Dr. No’s 60th anniversary Part I: The odd couple

Albert R. Broccoli and Harry Saltzman

Adapted from a 2012 post.

By mid-1961, there had been multiple attempts to adapt Ian Fleming’s James Bond to other media. A 1954 CBS adaptation of Casino Royale had become reality and was mostly forgotten. No film versions had yet gone before the cameras. That was about to change as American Albert R. Broccoli and Canadian Harry Saltzman agreed to team up. It’d be an eventful, and sometimes stormy, 14 years.

Each had something the other wanted: Saltzman had secured a six-month option on Fleming’s novels other than Casino Royale (and a court settlement would take the 1961-published Thunderball out of that package). Broccoli had studio connections that Saltzman lacked. Broccoli wanted to buy the option from Saltzman, but the latter wanted to go into business with Broccoli.

Saltzman, by multiple accounts, provided a constant flow of ideas. The quality, reportedly, was erratic but when they were good, they were brilliant. (Let’s have Bond “killed” at the start of From Russia With Love.) He could be volatile, almost killing off what would be two of the most popular title songs in the 007 series (Goldfinger and Diamonds Are Forever). Composer John Barry bemoaned in a 2006 U.K. television special that, “I could never deal with Harry and didn’t.”

Broccoli, by these accounts, was the steadier, more patient of the duo. He had wanted to do Bond for years before meeting Saltzman and was mostly content with 007, a large endeavor of its own. Saltzman, meanwhile, would launch a series based on Len Deighton’s spy novels and pursue other non-Bond projects.

Eventually, the producers grew apart, with Live And Let Die primarily a Saltzman production (although there are shots of Broccoli visiting locations and sets) while The Man With the Golden Gun was primarily overseen by Broccoli. The partnership would end when Saltzman, in severe financial trouble, sold his half of the franchise to United Artists, the studio that released the 007 films.

During work on 1962’s Dr. No, the producers managed to find a collaborative rhythm. James Bond probably would have come to the screen, but likely not in exactly the same form had Broccoli and Saltzman not joined forces.

For their work on Dr. No, the first 007 film, Broccoli and Saltzman received a producer’s fee of $80,000 and 50 percent of the profits, according to the 1998 book Adrian Turner on Goldfinger. The film debuted on Oct. 5, 1962, in the U.K., reaching other countries the following year.

In 1965, the Canadian Broadcasting Corp. did an interview with Broccoli and Saltzman. At this point, Thunderball was about to be released.

Around 14 minutes into the interview, Saltzman had to take a call regarding a censorship issue with one of his non-007 movies. At the end, Saltzman works in a plug for his Harry Palmer films. Broccoli didn’t appear pleased.

NEXT: The $40,000 man

On 007’s 60th, will Harry Saltzman be the forgotten man?

Cover to When Harry Met Cubby by Robert Sellers

Adapted from a 2012 post.

The 60th anniversary of the first James Bond film, Dr. No, is gearing up. Metro-Goldwyn-Mayer has come out with an MGM logo noting the anniversary. No Time to Die is making a return to Imax theaters.

All of this is a reason to remind everyone about Harry Saltzman, the co-founder of Eon Productions, who played a key role in getting Agent 007 to the screen.

When Saltzman’s name comes up today, the image is of a cranky, volatile man who almost axed the classic Goldfinger title song, ordered elephant shoes for a movie (The Man With the Golden Gun) that didn’t have any elephants in it, etc., etc. At least one film historian, Adrian Turner, took a different view in his 1998 book, Adrian Turner on Goldfinger.

“To begin with, Saltzman took the responsibility for the scripts” of the early 007 films, Turner wrote. “Having worked with John Osborne, it’s clear he thought that Richard Maibaum — Broccoli’s man — was little more than a hack.”

Obviously, that’s hardly a unanimous opinion of Maibaum. Still, Maibaum is quoted on page 100 in author James Chapman’s 2000 book Licence to Thrill as saying that Saltzman did bring in U.K. screenwriter Paul Dehn to do the later drafts of Goldfinger (the notes section of the book says the quote is from page 285 of a book called Backstory.)

Saltzman’s contributions extended beyond being an eccentric crank.

The Broccoli-Saltzman partnership wasn’t an easy one. Eventually, the pair largely alternated producing the films while both were listed as producers. Saltzman primarily responsible for Live And Let Die (though Broccoli did visit the set in Louisiana and posed for a photograph with Saltzman and star Roger Moore) while The Man With the Golden Gun was Broccoli’s picture.

