Live And Let Die’s 50th: The post-Connery era truly begins

Live And Let Die's poster

Live And Let Die’s poster

Adapted from a 2013 post
For the eighth James Bond film, star Sean Connery wasn’t coming back. Three key members of the 007 creative team, screenwriter Richard Maibaum, production designer Ken Adam and composer John Barry, weren’t going to participate. And producers Albert R. Broccoli and Harry Saltzman were mostly working separately, with this movie to be overseen primarily by Saltzman.

The result? Live And Let Die, which debuted in 1973. It would prove to be, financially, the highest-grossing movie in the series to date.

Things probably didn’t seem that way for Eon Productions and United Artists as work began.

They had no Bond. Broccoli and Saltzman didn’t want Connery back for 1971’s Diamonds Are Forever. The studio didn’t want to take a chance and made the original screen 007 an offer he couldn’t refuse. But that was a one-film deal. Now, Eon and UA were starting from scratch.

Eon and UA had one non-Connery film under their belts, 1969’s On Her Majesty’s Secret Service. They had tried the inexperienced George Lazenby, who bolted after one movie. For the second 007 film in the series not to star Connery, Eon and UA opted for a more-experienced choice: Roger Moore, former star of The Saint and The Persuaders! television shows. Older than Connery, Moore would employ a lighter touch.

Behind the camera, Saltzman largely depended on director Guy Hamilton, back for his third turn in the 007 director chair, and writer Tom Mankiewicz. Mankiewicz would be the sole writer from beginning to end, rewriting scenes as necessary during filming. In a commentary on the film’s DVD, Mankiewicz acknowledged it was highly unusual.

Perhaps the biggest creative change was with the film’s music. Barry had composed the scores for six Bond films in a row. George Martin, former producer for The Beatles, would take over. Martin had helped sell Saltzman on using a title song written by Paul and Linda McCartney. The ex-Beatle knew his song would be compared to the 007 classic title songs Barry had helped write. McCartney was determined to make his mark.

Albert R. Broccoli and Harry Saltzman pose with their new star, Roger Moore, during filming of Live And Let Die

Albert R. Broccoli and Harry Saltzman pose with their new star, Roger Moore, during filming of Live And Let Die

Saltzman liked the song, but inquired whether a woman singer would be more appropriate. Martin, in an interview for a 2006 special on U.K. television, said he informed Saltzman that if Eon didn’t accept McCartney as performer, the producer wouldn’t get the song. Saltzman accepted both.

Live And Let Die wasn’t the greatest James Bond film, despite an impressive boat chase sequence that was a highlight. The demise of its villain (Yaphet Kotto) still induces groans among long-time 007 fans as he pops like a balloon via an unimpressive special effect.

Sheriff J.W. Pepper, up to that time, was probably the most over-the-top comedic supporting character in the series. (“What are you?! Some kind of doomsday machine, boy?!”)

But Live And Let Die is one of the most important films in the series. As late as 1972, the question was whether James Bond could survive without Sean Connery. With $161.8 million in worldwide ticket sales, it was the first Bond film to exceed the gross for 1965’s Thunderball. In the U.S., its $35.4 million box office take trailed the $43.8 million for Diamonds Are Forever.

Bumpy days still lay ahead for Eon. The Man With the Golden Gun’s box office would tail off and relations between Broccoli and Saltzman would get worse. Still, for the first time, the idea took hold that the cinema 007 could move on from Connery.

Many editors at the former Her Majesty’s Secret Servant website criticized the movie and its star in a survey many years ago. But the film has its fans.

“I vividly remember the first time I saw one of the Bond movies, which was Live And Let Die, and the effect it had on me,” Skyfall director Sam Mendes said at a November 2011 news conference. Whatever one’s opinions about the movie, Live And Let Die ensured there’d be 007 employment for the likes of Timothy Dalton, Pierce Brosnan, and Daniel Craig.

