep this post to the first three 007 movies and things that are best to overlook to enjoy the movies.

DR. NO

Does M routinely work at 3 a.m.?: Granted, if you were running MI6 (or MI7 as Bernard Lee’s M refers to it) and one of your stations chiefs went missing, it’d be serious. But does that merit staying at the office overnight? Along with your secretary and your quartermaster?

In Dr. No, the answer appears to be yes. So you stick around. As does Miss Moneypenny (Lois Maxwell) and Major Boothroyd (Peter Burton). Do Moneypenny and Boothroyd get overtime?

Why is Dr. No flushing all that water through his ventilator shafts? In the novel Dr. No, Ian Fleming depicts Bond going through an obstacle course that ends with 007 having to fight a giant squid. The first Bond movie didn’t have a budget to include that. So we get Bond (Sean Connery) going through a large ventilator shaft. It gets rather hot and a lot of water is being flushed. But why?

Bond doesn’t exactly have it easy, but eventually comes out in a room that includes radiation suits. It’s the perfect place for Bond to change to confront Dr. No in his reactor room.

Bond’s magical hair: After Bond has vanished Dr. No, he gets ready to head through a hatch. His hair is disheveled. Agent 007 runs his hands through his hair as he enters the hatch. Upon exiting, every hair is in place.

When Dr. No’s headquarters blows up — out-of-control atomic reactor and all — would that present a radiation hazard? Just wondering. The good folks at Cracked.com seemed to think it might render vast portions of the Carribean into a nuclear wasteland IN THIS 2012 POST.

FROM RUSSIA WITH LOVE

What was the purpose of the training exercise in the pre-credits sequence? Red Grants stalks a guy wearing a James Bond mask and kills him. “One minute, fifty-two seconds, that’s excellent,” one of the SPECTRE officials says. Yeah, but does this really help grant get ready to kill Bond? And why did the guy playing Bond participate? Did he volunteer? Or was he forced to? And what would have happened if he killed Grant? Then again, if they didn’t do that, we wouldn’t have an exciting pre-credits sequence, would we?

Who took away the bodies after the fight between the gypsies and the Bulgars at the gypsy camp? You’d think somebody would have noticed. Maybe there’s a deleted scene we’ll never get to see. Istanbul police chief: “Cripes, the Bulgars and the gypsies have been fighting again! What a headache!”

Who took away Rosa Klebb’s body at the Venice hotel? Bond quips that, “She’s had her kicks.” Presumably, the chap from the embassy Bond was chatting with on the phone had some connections with the Italian authorities.

GOLDFINGER

“Why didn’t he just kill him?” That’s the question that Jed Clampett (Buddy Ebsen) asked an excited Jethro Bodine (Max Baer) in an episode of The Beverly Hillbillies concerning the plot of Goldfinger.

It’s an old joke, but still a good one. Mike Meyers managed to get three Austin Powers movies made essentially using the idea. Goldfinger screenwriters Richard Maibaum and Paul Dehn sweated bullets over it in separate drafts of the script. Still, the Austin Powers movies haunt the 007 franchise to this day, ACCORDING TO CURRENT 007 DANIEL CRAIG.

“Must be a double blowout!” That’s Bond’s sort-of explanation for why Tilly’s Mustang ran off the road when he used his Aston Martin DB5’s device that not only shredded her tires but put a nice, long hole in the Mustang’s body between the tires. Presumably, Tilly’s powers of observation weren’t too keen.

Why does Goldfinger have Mr. Solo’s body crushed after he’s already dead? Oddjob shoots Solo, then drives the Lincoln Continental to a junk yard, where the car — including its contents of a gangster, a note from Bond in the gangster’s pocket, Bond’s homer also in the gangster’s pocket and a million dollars worth of gold — is crushed.

When Oddjob returns the squished block of metal back to Goldfinger’s stud farm, the villain remarks, “I must arrange to separate my gold from the late Mr. Solo.” Given this is the day before the raid on Fort Knox, seems like Goldfinger has created extra work for himself on top of an already busy schedule.

How did Goldfinger take over the plane that’s supposed to be going to Washington? Granted, the villain is wearing a general’s uniform. But do you think you could get onto a major U.S. Army base and get everything you want just by wearing a general’s uniform? Best not to think about that because you’ll be distracted and miss the ending.

Dr. No’s script Part III: A friendship is forged

Jack Lord with Ursula Andress and Sean Connery during Dr. No's production.

Jack Lord with Ursula Andress and Sean Connery.

Continuing our look at a January 1962 Dr. No script supplied by collector Gary Firuta.