Saltzman had ambitions beyond the Bond films. He produced the Harry Palmer movies based on Len Deighton’s novels. He also produced (with S. Benjamin Fisz) Battle of Britain, a big, sprawling movie about Britain’s darkest hour. Saltzman’s three Palmer films employed the services of Bond crew members including Ken Adam, John Barry, Guy Hamilton and Maurice Binder.

The Broccoli-Wilson clan, now headed by Michael Wilson and Barbara Broccoli, has supervised the 007 series since 1977’s The Spy Who Loved Me. Nobody is suggesting that Cubby Broccoli wasn’t a master showman, who deserves a lot of credit for launching Bond on the screen. Still, it would be a shame if Saltzman ends up being the forgotten man as fans look back on 60 years of 007 films.

Bond 21-25 questions: Assessing the Craig era edition

Daniel Craig in Quantum of Solace

The Daniel Craig era of the James Bond films is drawing to a close. A thoughtful reader drew my attention to an August 2020 article by the Screen Rant site assessing Craig’s tenure.

Still, until No Time to Die comes out, there’s only so far you can go. Or is that correct? Naturally, the blog has questions.

Was the Craig era really that different? Absolutely.

Ian Fleming’s Bond novels referenced how his creation had relationships with married women. In the Eon film series, M lists “jealous husbands” as a possibility for hiring $1 million-a-hit-assassin Scaramanga in 1974’s The Man With the Golden Gun. But 2006’s Casino Royale was more explicit.

Anything else? The tone often was more violent, in particular a killing Bond performs early in 2008’s Quantum of Solace.

Quantum also had a more political point of view courtesy of director Marc Forster.

Did the Craig era follow earlier Bond films in any way? Yes. The Craig films, like earlier Eon Bond entries, adapted to popular trends in cinema.

In the 1970s, Bond films followed blaxploitation movies (Live And Let Die), kung fu (The Man With the Golden Gun) and science fiction (Moonraker).

In the 21st century Craig movies, the series followed Jason Bourne films (Quantum, including hiring a Bourne second unit director), Christopher Nolan Batman movies (Skyfall) and the Marvel Cinematic Universe (SPECTRE, moving to tie all of the Craig adventures together).

Anything else? Some Bond fans argue Craig is the best film James Bond. No Time to Die (apparently) is the final chapter. No doubt there will be more debate once No Time to Die can be viewed.

Live and Let Die script: More mayhem

Part of the Live And Let Die soundtrack packaging.

Live And Let Die was a rare case for the James Bond film series. Only one screenwriter, Tom Mankiewicz, was employed throughout the production.

An Oct. 2, 1972 screenplay was labeled as the shooting script. It’s close to what moviegoers would see in the summer of 1973 for Roger Moore’s debut as Bond. But the script still contains notable differences. With the excerpts below, words between asterisks were underlined in the script.

A more gruesome death: The script opens with the deaths of three agents as in the finished film. But the demise of the third agent is implied to more gruesome.

A MACHETE BLADE FLASHES INTO FRAME: A sickening laugh i heard as the blade sweeps down at BAINES. CAMERA FREEZES FRAME ON GLINTING MACHETE BLADE.

Recognition phrase: When Bond arrives in New York, he meets up with a contact named Charlie. Except in this script, there’s a recognition phrase or code involved,

Charlie attempts to introduce himself in a more conventional way. Bond instead pulls his Walther PPK on Charlie.

CHARLIE
Oh!
(mechanically)
You want to go to Shea Stadium? The Yankees are playing a double header.

BOND
(smiles, lowers gun)
The *Mets* play at Shea. The Baseball season doesn’t begin until April.

CHARLIE
My mistake.
(sighing)
Sorry – I forgot. We don’t do too much of that over here anymore. Oh – Mister Leiter wants to talk to you.

This exchange doesn’t appear in the film. But the basic notion of American operatives giving up on recognition phrases while the British stick with them would be used in 1995’s GoldenEye.

Bond’s trip to Harlem: Bond catches a cab to Harlem while following a group of Dr. Kananga’s associates. For some reason, the cab driver addresses Bond as “Jim” twice even though no introduction had been made. In the film, as in this script, the driver shows up again in New Orleans calling Bond “Jim.”

