Some Rod Taylor spy movies on TCM early Friday

Rod Taylor from the main titles of the Masquerade television series.

Friday, Aug. 18, is Rod Taylor day on TCM’s Summer Under the Stars. And some of Taylor’s spy movies will be part of the proceedings.

As an aside, TCM’s programming day starts at 6 a.m. New York time. The spy movies start early. Sorry for the late notice, but the Spy Commander just found out himself.

6 a.m.: 36 Hours, World War II espionage movie. Germans kidnap an American officer (James Garner). They make him think World War II is over to trick him out of information about the invasion of Europe. Taylor plays the German performing the deception. Based on a story by Roald Dahl.

8 a.m.: The Liquidator. Rod Taylor as John Gardner’s Boysie Oakes. Music by Lalo Schifrin and a title song performed by Shirley Bassey.

10 a.m.: The Glass Bottom Boat, a Doris Day comedy involving spies seeking secrets from a Tony Stark-like character played by Taylor. Cameo by Robert Vaughn as Napoleon Solo.

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Some questions about Bond 25 (20XX)

Image for the official James Bond feed on Twitter

Image for the official James Bond feed on Twitter

This originally was intended as a humorous post. But, truth be told, there’s not much funny right now.

Sketchy, circumstantial evidence suggests the 007 film franchise is more or less in the same place it was from 2002 to 2006: Trying to figure out what to do next.

The franchise eventually got back into gear by adapting Ian Fleming’s first novel, Casino Royale.

You could debate whether a reboot (i.e. starting the series over) or recasting the lead role (letting Pierce Brosnan go and bringing on Daniel Craig) was necessary.

Even if you disagreed with either move, the idea of seeing Eon Productions do a straight adaptation of Casino ensured fan interest. The main question fans asked was, “How will it turn out?”

In early 2017, there isn’t another Ian Fleming novel to adapt.

Eon has already partially adapted the You Only Live Twice novel (with Skyfall). That 2012 film featured a disturbed, off-kilter Bond on a variation of the “impossible mission.”

On the other hand, does Eon Productions adapt the rest of the 1964 novel with Bond 25? Have Blofeld kill SPECTRE heroine Madeline Swann, causing Bond to go off on (another) mission of revenge? Some fans would say yes, saying the “Blofeld Trilogy” would finally be fulfilled on the screen.

Does Eon finally adapt a 007 continuation novel? Over the years, Eon’s Michael G. Wilson has criticized the ones written by John Gardner.

However, Eon opened the door with SPECTRE, adapting a sequence of Kingsley Amis’ 1968 novel Colonel Sun. You had to be patient watching the end titles to catch the acknowledgment citing Amis’ estate. At this point, you don’t have to use one of Gardner’s novels. There are many to choose from.

It still comes down to nobody knows when Bond 25 is coming out. Nobody knows what studio will release it. Nobody knows for sure who will play James Bond. Many fans are sure Daniel Craig will be back. Some will tell you it’s virtually assured that Daniel Craig will be James Bond in Shatterhand (Blofeld’s alias in the You Only Live Twice novel) in 2018.

But, for now, that’s a matter of faith, not fact.

PREVIOUS POSTS: 

WHY NOBODY SHOULD BE SURPRISED THAT ‘NOTHING IS HAPPENING’

PURVIS & WADE DISCUSS WRITING 007 FILMS

 

About Daniel Craig’s supposed big 007 offer

Daniel Craig in SPECTRE's main titles

Daniel Craig on the verge of a $150 million pay day?

Over the weekend, Radar Online reported that Daniel Craig, the ever-reluctant 007, is being offered $150 million to do two more James Bond films.

Naturally, this generated a lot of discussion among Bond fans.

On one 007 message board, a poster said the equivalent of, “Why are you guys so upset? It’s not your money.”

Here’s one way of thinking about it.

Michael Cimino (figuratively) thought the same thing when he was directing Heaven’s Gate. For sure, it wasn’t his money. It was United Artists’ money.

However, in the end, he spent so much of UA’s money — and his film generated so little box office — it spelled the end of UA as a separate studio. It’s parent company, Transamerica, threw in the towel. MGM bought UA.

Now some argue Cimino’s movie was better than the reviewers thought. And perhaps it was. Nevertheless, Heaven’s Gate doomed UA. MGM bought UA and merged it into its operations.

How many fewer movies were made because UA was no longer an actual studio? There’s no way to know, of course. But likely a decent number.

Leaving that issue aside, MGM absorbing UA still had an impact on the James Bond film series. The UA-Eon relationship was generally a good one. The MGM-Eon relationship, less so. The Heaven’s Gate situation clearly had a major impact on the Bond film series. It’s still being felt to this day.

Here’s another example for old timers.

In the U.S. market, Cleopatra (1963) sold about the same number of movie tickets (actually a little more) than Goldfinger. Cleopatra sold an estimated 67.2 million tickets, according to the Box Office Mojo website. Goldfinger sold 66.3 million

Goldfinger was a big fat success while Cleopatra almost bankrupted 20th Century Fox.