Dr. No’s screenwriting team of Richard Maibaum, Wolf Mankowitz and Johanna Harwood opted to bring in Ian Fleming’s Felix Leiter character into the film version of Dr. No even though he wasn’t in that novel.

Their challenge: establish the James Bond-Leiter friendship within a few minutes of screen time.

By the time Dr. No was nearing production, Leiter had appeared in the novels Casino Royale, Live And Let Die, Diamonds Are Forever, Goldfinger and Thunderball. Bond and Leiter had shared a number of adventures in the novels, including Leiter providing a major financial assistance in Casino and nearly getting killed in Live And Let Die.

But that back story wasn’t of use for the screenwriters. They would have to invent their own storyline of the forging of the Bond-Leiter friendship.

In the film, it gets off to a rocky start. The audience doesn’t realize it’s Leiter observing Bond at the Kingston airport. Bond gets the best of the encounter, losing Leiter and Quarrel, who are following him. Bond catches up to Quarrel and gets into a fight. Here’s how the script describes what happens next.

Behind him, and unknown to him, LEITER has appeared in the door. He gently takes BOND’S wrist and equally gently shoves a Walther into his kidneys.

LEITER
(softly)
Gently, bud, gently. Let’s not get execited, eh?

BOND stiffens. His position is now untenable and he’s not a bloody fool. LEITER stretches round in front of him and takes his gun. He tooks at two identical weapons with slightly raised eyebrows.

The exchange that takes place is similar to the finished film but there are some interesting stage directions.

Quarrel we’re told is “looking murderous, steps forward and expertly frisks BOND. (Expertly means to start at sock level and run and tap lightly upwards. A favourite place for keeping a second gun or a knife is taped to the inside of the thigh. QUARREL evidently knows this.)”

Leiter is “moving around so he can see BOND CLEARLY.” After Leiter tells Bond his got his gun from “a guy in Washington,” he then “suddenly breaks into a grin, puts his own gun into his shoulder holster, reverses one in his left hand and holds it butt first to BOND, simultaneously holding out now free right hand in greeting.”

The next scene is at the restaurant/night club as in the film. “In the background, FOUR ATTRACTIVE GIRLS, wearing just what they are forced to by law, are going through a particularly Jamaican type of Twist.”

As they discuss how Cape Canaveral rockets are being sabotaged, Bond “chooses his words with irony” when he asks if Leiter had “cased the joint.”

LEITER
I checked…unofficially. You…
(mimics BOND)
“Limeys” can be pretty touch about trespassing.

The TWO MEN grin at each other.

From here on out, the two men are friends, although there’s an occasional edge. Later, Leiter “thoughtfully” asks whether Professor Dent is a bad professor or a bad liar. Bond “grimly” says he intends to find out which.

When Bond finally shows up to head out to Crab Key, Leiter is “growling” when he asks where Bond has been.

When Bond and Quarrel get ready to make their approach to Dr. No’s island, Leiter “softly” says “Let me go with him” to Bond. The British agent replies, “We’ve argued all the way out. Strangways happened to be a friend of mine.”

Bond and Leiter “grin understandingly” after Bond says, “We’ll be back in twelve. If not, it’s your show, and you’d better bring in the Marines.”

NEXT: Killing Professor Dent in triplicate

Dr. No’s script Part II: Bond memes make their debut

Jack Lord and Sean Connery during Dr. No filming

Jack Lord and Sean Connery during Dr. No filming

Continuing our look at a January 1962 Dr. No script provided by collector Gary Firuta.

Bond, having bested Sylvia Trench (or Trenchard, depending on which page of the script you’re reading), gets ready to exit the casino. Bond invites Sylvia for golf and dinner, similar to the finished film with a few differences in dialogue.

On page 13, Bond enters the office. He says, “Hi….Moneypenny….” as he enters. There is no mention of him throwing his hat on the hat rack. The dialogue is again very close to the final version of the movie. Stage directions specify that she “takes in his appearance with mock admiration” as she says, “You never take me out look like that James….” She has a “deep sigh” and says, “You never take me out, period.”

Bond replies, “I’d take you out tomorrow, only I’d have me courtmartialled for illegal use of Government property.”

After Bond enters M’s office, there’s a description. “He is a man in his middle fifties, well-sel up, with some of the Navy about him.” M and Bond discuss the situation in Jamaica before Major Boothroyd enters to give Bond his new gun. Boothroyd “is a short, slim man, with snady (sic) hair.” When Boothroyd produces the Walther PPK he is “producing gun and shoulder holster from case with professional pride.”

As in the finished movie, Bond tries to sneak out his old Beretta from the office but M stops him. “They catch each others’ eyes. They really understand each other perfectly. BOND GOES.”