Tombstones: Mr. Big/Kananga tells Bond that, “Names are for tombstones, baby.” In the film, it’s come out as, “Names is for tombstones, baby.” The latter is sometimes used as a catchphrase among Bond fans.

Bond dispatches Mr. Big’s thugs: Bond is being led from Mr. Big/Kananga’s New York office to be killed by two thugs. The description is a bit more violent than in the film.

As in the film, Bond uses a steel grating from a fire escape. The grating is coming at Bond’s face but the agent ducks. The grating “slams into GUARD ONE’s face with a terrifying crunch.” Bond gets the thug’s gun as the man falls. Bond then gets behind the first thug as the second fires. That shot kills the first thug. Bond shoots the second to death.

Bond arrives in San Monique: There is a scene that’s not in the movie. Bond goes through customs upon arrival. The customs area has photos of Dr. Kananga and “propaganda messages for San Monique.” Bond doesn’t notice that the customs official he’s dealing with takes a photo of the agent’s passport photo.

Bond’s San Monique bungalow: The scene is very similar to the final film but there are a few key differences. Bond manages to decapitate the snake intended to kill him. Rosie Carver is described as “a beautiful WHITE GIRL.” After Bond tosses her on the bed she is “semi-naked, her dress having been torn in half.” The part was played by Black actress Gloria Hendry in the movie.

Continuity: Bond and Rosie charter a boat. She doesn’t know it belongs to Quarrel Jr., who’s working with Bond. Eventually, the agent makes an introduction. “Rosie Carver – meet the man who shares my hairbrush – Quarrel Jr. His father and I locked horns with a Doctor named No several years ago.” The latter line wouldn’t make the final film.

Shark gun: This weapon, which fires gas-filled pellets, is introduced during the boat sequence of the script. After told about the gun by Quarrel Jr., Bond fires a pellet into the mouth of a shark. “CAMERA HOLDS ON SHARK as it suddenly *begins to inflate to several times normal size*, the huge balloon-like fish now disappearing in the wake of the fishing boat.”

Rosie’s death: In the movie, she is killed by a gun hidden in a Baron Samedi-style scarecrow. In this script, she’s running away from Bond when she “suddenly *jumps off the side of the road*, disappears from view.” It’s a long fall. “ROSIE’s body lies broken and mangled in a stone quarry some hundred feet below.”

New Orleans airport: Bond eventually meets up with Solitaire and takes her to New Orleans. The sequence set at that city’s airport has considerably more mayhem than in the final film.

Among other things, Bond attempts to take off in the Bleeker flying school plane (with kindly Mrs. Bell aboard). But he uses a runway where two private planes are landing. There are combined plane and car crashes. The gag where the wings of the Bleeker plane are torn off is in the script but adds Mrs. Bell feinting.

Toward the end of the sequence, the plane’s controls won’t respond. The aircraft hits a fence, its propeller cutting through the fence. The plane comes down at a 45-degree angle. Bond is hanging upside down, held in place by his seat belt. “He looks over at MRS. BELL who moans, starts to come out of her coma.”

Felix Leiter later summarizes events.

“Not too bad. Extensive damage to the hangar, five planes, four cars, and a forty foot section of fence. Not to mention giving a seventy-year-old Granny the worst jolt she’s had since her wedding night. Christ, James, what a way to sneak into town.”

Boat chase: This was the action centerpiece of the film. This script’s version is more frantic. For example, a boat towing a pyramid of water skiers gets in the middle of the chase. The skiers stay upright for quite a while before they inevitably come tumbling down.

Also, a boat involved in the chase goes from the water onto a golf course. A member of a foursome is about to attempt a 30-foot putt. He jerks, striking his golf ball involuntarily as one of the villain boats lands in a nearby bunker. Naturally, the putt proves successful.

The end: In this script, there is no Baron Samedi riding the train engine. Instead we have this symbolic ending of what Bond and Solitaire are doing. Perhaps it was an homage by Mankiewicz of North by Northwest.

EXT. TRAIN TRACK JUNCTION CLOSE ON RED SIGNAL NIGHT

CAMERA CLOSE on a large, circular sign hanging over one track at a central train junction: A red light blinks on and off over the words: *NO ENTRY*. With a loud “ding,” the sign flips down, is replaced by a bright, blinking green light as BOND’s train whistles through, and off into the distance…

FADE OUT

THE END

John Logan provides a peek behind the 007 film curtain

John Logan

John Logan, co-screenwriter of Skyfall and SPECTRE, provided a glimpse behind the James Bond film curtain in a guest essay for The New York Times.