FEBRUARY 2012 POST: LIVE AND LET DIE, A REAPPRAISAL

JANUARY 2010 POST: 1973: TIME PROFILES THE NEW JAMES BOND

JANUARY 2010 POST: 1973: TIME CALLS 007 A `RACIST PIG’

From Russia With Love’s 60th conclusion: Legacy

Sean Connery in a From Russia With Love publicity still

Sean Connery in a From Russia With Love publicity still

Adapted from a 2013 post 

From Russia With Love, the second James Bond film, remains different from any 007 adventure since.

It’s the closest the Bond series had to a straight espionage thriller. The “McGuffin” is a decoding machine. That’s important in the world of spying but the stakes would be much larger in future 007 adventures: the fate of the U.S. gold supply, recovering two atomic bombs, preventing nuclear war, etc.

From Russia With Love includes memorable set pieces such as the gypsy camp fight between Bulgarians working for the Soviets and the gypsies working for MI6’s Kerim Bey, as well as Bond dodging a helicopter. But they’re not the same scope compared with what would be seen in future 007 films.

No underwater fights. No giant magnets snatching cars from a highway. No death-dealing satellites. Even when Bond movies such as For Your Eyes Only and The Living Daylights tried to have From Russia With Love-like moments, they still had larger action sequences.

From Russia With Love is by no means a small, “indie” film. It’s just different compared with what producers Albert R. Broccoli and Harry Saltzman, and their successors, would offer in future 007 installments. Perhaps that’s why some fans keep coming back to view From Russia With Love again and again.

From Russia With Love also introduced stylistic changes to the Bond series, particularly with the beginning of the 007 pre-credits sequence. It also had an actual title song, unlike Dr. No. However, the main titles used an instrumental version (plus an arrangement of the James Bond Theme). The vocal, performed by Matt Monro, is briefly heard during the film and isn’t played in its entirety until the end titles. Finally, the movie was the first time Eon Productions revealed the title of the next 007 adventure in the end titles.

From Russia With Love also demonstrated that Dr. No wasn’t a fluke. If Sean Connery as Bond had been a diamond in the rough in Dr. No, he was now fully polished in his second turn as Bond. At the box office, From Russia With Love was an even bigger hit with audiences than Dr. No.

The 1963 007 outing proved once and for all the judgment of Broccoli and Saltzman — the odd couple forced by circumstances to join forces — that Bond had major commercial potential. The likes of Irving Allen (Broccoli’s former partner who hated Ian Fleming’s novels) and Columbia Pictures (which had the chance to finance Dr. No only to see United Artists do the deal) had egg on their faces.

More than a half-century later, From Russia With Love is often in the conversation among fans (particularly older ones) as among the best of the Bond films. It also ensured the series would continue — though nobody realized how big things would get.

THE END…NOT QUITE THE END…JAMES BOND will return in the next Ian Fleming thriller “GOLDFINGER.”

From Russia With Love’s 60th Part III: Desmond Llewelyn

Desmond Llewelyn instructs Sean Connery

Desmond Llewelyn instructs Sean Connery

Adapted from a 2013 post

Audiences of the initial release of From Russia With Love didn’t realize it at the time, but they witnessed the start of a character actor’s 17-film, 36-year run.

Desmond Llewelyn took over the role of Major Boothroyd from Peter Burton, who played the part in Dr. No. In the initial 007 outing, Boothroyd presented Bond with his new gun, a Walther PPK. Llewelyn’s Boothroyd gave Sean Connery’s James Bond something more elaborate: a briefcase which, if not opened properly, would emit tear gas. It was also equipped with a sniper’s rifle, 50 gold pieces and a knife.

At this point, the character wasn’t referred to as Q. Llewelyn’s character is listed as Boothroyd in the end titles. M mentions “Q branch” and its “smart-looking piece of luggage.” Boothroyd doesn’t reveal much of his feelings toward Bond either.

No matter. The actor’s appearance in From Russia With Love set the stage for his long run in the part. The Guy Hamilton-directed Goldfinger established Boothroyd’s annoyance at Bond regarding the agent’s disrespect of Q-branch equipment. In the 1965 television special The Incredible World of James Bond, the character would be referred to as “the fussy Major Boothroyd.”