The intrepid agent goes back to his flat and gets a surprise in the form of Sylvia in Bond’s pajama tops. She is practicing chip shots “into the bowler hat which is laying on the floor by foot of bed.”

The rest of the scene plays out as in the finished film, but there’s an extra. As Bond and Sylvia make out, there’s this stage direction: “CAMERA PANS DOWN to take in his toes curling inside silk evening socks and her bare ones on tiptoe. The golf club drops onto the carpet; as his tie foins it, we….. FADE OUT.” (Note: it says “foins” rather than “joins” in case you’re wondering.)

Bond takes a BOAC flight to Jamaica, rather than PanAm, as in the film. He is met by a chauffeur, who says, “I’m Mistuh Jones, suh…chauffeur from Government House. Ah been sent to get you.” Bond even calls him “Mistuh Jones” in return.

007 calls Government House. Playdell-Smith takes the call. “Put him through, Miss Taro.” After talking with Bond, Playdell-Smith wraps up the call and says “(off-screen to SECRETARY) Thank you, Miss Taro. I’ll call when I want you.”

Meanwhile, at the Kingston airport, another figure takes in the scene: “a tall thin HATCHET-FACED MAN (FELIX LEITER).”

Bond and Jones depart the airport, followed by Leiter and a “humourous-looking, intelligent CAYMAN ISLANDER (QUARREL).”

The British agent, as in the film, loses his pursuers and gets Jones off alone to interrogate him. He still addresses him as “Mistuh Jones.” After Bond bests Jones in a fight, Jones commits suicide rather than reveal who he’s working for. Jones says, “The….hell with you….” before he dies.

With nothing else to do, Bond drives to Government House. “THE CHAUFFEUR’s body is propped up realistically in the back seat.” When he arrives, the agent utters a witticism to A UNIFORMED GUARD similar to the finished movie.

BOND
(indicating CHAUFFEUR)
Watch him. Make sure he doesn’t get away.

GUARD
(briskly)
Yes, sir.

He does a double take as he sees the DEAD MAN.

TO BE CONTINUED

Hawaii Five-O’s 45th anniversary: cop show with a spy twist

Jack Lord as Steve McGarrett

Jack Lord as Steve McGarrett

Forty-five years ago this month, Hawaii Five-O debuted. While a cop show, it had an element of international intrigue from the start.

The two-hour television movie version version of the pilot, which first aired on CBS on SEPT. 20, 1968, concerned a plot where Red Chinese intelligence operative Wo Fat was torturing U.S. intelligence agents in the Pacific Rim and obtaining important information.

Steve McGarrett, the no-nonsense head of state police unit Hawaii Five-O is drawn to the case because the latest victim was a friend of his. The lawman, a former U.S. Naval intelligence officer, isn’t one to back down from official pressure to lay off.

The pilot immediately grabbed the attention of viewers. A short pre-titles sequence shows Wo Fat using a sensory deprivation chamber for the torture. That’s followed by a 90-second main title featuring a stirring theme by Morton Stevens.

The composer initially thought about re-using the theme he wrote for an unsold pilot, CALL TO DANGER. His wife, Annie Stevens, strongly advised against the move, according to a 2010 STORY IN THE HONOLULU STAR ADVERTISER. As a result, Stevens created one of the greatest themes in television history.

The series was conceived by veteran television producer Leonard Freeman, who wrote the pilot. Freeman’s 1967 first draft had a team led by McGarrett, with a mid-20s Hawaiian sidekick, Kono Kalakaua, a third, heavy-set detective and Chin Ho Kelly, who was the Honolulu Police Department’s liaison with Five-O. In the final version of the story, the sidekick became the Caucasian Danny Williams; the Kono name was given to the heavier-set character; and Chin Ho was made a full-fledged member of Five-O.

Freeman & Co. were preparing to film the pilot with American actor Robert Brown as McGarrett. Rose Freeman, widow of the Five-O creator, told a 1996 fan convention in Los Angeles that CBS objected to the casting and, just five days before filming was to start, Brown was replaced with Jack Lord, the first screen incarnation of Felix Leiter in Dr. No. Brown ended up starring in another 1968 series, Here Come the Brides.

The pilot had Tim O’Kelly as Danny. When the series was picked up, Freeman recast the part with James MacArthur, who a small, but notable role in Hang ‘Em High, a Clint Eastwood Western film that Freeman had produced.

The international espionage aspect of Five-O remained throughout the show’s 12-year run, though less so in the later seasons. Wo Fat, played by Khigh Dhiegh, made a NUMBER OF RETURN APPEARANCES, including the 1980 series finale. As the U.S. and China began to normalize diplomatic relations, Wo Fat became an independent menace. In the ninth-season opener, Wo Fat attempts to take over the Chinese government.