Logan’s article primarily is a plea for Amazon, which last week agreed to acquire Metro-Goldwyn-Mayer (the $8.45 billion deal is subject to regulatory review) to leave the cinematic Bond alone. MGM is Bond’s home studio but it only has half of the Bond franchise, with the Broccoli-Wilson family having the other half.

Where Logan raises the curtain (some) is in describing how the making of Bond films works. One example:

Barbara Broccoli and Michael Wilson are the champions of James Bond. They keep the corporate and commercial pressures outside the door. Nor are they motivated by them. That’s why we don’t have a mammoth Bond Cinematic Universe, with endless anemic variations of 007 sprouting up on TV or streaming or in spinoff movies. The Bond movies are truly the most bespoke and handmade films I’ve ever worked on.

Logan’s specific example concerns Skyfall where Bond finally meets Silva, the film’s villain.

Sam Mendes, the director, and I marched into Barbara and Michael’s office, sat at the family table and pitched the first scene between Bond and the villain, Raoul Silva. Now, the moment 007 first encounters his archnemesis is often the iconic moment in a Bond movie, the scene around which you build a lot of the narrative and cinematic rhythms. (Think about Bond first meeting Dr. No or Goldfinger or Blofeld, all classic scenes in the franchise.) Well, Sam and I boldly announced we wanted to do this pivotal scene as a homoerotic seduction. Barbara and Michael didn’t need to poll a focus group. They didn’t need to vet this radical idea with any studio or corporation — they loved it instantly. They knew it was fresh and new, provocative in a way that keeps the franchise contemporary. 

Now, this is an opinion piece and Logan is certainly entitled to his opinion. But the scribe overlooks a few things.

When Skyfall began production, Mendes declared the movie was not connected to Casino Royale and Quantum of Solace, the first two films starring Daniel Craig.

That didn’t last long. SPECTRE, where Logan was the first screenwriter, decided that Silva wasn’t an independent menace but rather was a part of Quantum/SPECTRE. And SPECTRE, after the fact, opted to make all of the Craig films one big arch.

In short, Bond was following the Marvel Cinematic Universe route that Logan appears to decry in his New York Times essay. And Barbara Broccoli and Michael G. Wilson have doubled down on Marvel-style continuity that with No Time to Die, directed and co-written by Cary Fukunaga.

What’s more, it’s not like Bond has ignored popular trends prior to this. Albert R. Broccoli (father of Barbara Broccoli and stepfather of Michael G. Wilson) was involved with 007 films that referenced blaxploitation films (Live And Let Die), kung fu movies (The Man With the Golden Gun) and Star Wars and science fiction (Moonraker).

And it was under Cubby Broccoli’s watch that Johnny Weissmuller’s Tarzan yell (originally recorded for a 1930s Tarzan movie) showed up in Octopussy.

Logan’s essay is worth reading for Bond fans. But it should be read amid a larger context.

Yaphet Kotto, an appreciation

Yaphet Kotto in Live And Let Die

Early in his career, Yaphet Kotto (1939-2021) was working as an actor when “Old Hollywood” was holding on for dear life.

For example, he appeared in 5 Card Stud, a 1968 western starring Dean Martin and Robert Mitchum. It was produced by Hal Wallis, born in 1900 and as “Old Hollywood” as you could get. His credits included Casablanca as well as Martin and Lewis comedies. And this movie came out before the Wallis-produced True Grit.

Nevertheless, Kotto, not yet 30, more than held his own with his established fellow actors. Kotto’s character is killed but in his dying moments provides the clue needed to track down his killer.

Hollywood was about to change. And Yaphet Kotto would be part of the change.

Kotto made an impact, whether in films or on television shows. As news of his passing circulated, the actor was subject of numerous tributes on social media.

He was one of the most memorable villains in the James Bond film series. Kotto was Bond’s first Black primary adversary in Live And Let Die (1973). His Dr. Kananga led a double life, as the leader of a Caribbean nation who moonlights as an American criminal.

In his two identities, Kotto projected different personalities. Kananga was the seemingly dignified head of government for San Monique. Mr. Big was the street criminal.

It’s not until the second half of the movie, the audience gets to see Kananga’s true self. Kotto gets one of the best “villain speeches” in the series. He explains his plan is to provide free samples of heroin until the number of addicts in the U.S. has doubled.

