About that ‘Chairman Mao’ 007 villain wardrobe

UPDATE: @SuperThunderFan on Twitter reminds us that Dr. No had a similar look in the movie of the same name, not to mention Bond himself (of course, those were borrowed clothes) as well as Kamal Khan in Octopussy.

ORIGINAL POST: Is it asking too much for a little variety? Let’s consider, the “Chairman Mao” look appears to have originated with the 1967 spoof version of Casino Royale.

The “dramatic reveal” (such as it is) is that Jimmy Bond (Woody Allen), the nephew of James Bond (David Niven), is the villain.

woody-allen-casino-royale-1967

Just a few months later, You Only Live Twice, the fifth 007 film produced by Eon Productions, debuted. It’s the first time we see Blofeld on screen. In his previous appearances (in From Russia With Love and Thunderball), Blofeld wore a suit. But not for this big reveal in the person of Donald Pleasence.

blofeld-yolt

This look for Blofeld would continue for the next two Eon films, including Charles Gray as Blofeld in 1971’s Diamonds Are Forever.

blofeldsmiles

Diamonds would be the final appearance by Blofeld in an Eon movie for a while. But, in 1973’s Live And Let Die, “Wardrobe by Blofeld” continued in the person of Dr. Kananga (Yaphet Kotto). And he had *nothing* to do with SPECTRE.

lald-yahphet-kotto

A couple of movies later, Bond did battle with rich/crazy guy Karl Stromberg and…oh, for crying out loud, couldn’t he afford his own wardrobe?

stromberg-tswlm

Well, The Spy Who Loved Me was a huge hit. Producer Albert R. Broccoli was ensured the resources for an even bigger hit with 1979’s Moonraker — except for a new wardrobe for his villain, embodied by Michael Londale’s Drax.

moonraker-drax

We’ll skip ahead many years (leaving aside the question about whether that guy in the pre-credits sequence of For Your Eyes Only was Blofeld or not). It’s now 1997. It’s a new era.

So in 1997’s Tomorrow Never Dies….oh, for crying out loud! Apparently, Jonathan Pryce’s villainous media baron is cheap when it comes to clothes!

tomorrow-never-dies-villain

OK, let’s go further forward to the 21st century. The franchise has been rebooted. Oh, there’s a new version of Blofeld? Almost certainly, there’s no way they’d copy that campy, goofy 1960s version. Right? Maybe not.

blofeld-waltz

If the producers need a Blofeld for Bond 25, and Christoph Waltz is unavailable, they should perhaps consider one of the performers in this video. Joey Bishop and Sammy Davis Jr. are no longer with us. But Regis Philbin is still going strong.

MI6 Confidential looks at Corbould, Hamilton

Guy Hamilton (1922-2016)

Guy Hamilton (1922-2016)

MI6 Confidential magazine’s new issue takes a look at special effects wizard Chris Corbould and the late Guy Hamilton, a four-time 007 director.

Corbould “started on the films aged eighteen,” according to a summary of issue 36 of the publication. “Today he reflects on his life with Bond, from 1977’s Spy to SPECTRE.”

Corbould’s services are in demand. He has also worked on Christopher Nolan’s Batman movies and the Star Wars series.

Hamilton died earlier this year. He helmed 1964’s Goldfinger, the 007 series first mega-hit, as well as Live And Let Die, the first 007 film with Roger Moore.

Other articles include a feature about Moonraker’s NASA advisor.

For more information about ordering, CLICK HERE. The price is 7 British pounds, $11 or 8.50 euros.

‘Enjoy it lightly, lightly’: Guy Hamilton’s 007 films

Guy Hamilton

Guy Hamilton

By Nicolás Suszczyk, Guest Writer

Dedicated to Guy’s memory. Sadly, I didn’t have the chance to meet or interact with him, but The Man With The Golden Gun and Live and Let Die were the first two classic Bonds I ever saw, both very entertaining. May he rest in peace. .

The contribution the late Guy Hamilton made to the James Bond series can be defined in a phrase he said to Roger Moore and Christopher Lee on the set of The Man With the Golden Gun: “Enjoy it, lightly, lightly”.

Hamilton took the helm of Goldfinger after rejecting Dr. No and came up shining the James Bond series. As previously stated on this site, the Bond movies became more extravagant since the third outing, released in 1964.

Goldfinger, starring Sean Connery, added to the humorous situations of Dr. No and From Russia With Love, directed by Terence Young, and brought a simple and basic premise repeated in subsequent films: an extravagant mastermind (the title villain, played by Gert Frobe), special gadgets shown in a Q Lab scene, who went further than the attaché case from the previous film with Bond’s trademark Aston Martin DB5; and the abundance of beautiful women to please the secret agent and the audience (this time, there weren’t only two or three women but a group of beauties working for the main girl, Pussy Galore).

The formula was established: movie begins with a mini-adventure, then follows up with actual assignment. Bond gets M’s briefing, his gadgets from Q and is sent to investigate the villain. Eventually, he’ll come across many girls and thrills across the globe until the villain captures him and reveals his outrageous plan: a plan 007 averts before or after killing the main villain (and/or the henchman) and ending with one of the girls.

While Goldfinger had a great success and impact among Bond fans, the following 007 film directed by Hamilton, Diamonds Are Forever, isn’t held in the same high regard. Neither are the other Bonds he directed, Live and Let Die and The Man with the Golden Gun, now with Roger Moore on the role.

Diamonds Are Forever’s asset was the return of Sean Connery in the role. The movie, released in 1971, was very representative of the times and way more relaxed in comparison of the previous James Bond adventure, the faithfully adapted On Her Majesty’s Secret Service.