Five-O matched wits with a number of other spies played by the likes of Theodore Bikel (who had tried out for Goldfinger), Maud Adams and Soon Tek-Oh. George Lazenby, the second screen James Bond, played a secondary villain in a 1979 episode filmed on location in Singapore.

Five-O wasn’t always an easy show to work on. Freeman died in early 1974, after the sixth season completed production. Zulu (real name Gilbert Kauhi), who played Kono left after the fourth season; he told fans at the 1996 convention about problems he had with Jack Lord. His replacement, Al Harrington as another detective, departed in the seventh season.

Nevertheless, Five-O had a long run. When it left the air, Five-O was the longest-running crime drama, a status it held until Law and Order, the 1990-2010 series.

Lord’s Steve McGarrett emerged as one of the most recognizable television characters. In 2007, 27 years after the final Five-O episode, THE NEW YORK TIMES’S OPINION PAGES summed up Five-O’s appeal.

“Evil makes McGarrett angry, but when he speaks, his voice is startlingly gentle, exuding a quiet control that a beleaguered generation of parents surely wished they had when facing the forces of social decay,” reads the commentary by Lawrence Downes.

The writer ends his piece describing what it might be like if McGarrett was president. He dispatches Kono and Chin to stop illegal immigration and tells Danny that he wants undocumented workers “legalized. Tell Congress to send me a bill. I want it tough, and I want it fair. And I want it on my desk Monday morning.”

Cast of the 2010 Hawaii Five-0

Cast of the 2010 Hawaii Five-0

In 2010, CBS introduced a new version of the show, with a slightly different spelling (Hawaii Five-0, with a digit instead of a capital O as in the original), a younger McGarrett (Alex O’Loughlin), a Danny with more attitude (Scott Caan) and a woman Kono (Grace Park).

CBS will begin televising the fourth season of the new Five-0 later this month. The show been shifted to Friday nights after falling ratings during the 2012-13 season, including a 25 percent decline for its season finale compared with a year earlier.

Even if the new Five-0’s ratings stabilize, it doesn’t seem likely editorial writers will muse what it’d be like to have McGarrett 2.0 as president. On the other hand, the producers were smart enough to keep the Morton Stevens theme music.

HMSS’s favorite character actors: Robert Drivas

Robert Drivas, as Morgan Midas, struggles with Robert Conrad's James West

Robert Drivas in The Wild, Wild West

One in an occasional series

Robert Drivas had a talent for playing characters who seemed normal on the outside but were wound just a little tight on the inside.

In the first season of The Wild, Wild West, Drivas portrayed Morgan Midas, who had a rather ambitious scheme. He stole diamonds and melted them down to create a serum that allowed him to move at super speed.

The episode, The Night of the Burning Diamond, written by Ken Kolb, was pure fantasy, stretching the limits for a series that was often unconventional. But Drivas was an engrossing villain, one who often dominated the scenes where he appeared.

Drivas appeared in a number of episodes of Quinn Martin-produced shows. One of his best performances was in a two-part story in The FBI. Drivas played Paul Clamenti, a man in his mid-20s with lots of issues. Clamenti’s parents had been killed as part of La Cosa Nostra violence and he was adopted by his aunt and uncle.

Problem: his uncle, Edward (Telly Savalas), was one of the chiefs of the Cosa Nostra. He also fell in love with Chris Roland (Susan Strasberg), who was the daughter of Leo Roland (Walter Pidgeon), another mob boss.

On top of all that, Paul Clamenti decided to be a hit man on the side. His specialty was to shoot his victims twice in the heart, earning him the nickname Cupid. That sounds rather melodramatic, but Drivas pulled it off, more than holding his own in scenes with old pros.

Drivas also played a key role in the only three-part story in the original Hawaii Five-O series, V is for Vashon. Drivas, by this time in his 30s, played Chris Vashon, the early 20s scion of the Vashon crime family in Hawaii.

Once again, Drivas played opposite old pros (Harold Gould as his father, Luther Adler as his grandfather) and held his own. Chris Vashon died at the end of the first installment, an event that drives the remaining parts of the story.

Drivas played a variety of parts during his career, including Loudmouth Steve in Cool Hand Luke. He died of AIDS-related cancer in 1986 at the age of 47.

Dr. No’s 50th anniversary conclusion: legacy


In evaluating the legacy of Dr. No as it approaches its 50th anniversary, start with the obvious: There’s still a 007 film series to talk about.