Roger Moore, making his Bond debut, asks if that won’t upset certain “families” (i.e. the Mafia).

Kotto seizes the set-up line and runs with it.

He says those families will be driven out of their minds and “subsequently out of the business, leaving me and the telephone company as the only growing monopolies in this country for years to come.” Kotto’s delivery makes an impact.

Kotto had a long career. His IMDB.COM entry lists more than 90 credits. He appeared in a variety of genres, everything from science fiction to gritty crime dramas.

Among those paying tribute to Kotto were two film directors:

Yaphet Kotto dies

Yaphet Kotto with Roger Moore in Live And Let Die

Yaphet Kotto, who played the villain in the first Roger Moore James Bond movie, Live And Let Die, has died at 81, according to website Comicbook.com, which cited a post by Kotto’s official Facebook site.

Kotto played Dr. Kananga, prime minister of the fictional Caribbean island of San Monique. Kananga also impersonates American gangster Mr. Big, who operates out of Harlem in New York City. Kotto’s character, with both identities, opposes Moore’s Bond in his first 007 film outing.

All of that was a major change dreamed up by Tom Mankiewicz, the sole screenwriter for Live And Let Die.

In the documentary Inside Live And Let Die, Mankiewicz said he was approached by Eon Productions about what Ian Fleming novel he’d like to adapt. Mankiewicz was the second scribe on Eon’s Diamonds Are Forever, which featured the return of Sean Connery as James Bond. It was a hit and Eon wanted Mankiewicz back.

The screenwriter, in the documentary, quoted himself as saying he wanted to do Live And Let Die because it was edgier. The book was Fleming’s second Bond novel and featured Bond against Black villains in New York, Florida and the Caribbean.

Kotto had a long career. His credits included 1979’s Alien, Across 110th Street and a first-season Hawaii Five-O episode as a U.S. soldier suffering a head injury who thinks he’s back in Vietnam.

UPDATE (2 a.m., New York Time): Variety has a story about Kotto’s death that includes a confirmation from his agent.

A trivia note: Both Kotto and his Live And Let Die co-star, Julius W. Harris (Tee Hee), played Uganda President Idi Amin in competing productions about the 1976 Israeli raid at Entebbe. Harris appeared first (in a show produced on video tape) on ABC, while Kotto was on a filmed NBC production. The latter was directed by Irvin Kershner, who’d later helm The Empire Strikes Back and Never Say Never Again.

About that ‘James Bond knockoff’ thing

A James Bond Jr. character with a pencil communicator that looks a lot like The Man From U.N.C.L.E. pen communicator

A James Bond friend of mine misses much spy entertainment as examples of “James Bond knockoffs.”

OK. But the James Bond film franchise has, more than once, borrowed from others. A few examples:

From Russia With Love: Ian Fleming’s fifth novel didn’t include a sequence where Bond dodges a helicopter. This was something the filmmakers added to the movie to add visual excitement. Clearly, it’s an “homage” to North by Northwest where a crop-duster plane goes after Cary Grant.

More broadly, the Bond series owes a lot to North by Northwest. NxNW has a delicate balance of drama and humor. Director Alfred Hitchcock and screenwriter Ernest Lehman practically provide a blueprint for the Bond series that Eon Productions would go on to make.

Live And Let Die: The eighth Eon Bond film is based on Fleming’s second novel. But its popularity also owes much to the early 1970s “blaxplotation” craze. Essentially director Guy Hamilton and screenwriter Tom Mankiewicz drop Bond into the middle of a blaxplotation movie. Mankiewicz wanted to cast Diana Ross as Solitaire but Eon wouldn’t go that far.

The Man With The Golden Gun: The ninth Eon Bond film sought to take advantage of the popularity of 1970s kung fu movies. You’d see stories (ahead of the film’s release) about how Roger Moore was training furiously to credibly do martial arts.

Moonraker: In 1966, there was an Italian-based spy movie called Kiss the Girls and Make Them Die. It shares Brazilian locations with 1979’s Moonraker. Heck, you could easily argue the 1966 movie makes better use of Brazil, including Rio’s massive Jesus statue. Also, there are sequences of the 1966 movie that would practically be repeated in Moonraker.

In addition to all that, in Moonraker, we hear a key tune from Close Encounters of the Third Kind.