Why? Because Fox spent — squandered — so much money that Cleopatra couldn’t make a dime of profit despite being a popular success. Meanwhile, Goldfinger had a budget that ensured a huge profit.

Fox survived, but only because it’s television division sold a number of TV shows (Voyage to the Bottom of the Sea, 12 O’Clock High and Peyton Place) for the 1964-65 season.

Some fans will argue, “But this is James Bond! How can you say such a thing?”

Well, to cite a John Gardner 007 continuation novel title, “Nobody Lives Forever.”

Albert R. Broccoli, the co-founder of Eon Productions, once said something to the effect that James Bond is bigger than any actor who plays him. It took a while for him to be proven correct, but he eventually was.

If the Radar Oneline story is accurate (and that remains to be seen), the Cubby Broccoli approach is dead, once and for all.

Also, in the U.S. market, Skyfall had a per-day gross of $2.8 million ($304.4 million divided by 109 days of release) while SPECTRE had a per-day gross of $1.3 million ($200 million divided by 154 days of release).

Nothing is easy, or automatic, in the movie business. Just ask those folks who thought Batman v Superman: Dawn of Justice was a cinch to have a billion-dollar global box office.

For a Bond movie, with its leading man getting $75 million, to make a profit, it would have to consist of said actor sitting on a stool doing a dramatic reading of the script — perhaps with ads running on the bottom of the screen.

Then again, it’s not my money. So why get upset?

UPDATE: After this post was published, the blog was asked how would other big actor pay days compare when adjusted for inflation. The INFLATION CALCULATOR of the U.S. Bureau of Labor Statistics is a useful tool for such calculations.

Elizabeth Taylor was paid the then-regal sum of $1 million for 1963’s Cleopatra. That works out to $7.86 million in 2016 dollars. Sean Connery got what was seen as a staggering amount, $1.25 million, to do Diamonds Are Forever in 1971. That works out to be $7.43 million in 2016 dollars.

UPDATE II (7:30 p.m.) A website called Gossip Cop today HAD A POST where its unidentified source (“an individual involved in the James Bond franchise”) says Craig has received no such offer. In effect, Gossip Cop’s anonymous source is ragging on Radar Online’s anonymous sources. Caveat Emptor all around.

 

1982: Kingsley Amis rags on Gardner, 007 films

Kingsley Amis

Kingsley Amis

Kingsley Amis, a novelist who enjoyed more prestige than Ian Fleming, was a fan of the latter’s James Bond novels.

Amis (1922-1995) wrote  The James Bond Dossier , a 1965 book that seriously analyzed Fleming’s 007 works. Of course, Amis wrote the first James Bond continuation novel, 1968’s Colonel Sun, under the pen name Robert Markham.

The Times Literary Supplement unearthed  and posted Amis’s 1982 review of John Gardner‘s For Special Services. It was Gardner’s second 007 continuation novel in which Gardner brings SPECTRE back into the picture.

In taking a look at that review, Amis comes across as crabby not only with his Bond continuation novel successor but with the world of 007 in general.

First, an except about For Special Services:

(T)he present offering is an unrelieved disaster all the way from its aptly forgettable title to the photograph of the author – surely an unflattering likeness – on the back of the jacket.

Meow! Still, Amis is just getting warmed up.

Here, Amis unloads on the James Bond films:

Over the last dozen years the Bond of the books must have been largely overlaid in the popular mind by the Bond of the films, a comic character with a lot of gadgets and witty remarks at his disposal.

Still, Amis mostly writes about For Special Services. Here, Amis is a golfer and For Special Services is the golf ball. Here he describes Gardner’s women characters:

The first is there just for local colour, around at the start, to be dropped as soon as the wheels start turning. She is called Q’ute because she comes from Q Branch. (Q himself is never mentioned, lives only in the films, belongs body and soul to Cubby Broccoli, the producer.)

Nor is Amis impressed with the novel’s main female character.

Bond scores all right with the third of the present trio, Nena Bismaquer, née Blofeld and the revengeful daughter of his old enemy, a detail meant to be a stunning revelation near the end but you guess it instantly.

In this regard, Amis was rather prescient. In 2015’s SPECTRE, it was supposed to be a “big reveal” that the head of SPECTRE would be revealed to be Ernst Stavro Blofeld, a “reveal” that surprised nobody. The more things change, the more they stay the same, and all that.

Before he ends the review, Amis really, really makes it clear he’s not a fan of the films.

Amis writes the 007 movies “cover up any old implausibility or inconsistency by piling one outrage on another. You start to say to yourself ‘But he wouldn’t –’ or’“But they couldn’t –’ and before you can finish Bond is crossing the sunward side of the planet Mercury in a tropical suit or sinking a Soviet aircraft-carrier with his teeth.”