Eventually, Llewelyn’s character would just be called Q, though Soviet agent Triple-X reminded viewers of the Boothroyd name in 1977’s The Spy Who Loved Me.

Llewelyn would play opposite five Bond actors. In the 1990s, the question was how long would the actor continue. Bruce Feirstein’s first-draft screenplay of Tomorrow Never Dies, includes a character named Malcolm Saunders, who is “Q’s successor.”

In his first appearance in the script, Saunders is “looking like a mummy – plaster casts on his left leg, left arm; neck-brace, crutch.” Saunders explains how he received his injuries: “Q’s retirement party. I’d just put the knife into the cake, and – ” However, the retired Q shows up later in the story. In the much-revised final story, we get a standard Bond-Q scene with Llewelyn opposite Pierce Brosnan, except it takes place in Germany instead of MI6 headquarters.

In Llewelyn’s finale, 1999’s The World Is Not Enough, Q/Boothroyd is talking about retirement. Brosnan’s Bond doesn’t believe it — or doesn’t want to believe it. Q gives Bond some advice (always have an escape route) and makes his exit.

Llewelyn died in December 1999 of injuries from a car accident.

NEXT: Legacy

From Russia With Love’s 60th Part II: John Barry

John Barry

John Barry

Adapted from a 2013 post

John Barry wasn’t a happy man after Dr. No came out in 1962.

Barry had arranged and revamped Monty Norman’s James Bond Theme. He thought the piece would only be in Dr. No’s main titles. Instead, it was inserted by editor Peter Hunt throughout much of the movie.

With the second 007 film, From Russia With Love, “John Barry’s irritation at seeing his work all over the film of Dr. No would soon turn to elation,” author Jon Burlingame wrote in his 2012 book, The Music of James Bond. Barry got the job of scoring the new 007 film and, in the process, established the Bond movie music template.

Producers Albert R. Broccoli and Harry Saltzman hired Lionel Bart to write the title song. But Barry would score provided all the dramatic music.

Barry’s impact was evident immediately. Dr. No’s gunbarrel logo utilized electronic noises. Barry instead used an arrangement of Bond theme. The pre-credits sequence, where where assassin Red Grant (Robert Shaw) kills a Bond double during a training exercise, was heightened by Barry’s music. In 1977’s The Spy Who Loved Me, composer Marvin Hamlisch did an homage to Barry’s work where Bond (Roger Moore) and Soviet agent Triple-X (Barbara Bach) are searching for Jaws amid Egyptian ruins. (CLICK HERE to see a Stuart Basinger-produced video comparing the two scenes.)

Barry’s work on From Russia With Love was the beginning of the James Bond sound.

“The 007 films demanded music that could be variously romantic, suspenseful, drive the action, even punctuate the humor,” Burlingame said in a 2012 E-MAIL INTERVIEW WITH THE HMSS WEBLOG about his book. “It was a tall order, and John Barry, especially, delivered what was necessary and helped define James Bond in a way that wasn’t possible with the visuals alone.”

Barry also composed what amounted to a second Bond theme, simply titled 007. It was used during two action sequences: A big fight between Soviet-aligned Bulgarians and gypsies working for MI6 and when Bond snatches a Russian decoding machine out of the Soviet consulate in Istanbul. Barry would end up bringing the 007 theme back in four more movies, the last being 1979’s Moonraker.

For the composer, this was just the beginning. He scored 10 more Bond films and become one of the most sought-after composers in the movies. Remarkably, his Bond work never got an Oscar nomination. But he won five Oscars for non-007 films starting with 1967’s Born Free and ending with 1990’s Dances With Wolves.

Meanwhile, Barry’s template was something other composers had to keep in mind when they worked on 007 films. In the 1990s, David Arnold, a Barry admirer, produced new takes on classic Barry 007 songs. That helped him to secure work on five Bond films.