James Bond isn’t the biggest entertainment property in the world the way it was in 1965. But its longevity is unique. The five decades that have passed include more than a decade of enforced hiatus (a troublesome 1975 financial split between Eon co-founders Albert R. Broccoli and Harry Saltzman; a legal fight in the early 1990s between Broccoli and MGM; and MGM’s 2010 bankruptcy) disrupting production of the Bond movies. But the Bond films soldier on, with the 23rd entry in the Eon Productions’ series, Skyfall, coming out soon.

The series turned actor Sean Connery into a major star. It made Roger Moore, known mostly as a television star, into a movie star. The same applies to Pierce Brosnan. It made Daniel Craig a star. Even George Lazenby (one movie) and Timothy Dalton (two) who had limited runs as 007 are identified with the series.

The films generated new fans of Ian Fleming’s hero to the point that the movie 007 long ago outsized the influence of his literary counterpart. Finally, the film 007 helped form an untold number of friendships among Bond fans who would have never met otherwise.

All of that began with a modestly budgeted film, without a big-name star, led by a director for hire, Terence Young, who’d be instrumental in developing the cinema version of Agent 007. Dr. No, filmed in Jamaica and at Pinewood Studios, made all that followed possible.

Fans may fuss and feud about which Bond they like best. This 007 film or that may be disparaged by some fans, praised by others. The series may get rebooted. Bond may get recast. The tone of the entries may vary greatly.

In the end, Bond continues. The Man From U.N.C.L.E. can’t say that; The Avengers, the John Steed variety which debuted the year before Dr. No, can’t say that; Matt Helm can’t say that. In time, we suspect, Jason Bourne, which influenced recent 007 movies, won’t either.

Many of those responsible for Dr. No aren’t around to take the bows. They include producers Broccoli and Saltzman; director Young; screenwriter Richard Maibaum; editor Peter Hunt; United Artists studio executive Arthur Krim who greenlighted the project; Joseph Wiseman, who played the title charater, the first film Bond villain; Jack Lord, the first, and some fans say still the best, screen Felix Leiter, who’d become a major television star on Hawaii Five-O; art director Syd Cain, the main lieutenant for production designer Ken Adam; and composer John Barry who orchestrated Monty Norman’s James Bond Theme and who would later define 007 film music.

That’s too bad but that’s what happens with the passage of time. The final product, though remains. It’s all summed up with these words:

James Bond will return.

The Andy Griffith/Hawaii Five-O/007 mashup

Andy Griffith died this week at 86 and, naturally, obituaries detailed his work on the highly successful The Andy Griffith Show. He had one television guest appearance we’d like to note, one that had connections to James Bond movies as well as Griffith’s 1960-68 television series.

Andy Griffith as con man Arnold Lovejoy


That would be the fifth-season Hawaii Five-O episode I’m a Family Crook — Don’t Shoot! The episode, which first aired Dec. 19, 1972, is one of Five-O’s best and one of its most unusual.

Griffith played Arnold Lovejoy, patriarch of a family of grifters. The Lovejoys have arrived in Hawaii to ply their trade. Things go awry when they steal a briefcase belonging to a bag man for an island hood, Charlie Walters. It contains almost $100,000 and Charlies isn’t happy it’s missing.

Now this sounds like standard 1970s police television stuff. But the script by Jerome Coopersmith includes some dark humor mixed with sudden, brutal violence. For example, the hood abruptly shoots his bag man to death while the latter desperately tries to explain how the Lovejoys ripped him off. A thug asks Walters, “Hey Charlie, what if he was tellin’ the truth?…Supposin’ he was?” Charlie’s response? Without a hint of remorse he says, “Then I just made a terrible mistake.”

The score by Morton Stevens reflects the changing mood of the story. He has a “Lovejoys theme” that sounds very light but the music turns frantic as both crooks and the law (led by Five-O’s Steve McGarrett, of course) get closer to the family.

Griffith plays Lovejoy as a sort of darker, amoral Andy Taylor. He evokes his famous role without copying it. He may have gotten some help from director Bob Sweeney, who had helmed 80 episodes of The Andy Griffith Show from 1960 to 1963. Sweeney was supervising producer on Five-O during seasons four through seven and directed several episodes during that time.

The Lovejoys attempt to pull another con.


The 007 connections? With Five-O you start out with Jack Lord the first screen Felix Leiter in Dr. No. But another familiar face briefly shows up: Harold Sakata (sans his Oddjob hat), who plays a thug for another hood who’s a rival of Charlie’s. Sakata gets a couple of lines. Nothing memorable but more than, “Ah ah!” as he got to say in Goldfinger.

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