Licence to Kill: Bond has a gun with attachments (site, extended barrel, extended magazine, rifle stock) that looks an awfully lot like the U.N.C.L.E. special. In Licence to Kill, the base gun looks like a camera but all the attachments look like the attachments of the U.N.C.L.E. Special.

James Bond Jr.: Many fans disavow this early 1990s cartoon series. But it was officially sanctioned by Eon and Michael G. Wilson shares a “developed by” credit. In episode 9, “The Eiffel Missile,” a character has a pencil communicator that appears copied from U.N.C.L.E.’s pen communicator that debuted in the second season of that series.

1973: Live And Let Die’s unusual soundtrack packaging

Part of the Live And Let Die soundtrack packaging (Spy Command photo)

In the 21st century, vinyl music (you know, records) has been revived. Truth be told, it was the best format for movie soundtracks. There was more room for poster images and other art related to the movie.

One of the best examples of this occurred in 1973 with the release of Live And Let Die, the eighth James Bond film.

Most soundtracks of the era were single discs that fit into a sleeve. Live And Let Die’s soundtrack, likewise, was just one disc. But when you looked at the cover, you could open it and see two sets of images (see above).

The biggest image, naturally, was Roger Moore as the new James Bond. Still, all told, there were 11 either film stills or publicity images from the movie. It’s not the kind of presentation you get on a CD or a music download.

The cover was an image of the movie’s main poster art. The back cover was a listing of the tracks on the record.

The list included “Just a Closer Walk With Thee,” (from the fake funeral scene) arranged by Milton Batiste. Batiste also composed “New Second Lind,” performed by Harold A. “Duke” Dejan and The Olympia Brass Band.

The other tracks were composed by George Martin except for the final track on side two, the film’s version of The James Bond Theme.

A final note: On this U.S. version of the album, Albert R. Broccoli gets top billing over fellow producer Harry Saltzman. Saltzman was actually the primary producer of the film. A lot of home video versions work from a version where Saltzman got top billing.

UPDATE: A former Bond collector (he sold his collection off some time back) advises me the 1969 U.K. vinyl release of the On Her Majesty’s Secret Service soundtrack also had a gate-fold cover as described above for the Live And Let Die soundtrack. I have a copy of the U.S. OHMSS vinyl soundtrack, but it only has a standard cover.

Also, a reader complained that I didn’t mention Paul McCartney and Wings. They performed the title song. It was written by Paul and Linda McCartney. Most fans know that but I decided to make up for that here.

UPDATE II: Another reader advises the U.K. version of the vinyl release of The Spy Who Loved Me also had a gate-fold cover. I have the U.S. vinyl release and no gate-fold cover.

To quote Commodore Schmidlapp from the 1966 Batman feature film: “Pip, pip, Yankee dollars.” Except, when it comes to Yankee Bond fans: “Go stuff it, you uncouth barbarians.”

UPDATE III: David Reinhardt of the Ian Fleming Foundation, up seeing this post provided gate-fold images from the On Her Majesty’s Secret Service and The Spy Who Loved Me soundtracks that appeared outside the U.S.

OHMSS soundtrack gate-fold images
The Spy Who Loved Me gate-fold images

As stated before: “Pip, pip.”

21 Club, a literary Bond location, to close

The 21 Club, a well-known New York City restaurant, is closing, the New York Post reported, citing a spokesman.

The restaurant was a location for the literary James Bond. In the novel Diamonds Are Forever, James Bond and Tiffany Case dine there after Bond has smuggled diamonds into the U.S. They meet “one of the famous Kriendler brothers, who have owned ’21’ ever since it was the best speak-easy in New York.”

The Kriendler and Berns families owned 21 from 1922 to 1985, according to the restaurant’s entry in Wikipedia.

The 21 Club also is referenced, but not shown, in the film Live And Let Die. Bond (Roger Moore) and Felix Leiter (David Hedison) are to meet there for dinner, the audience is told as Bond and Solitaire (Jane Seymour) get ready to board a train to travel to New York.

The restaurant is known for his exterior (statues of jockeys) and its clientele (the likes of Frank Sinatra and Ernest Hemingway) over the decades.

The restaurant has been hit hard by the COVID-19 pandemic. New York state has banned indoor dining for a second time to slow the spread of the virus. 21 has been shut since March of this year. According to the Post, 21’s employees have been told they’ll lose their jobs by March 2021.

The Post said 21’s owners are exploring options for the restaurant to reopen in some form in the future.