NEXT: Desmond Llewelyn’s debut as Q

January 2011 post: JOHN BARRY, AN APPRECIATION

September 2012 post: HMSS TALKS TO JON BURLINGAME ABOUT HIS 007 MUSIC BOOK

From Russia With Love’s 60th Part I: The difficult sequel

From Russia With Love's poster

From Russia With Love’s poster

Adapted from a 2013 post.

Nothing about From Russia With Love was easy. From scripting all the way through filming, the second James Bond film was difficult and at times an ordeal.

At last three writers (Richard Maibaum, Johnna Harwood and an uncredited Len Deighton) took turns trying to adapt the Ian Fleming novel, with major rewrites during shooting. One cast member (Pedro Armendariz) committed suicide shortly after completing his work on the movie because he was dying of cancer. Director Terence Young was nearly killed in a helicopter accident (CLICK HERE for an MI6 HQ page account of that and other incidents).

For many 007 fans, the movie, which premiered Oct. 10, 1963, is the best film in the Eon Productions series. It’s one of the closest adaptations of a Fleming novel, despite the major change of adding Ernst Stavro Blofeld and SPECTRE into the proceedings. It also proved the success of Dr. No the previous year was no accident.

Fleming’s novel was one of U.S. President John F. Kennedy’s 10 favorite books, a list published in 1961 in Life magazine. From Russia, With Love (with the comma and published in 1957) was one of the author’s most important books.

Fleming’s friend, author Raymond Chandler, had chided 007’s creator for letting the quality of his Bond novels slip after 1953’s Casino Royale. “I think you will have to make up your mind what kind of writer you are going to be,” Chandler wrote to Fleming in an April 1956 letter. Fleming decided to step up his game with his fifth 007 novel.

Years later, producers Albert R. Broccoli and Harry Saltzman, with an endorsement of the source material from Kennedy, proceeded with adapting the book. Dr. No veterans Young, editor Peter Hunt, director of photography Ted Moore and scribes Maibaum and Harwood all reported for duty on the new 007 project.

The major Dr. No contributor absent was production designer Ken Adam, designing the war room set and other interiors for Stanley Kubrick’s Dr. Strangelove. John Stears, meanwhile, took over on special effects.

Armendariz, as Kerim Bey, the head of MI6’s station in Turkey and Bond’s primary ally, had a big impact. He lit up every scene he was in and had great on-screen chemistry with star Sean Connery. When Kerim Bey is killed, as part of the complicated SPECTRE plot, it resonates with the audience. The “sacrificial lamb” is part of the Bond formula, but Armendariz was one of the best, if not the best, sacrificial lamb in the 007 film series.

The gravely ill actor needed assistance to complete his scenes. In long shots in the gypsy camp sequence, you needn’t look closely to tell somebody else is playing Kerim Bey walking with Connery’s 007. (It was director Young, according to Armendariz’s WIKIPEDIA ENTRY.)

Young & Co. retained the novel’s memorable set pieces (the fight between two gypsy women, the subsequent battle between Bulgarians and gypsies and the Orient Express train fight between Bond and Red Grant). The production also added a few twists, including two outdoor sequences after getting Bond off the train earlier than in the novel. The question was how would audiences respond.

The answer was yes. “I see that ‘From Russia With Love’ is now a movie and although I rarely see them I plan to take this one in,” former CIA Director Allen Dulles wrote to Fleming in 1964.

He wasn’t alone. The film, with a budget of $2 million, generated $78.9 million in worldwide box office, almost one-third more than its predecessor.

NEXT: John Barry establishes the 007 music template

1997 HMSS article: A VISIT WITH IAN FLEMING

November 2012 post: LEN DEIGHTON ON FROM RUSSIA WITH LOVE

RE-POST: What 007 and Batman have in common

Adapted from a 2012 post

When following debates among James Bond fans — whether on Internet bulletin boards, Facebook or in person — people sometimes say “try reading Fleming” (or a variation thereof) as if it were a trump card that shows they’re right and the other person is wrong.

Read Fleming. That shows Bond is supposed to be a “blunt instrument.” Therefore, Casino Royale and Quantum of Solace are really true to Fleming.