Amusingly, years after his death, a portion of Amis’s Colonel Sun novel was used in 2015’s SPECTRE — specifically the torture scene. Amis got a backhanded credit, deep in the end titles, where “The Estate of Kingsley Amis” got a “special thanks” credit.

It was the first time Eon Productions utilized the continuation novels in any way, shape for form. Previously, Michael G. Wilson, Eon’s co-boss, has criticized certain continuation novels (Gardner’s in particular).

As for Amis’s 1982 article, you can judge for yourself by CLICKING HERE and reading it for yourself..

Peter Janson-Smith, Fleming’s literary agent, dies

Peter Janson-Smith

Peter Janson-Smith

Peter Janson-Smith, Ian Fleming’s literary agent and a behind-the-scenes figure in the success of the literary James Bond, has died according to multiple social media posts by friends and family members.

Janson-Smith, 93, helped raise the visibility of Fleming’s original novels and short stories during the author’s lifetime. After Fleming’s death, eventually he became the chairman of Glidrose, now known as Ian Fleming Publications.

In that capacity, Janson-Smith helped launch the 007 continuation stories penned by John Gardner and Raymond Benson than ran from the early 1980s into the early 2000s.

The literary Bond had its ups and downs after Fleming died in 1964. Kingsley Amis wrote Colonel Sun under the pen name Robert Markham. But that proved to be a one-off. In the 1970s, Fleming biographer John Pearson took a stab with a “biography” of Bond that was again a one-off. 007 screenwriter Christopher Wood wrote novelizations of the Bond films The Spy Who Loved Me and Moonraker.

It wasn’t until Gardner’s 1981 007 debut, Licence Renewed, that the Bond continuation novels began publishing on a regular schedule. After Gardner’s run, Janson-Smith helped recruit Benson, author of a non-fiction work about the 007 film and novels/short stories, to continue.

Benson wrote a 2010 article describing Janson-Smith’s life published on the Commander Bond 007 fan site.

Janson-Smith told Benson how the Christopher Wood novelizations came about.

“We had no hand in that other than we told the film people that we were going to exert our legal right to handle the rights in the books,” Benson quoted Janson-Smith as saying. “They chose Christopher Wood because he was one of the screenwriters at the time, and they decided what he would be paid. We got our instructions on that, but from then on, these books-of-the-films became like any other Bond novel—we controlled the publication rights.”

Near the end of the piece by Benson, Janson-Smith reflected on his career.

“At age eighty-seven,” Janson-Smith told Benson, “it is time to call it a day, but I am still a consultant where my experience has a value. I suppose you could say I’m on the ‘inactive duty’ list of the Double-O section!”

Actor Rod Taylor dies

Rod Taylor from the main titles of the Masquerade television series.

Rod Taylor from the main titles of Masquerade.

Rod Taylor, who often had leading man parts in 1960s and ’70s films and dabbled in spy roles, has died at 84, according to an obituary in THE HOLLYWOOD REPORTER.

The Australian-born Taylor actually had a varied career, including the lead role in 1960’s The Time Machine and Hitchcock’s The Birds as well as his voiceover work in 101 Dalmatians.

But spy-related entertainment was also part of his resume.

He played Boysie Oakes in 1965’s The Liquidator, based on a novel by John Gardner, who’d later write James Bond continuation novels.

In 1983, Taylor played mysterious spymaster Lavender in Masquerade, a Glen Larson-created series. In each episode, Lavender would recruit a team of “innocents” to take on the KGB and other menances. For helping out, each participant in a mission would be paid one year’s salary. The show didn’t catch on and lasted only 13 episodes on ABC.

In later years, Taylor took on character roles. His last role was Winston Churchill in 2009’s Inglourious Basterds.

NYT’s Upshot blog breaks down 007 by the numbers

Ian Fleming

Ian Fleming

The New York Times, IN AN ENTRY IN ITS UPSHOT BLOG, performs a bit of numerical analysis on James Bond.

The Upshot used this week’s 50th anniversary of the death of 007 creator Ian Fleming to examine Bond. The Upshot stresses data-based reporting. The newspaper started the blog after Walt Disney Co.’s ESPN purchased the FiveThirtyEight blog, which used to appear on the NYT’s website, from journalist-statistician Nate Silver, who now works for ESPN and its sister company ABC News. Silver gained fame for using data to project the winners of political races.

The Upshot describes itself as providing “news, analysis and graphics about politics, policy and everyday life.” (For more information, you can CLICK HERE.)

The Bond post by Alan Flippen includes graphics about which authors wrote how many 007 novels (Fleming being in a tie with John Gardner at 14 each) and how many 007 movie titles are derived from Fleming. To read the entire post, CLICK HERE.

In addition, you can read the newspaper’s 1964 obituary on Fleming BY CLICKING HERE. If you want to see the obituary in its original form, you can find information on purchasing a copy, or getting a Times digital subscription BY CLICKING HERE.