“Read Fleming!” = “I’m right, you’re wrong!”

Read Fleming. That shows Bond is a romantic hero, not a neurotic antihero, therefore, (INSERT BOND ACTOR HERE) was true to Fleming. Meanwhile, (INSERT BOND ACTOR HERE) meant the 007 film series had reached a nadir.

In reality, over a half-century, the Bond films have passed through multiple eras. To some, Connery can never be surpassed and Moore was a joke. Except, the Connery films have more humor than Fleming employed (on the “banned” Criterion laser disc commentaries, Terence Young chortles about how Fleming asking why the films had more humor than his novels). The Moore films, for all their humor, do have serious moments (Bond admitting to Anya he killed her KGB lover in The Spy Who Loved Me or Bond being hurt but not wanting to admit it after getting out of the centrifuge in Moonraker). Other comments heard frequently: Brosnan tried to split the difference between Connery and Moore, Craig plays the role seriously, the way it should be, etc., etc.

Lots of different opinions, all concerning the same character, dealing with different eras and the contributions of multiple directors and screenwriters. Which reminded of us another character, who’s been around even longer than the film 007: Batman, who made his debut in Detective Comics No. 27 in 1939.

Early Batman stories: definitely dark. “There is a sickening snap as the cossack’s neck breaks under the mighty pressure of the Batman’s foot,” reads a caption in Detective Comics No. 30.

Then, things lightened up after Batman picked up Robin as a sidekick. Eventually, there was Science Fiction Batman in the 1950s (during a period when superhero comics almost disappeared), followed by “New Look” Batman in 1964 (which could also be called Return of the Detective), followed by Campy Batman in 1966 (because of popularity of the Batman television show), followed by Classic Batman is Back, circa 1969 or ’70, etc., etc. All different interpretations of the same character.

In the 1990s, there was a Batman cartoon that captured all this. A group of kids are talking. Two claim to have seen Batman. The first provides a description and we see a sequence resembling Dick Sprang-drawn comics of the 1940s, with Gary Owens providing the voice of Batman. The second describes something much different, and the sequence is drawn to resemble Frank Miller’s The Dark Knight Returns comic of the 1980s, with Michael Ironside voicing Batman.

Eventually, the group of kids gets into trouble and we see the 1990s cartoon Batman, voiced by Kevin Conroy, in a sequence that evokes elements of both visions.

With the Bond film series, something similar has occurred. In various media, you’ll see fans on different sides of an argument claiming Fleming as supporting their view. Search hard enough, and you can find bits of Fleming or Fleming-inspired elements in almost any Bond film. The thing is, the different eras aren’t the result of long-term planning. They’re based on choices, the best guess among filmmakers of what is popular at a given time, what makes a good Bond story, etc.

In effect, both the film 007 and the comic book Batman have had to adapt or die. Fans today can’t imagine a world without either character. But each has had crisis moments. For Bond, the Broccoli-Saltzman separation of the mid-1970s and the 1989-95 hiatus in Bond films raised major questions about 007’s future. Batman, meanwhile, faced the prospect of cancellation by DC Comics (one reason for the 1964 revamp that ended the science fiction era) but managed to avoid it.

None of this, of course, will stop the arguments. Truth be told, things might become dull if the debates ceased. Still things might go over better if participants looked at them as an opportunity. An opposing viewpoint that’s well argued keeps you sharp and might cause you to consider ideas you overlooked.

FROM THE ARCHIVES: First attempt at a Thunderball script

Kevin McClory's cameo in Thunderball

Kevin McClory’s cameo in Thunderball

Adapted from a 2015 post

Bond collector Gary J. Firuta loaned us a copy of the first script in what would eventually become 1965’s Thunderball — but it’s an uneven effort at best.

The script was Jack Whittingham’s first draft, titled Longitude 78 West for producer Kevin McClory. It’s dated as being completed on Feb. 15, 1960. The title page specifically refers to it as a “first draft screenplay” that’s “Based on a story by Ian Fleming.”

The villains belong to the Mafia and are led by Giovanni “Joe” Largo. Except we’re told in the second half of the script that name is an alias. Nevertheless, he is identified as Largo throughout the script in both lines of dialogue and in stage directions.

Aside from the hijacking of two atomic bombs, there’s no other action in the script’s first half. It begins with a short pre-credits sequence where U.S. President Harry S. Truman comments about how, one day, civilization could be destroyed by atomic weapons.

“It is hoped that we may be able to persuade Mr. Truman to record this scene,” the stage directions read. “If not, it’s (sic) intention and content can be expressed quite easily some other way.”

Bond doesn’t appear until page 26. The rule of thumb is that one page of script equals a minute of running time. So 007 wouldn’t be seen until almost a half-hour into the movie. He’s on the shooting range at headquarters, in a scene similar to the opening of Fleming’s Moonraker novel.

Bond is summoned to M’s office. Here, the secretary to the MI6 chief is named simply Penny, not Moneypenny. The British government has been notified by the Mafia it has the atomic bombs and it wants 100 million pounds.

We also see things unfold in the Bahamas. Largo’s mistress is Gaby. It’s clear she’s not particularly enthusiastic about the arrangement. He wants her for, in effect, decoration at an upcoming meeting of delegates to a supposed union meeting (of course they’re fellow members of the Mafia, or the Brotherhood). “I’ve got a lot of entertaining to do, and I want you around,” Largo tells Gaby.

Bond meets Gaby at a hotel on page 38. It turns out Largo’s group is meeting there as well. Bond orders a planter’s punch from a bartender and buys a vodka martini for Gaby. They talk until page 41, when Bond first gets a look at Largo and 007 meets the villain on the following page.

Shortly thereafter, Bond meets up with the CIA’s Felix Leiter. After a meeting with the governor of the Bahamas, the agents have lunch. Bond talks a lot about food. When Bond asks the waiter for a wine list, Leiter replies: “Not for me thanks. Bring me a glass of water.” Bond says, “Of course, I’d forgotten!” What he forgot is never explained.

In the story, there’s a sequence that goes back and forth between Bond romancing Gaby and Leiter keeping tabs on Largo’s group. There’s also a scene where Gaby talks to Johnni, a young boy who’s a crew member on Largo’s yacht. Bond wonders why Gaby is so interested in children. She replies because she can’t have any.

The action picks up in the second half. Largo is mad about Bond being with Gaby, and the agent gets beaten up. Eventually, the Mafia makes its move and is ready to bring one of the bombs to Miami.

Bond plays Largo in a game of baccarat. Presumably, this is an homage to Fleming’s Casino Royale and the scene is more important that a similar scene in Thunderball; in that version, the card game is where Bond and Largo first meet. Bond tries to win Gaby to his side and instructs her how to deactivate, or activate, the bomb.

Meanwhile, Leiter, while not an equal to Bond, is more of a participant in events than he’d be in Thunderball. He gets captured by Largo and is on the villain’s yacht.

In the climax, Bond is involved in an underwater fight with the Mafia (though not as expansive as would take place in Thunderball). Largo shoots Leiter, after the CIA agent had gotten free. Largo takes Gaby and the other bomb in an airplane.

Bond tends to Felix and watches the plane getting away. Then, the aircraft goes up in an atomic explosion. “She’s done it…She had the guts…She’s done it!” Bond says as the story ends.

Besides the downer ending, which 007 audiences wouldn’t experience until 1969’s On Her Majesty’s Secret Service, the script is unusual in other ways. It’s very chatty. VERY chatty. Scenes go on and on. Bond comes across as a social worker where he quizzes Gaby about her fondness for children.

Granted this is a first draft, but one suspects if this version had gone before the cameras, the cinema 007 might have ended right there.

More 60th: What was happening in 1962?

Originally published in 2011 and 2012.

Jan. 15: NBC airs “La Strega” episode of Thriller, starring Ursula Andress, female lead of Dr. No, which will be the first James Bond film.

Jan 16: Production begins on Dr. No, modestly budgeted at about $1 million. Fees include $40,000 for director Terence Young and $80,000 each for producers Albert R. Broccoli and Harry Saltzman, not counting their share of profits. (Figures from research by film historian Adrian Turner). Star Sean Connery tells Playboy magazine in 1965 that he was paid $16,800 for Dr. No.

Inside Dr. No, a documentary made by John Cork for a DVD release of the movie, says about 10 percent of the film’s budget went to the Ken Adam-designed reactor room set, where the climactic fight between Bond and Dr. No takes place. (Date of production start from research by Craig Henderson’s For Your Eyes Only Web site.

Jan. 17: Jim Carrey is born.

Feb 3: U.S. begins embargo against Cuba.

Feb. 20: John Glenn becomes first U.S. astronaut to orbit the Earth.

March 2: Wilt Chamberlain scores 100 points as his Philadelphia Warriors team defeats the New York Knicks 169-147 in a game played in Hershey, Pennsylvania. Chamberlain achieves the feat by scoring 36 baskets and, perhaps most amazingly, by hitting 28 of 32 free-throw attempts. (Chamberlain was a notoriously bad free-throw shooter.) The player averaged 50.4 points per game in the 1961-62 season.

April 16: The Spy Who Loved Me, Ian Fleming’s latest 007 novel, is published. The novel takes a radical departure from previous Bond novels. The story is told in the first person by a female character, Vivienne Michel, with Bond not appearing until two-thirds of the way through the story. Fleming, in his dealings with Albert R. Broccoli and Harry Saltzman, specifies only the title is to be used for any movie. Broccoli (after Saltzman departs the film series) does just that in the 10th film of the 007 series, which comes out in July 1977.

May (publication date, actually likely earlier): The Incredible Hulk, created by Stan Lee and Jack Kirby, debuts in the first issue of his own comic book.

June 1: Nazi Adolph Eichmann was executed in Israel.

July 3: Future Mission: Impossible movie star Tom Cruise is born.

July 12: Rolling Stones debut in London.

August (publication date actual date probably earlier): Amazing Fantasy No. 15 published, debut of Spider-Man by Stan Lee and Steve Ditko, with cover art by Jack Kirby and Ditko.

Aug. 5: Actress Marilyn Monroe dies.

Aug. 6: Michelle Yeoh, who will play Chinese secret agent Wai Lin in the 1997 Bond film Tomorrow Never Dies, is born.

Aug. 16: Future Get Smart movie star Steve Carell is born.

Aug. 16: Ringo Starr joins the Beatles.

Sept. 26: The Beverly Hillbillies debuts on CBS. In a later season, Jethro sees Goldfinger in a movie theater and decides that being a “Double-Naught” spy is his life’s calling.

Oct. 1: Federal marshals escort James Meredith, first African American student at the University of Missippi, as he registers at the school.

Oct. 1: Johnny Carson, a few weeks short of his 37th birthday, hosts his first installment of The Tonight Show. He will remain as host until May 1992. At one point during Carson’s run on the show, he and Sean Connery reference how Carson’s debut on Tonight and Connery’s debut as Bond occurred at around the same time.

Oct. 5: Dr. No has its world premiere in London. The film won’t be shown in the U.S. until the following year. The movie will be re-released in 1965 (as part of a double feature with From Russia With Love) and in 1966 (as part of a double feature with Goldfinger).

Oct. 14: A U.S. U-2 spy plane discovers missile sites in Cuba, beginning the Cuban Missile Crisis. The crisis will bring the U.S. and Soviet Union to the brink of World War III.

Oct. 22: President John F. Kennedy makes a televised address, publicly revealing the presence of Soviet missiles in Cuba.

Oct. 28: Soviet leader Nikita Khrushchev announces the U.S.S.R. is removing its missiles from Cuba.

Oct. 29: Ian Fleming begins three days of meetings with television producer Norman Felton concerning a show that will eventually be known as The Man From U.N.C.L.E. (source: Craig Henderson) Fleming’s main contribution of the meetings is that the hero should be named Napoleon Solo.

Nov. 7: Richard Nixon loses race for governor of California, tells reporters “you won’t have Dick Nixon to kick around anymore.” He’ll be back.

Freddie Young and David Lean

Dec. 10: The David Lean-directed Lawrence of Arabia has its world premiere in London. The film’s crew includes director of photography Freddie Young and camera operator Ernest Day, who will work on future James Bond movies. Young will photograph 1967’s You Only Live Twice. Day would be a second unit director (with John Glen) on The Spy Who Loved Me and Moonraker.

For a more comprehensive list of significant 1962 events, CLICK HERE.

Another 60th: Hope and Crosby provide 007 a `Road’ map

Bob Hope, left, and Bing Crosby in the opening to The Road to Hong Kong

Originally posted in 2012.

Five months before the debut of Dr. No, the final Bob Hope-Bing Crosby “Road” movie came out, The Road to Hong Kong. The film, we suspect by coincidence, provided a road map to the future of 007 movies.

The 1962 movie had some major departures from previous “Road” movies. It was produced in the U.K. and was released by United Artists. The earlier films in the series had been produced in Hollywood and released by Paramount. Dorothy Lamour, the female lead of the previous Road movies, makes a cameo as herself but Joan Collins is the main female lead.

The change in locale meant the Norman Panama-Melvin Frank production (both would write the script, Panama directed and Frank produced; the duo had written the 1946 Road to Utopia) would take advantage of U.K. movie talent: Syd Cain was one of the art directors. Maurice Binder designed the main titles. Walter Gotell is one of the main lieutenants of a mysterious organization — stop us if you’ve heard this before — trying to take over the world. Bob Simmons shows up late in the movie as an astronaut in the employ of the villainous organization.

What’s more, there are “animated” sets (designed by Roger Furse) at the villain’s lair that would do Ken Adam proud. Two future participants in the 1967 Casino Royale (Peter Sellers and David Niven) show up in cameos. Did we mention Frank Sinatra and Dean Martin making cameos at the end? Well, they do.

If you’ve never seen The Road to Hong Kong, you can CLICK HERE and watch the 91-minute film on YouTube (at least until it gets taken off that Web site). While a comedy, it is a preview of the more fantastic Bond movies that would emerge a few years later, starting with 1967’s You Only Live Twice.

20th anniversary of 007’s swan song on ABC

Adapted and expanded from a 2009 post

In the fall of 2002, James Bond returned to his original U.S. television home, Walt Disney Co.’s ABC television network.

It ended up being the end of a 30-year, on-and-off relationship between the fictional spy and ABC.

007’s television debut occurred on Sept. 17, 1972, when Goldfinger was shown by ABC. The network was 007’s television home through the 15th Eon-produced film, The Living Daylights.

After that, things began to change. Licence to Kill appeared on Fox. Time Warner’s TBS scooped up the TV rights to the older films in the early 1990s. Pay-cable networks diminished the aura of 007 movies appearing on broadcast television. GoldenEye debuted on NBC, while CBS snared Tomorrow Never Dies and The World Is Not Enough.

So, it was a bit of a surprise when ABC brought 007 back “home” in the fall of 2002. It was an opportunity for MGM and Eon Productions to promote the upcoming Die Another Day.

However, the media world had changed. ABC canceled the Bond Picture Show after nine Saturday nights in the fall of 2002. And truth be told, things weren’t the same after ABC voiceover king Ernie Anderson passed away in 1997.

Since then, movies — once a staple for broadcast networks — fell out of favor for the most part.

What’s more, the Bond Picture Show included a major trivia moment. Disney/ABC, in its 2002 showing of Diamonds Are Forever, implemented digital underwear for Plenty O’Toole in Diamonds Are Forever.

In the original scene, Plenty O’Toole (Lana Wood) had flesh-colored panties. Disney/ABC gave her a black bra and panties before the character was thrown out of a window, landing in a swimming pool. CLICK HERE to see a 2020 story at the MI6 James Bond website that describes what happened.

Below, here’s a promo that ABC aired for the fifth Bond movie, You Only Live Twice.