Not everything in the movie is perfect, but it manages to shine with a very eye-pleasing cinematography by Ted Moore, who excelled with colorful shots of Las Vegas or the monotone palette of the Nevada dunes. The lines, although a bit parodic, are punchy. That’s particularly true in the scene when 007 infiltrates Blofeld’s oil rig off the California coast by saying: “Good morning, gentlemen. Acme pollution inspection. We’re cleaning up the world, we thought this was a suitable starting point.”

Guy Hamilton’s collaboration with screenwriters Richard Maibaum and Tom Mankiewicz (Mankiewicz wrote the later script drafts) provided a funny ride for Sean Connery’s return in Diamonds Are Forever, with gorgeous girls and comical situations like having James Bond escaping from a compound in a Moon buggy (even John Barry’s music captured the funny aspect of the scene).

For Roger Moore’s introduction as James Bond in 1973, Hamilton opted to make the new Bond completely different from his predecessor, the Scottish actor who patented the image of 007. He would return for a last 007 outing in 1974 for Moore’s second Bond film, The Man With the Golden Gun.

Christopher Lee in The Man With the Golden Gun

Christopher Lee in The Man With the Golden Gun

These two films lack some of the qualities of Goldfinger or Diamonds Are Forever, yet a lot of humor, girls and gadgets are maintained. Roger Moore’s adventuristic spirit was inspired from his days as Simon Templar in The Saint, helping to enhance the standard quota of humor from Hamilton and Mankiewicz.

The story lines of Live and Let Die and The Man With the Golden Gun were simplistic. In the former, Bond is sent to investigate the death of colleagues and a British representative at the UN that leads to a case of drug-dealing. In the latter, Bond is the target of assassin Scaramanga (Christopher Lee), who also wants to monopolize solar energy.

In Live and Let Die, 007 breaks interracial barriers with CIA agent Rosie Carver (Gloria Hendry), visits the Caribbean once more and opposes Dr. Kananga (Yaphet Kotto), the mastermind behind the drug trafficking. There were no vehicles this time but a Rolex Submariner wristwatch with a powerful magnet.

The technical aspect of the 1973 movie is a bit of a letdown in comparison to Diamonds Are Forever or Goldfinger. George Martin’s score succeeds the difficult task of replacing the usual John Barry, but the cinematography -–again by Ted Moore -– is somewhat lackluster.

On the other hand, The Man With The Golden Gun brought John Barry back and Ted Moore, joined by Oswald Morris, brought more colors to the scenes.

The Man With the Golden Gun poster

The Man With the Golden Gun poster

There is an abundance of women in the movie. The ninth Bond installment saw the secret agent involved with both Britt Ekland and Maud Adams, with a romantic-comedy-like jealousy scene included, plus some Asian beauties such as the suggestive nudist swimmer Chew Me and two teenager karate experts.

Guy Hamilton’s goodbye to the series was filled with humorous situations not only made by the actors or screenwriters, but also in the technical area: John Barry added a sound effect as Bond’s AMC Matador car takes a 360-degree jump and the art crew set the MI6 base in Hong Kong inside the sunken remains of the Queen Elizabeth ship, apparently because of the expensive Hong Kong real estate, or so a a British naval officer explains Bond in the film.

These two films feature a recurring character: Sheriff J. W. Pepper, played by Clifton James, whose scenes almost turn both films into comedies. If in Live and Let Die the southern lawman interfered in a boat chase between 007 and the bad guys and made some racist remarks, in The Man with the Golden Gun he’s fully ridiculed by an elephant who throws him to the Thai canals.

It’s a continuous subject of debate if the cinematic James Bond should be a dramatic anti-hero as the one seen in Licence to Kill or Casino Royale or a lighter action man as the protagonist of the movies Guy Hamilton directed. Both definitions of Ian Fleming’s character were key to make 007 the longest running franchise in cinema history.

Guy Hamilton was the man who popularized Bond. The term “popularized” goes in a appeasing way, because he made these movies the kind of entertainment teenagers and adults wanted in the 1960s or 1970s. And he did not only “entertaining movies,” but great, entertaining adventures.

Guy Hamilton made James Bond a super star, an icon of the popular culture.

Guy Hamilton, an appreciation

Goldfinger poster

Goldfinger poster

James Bond was never the same after Goldfinger and director Guy Hamilton got done with it.

The first two 007 films, Dr. No and From Russia With Love, were solid successes at the box office. Goldfinger was a spectacular one.

The first two movies contained humor. Goldfinger expanded it.

Dr. No had elements of stories found in pulp magazines and From Russia With Love was grounded in the Cold War. Goldfinger was outlandish, including a henchman with a deadly hat, a tricked out car with an ejector seat among other gadgets and a villain who planned to explode an atomic bomb inside of Fort Knox.

In short, Goldfinger was 1964’s equivalent to today’s comic book-based movies. And Guy Hamilton, who died this week at age 93, was the ringmaster of the show.

Hamilton, in interviews he granted in his later years, made clear Goldfinger was never intended to be anything other than escapist entertainment. Audiences couldn’t get enough.

From that point forward, Bond had to be spectacular. Thunderball, helmed by original 007 director Terence Young, advertised itself as “the biggest Bond of all.” You Only Live Twice tried to be even bigger than that, including a villain’s lair hidden inside a volcano.

The series tried to reel things back a bit with On Her Majesty’s Secret Service, with George Lazenby succeeding Sean Connery as Bond. Director Peter Hunt insisted on a faithful adaptation of Ian Fleming’s 1963 novel, unlike how You Only Live Twice jettisoned most of the author’s 1964 book. But Majesty’s was still huge and escapist, not a Cold War thriller like From Russia With Love.

When Majesty’s box office fell off from You Only Live Twice (which in turn earned less than Thunderball), the production team opted for “another Goldfinger.” That included bringing Guy Hamilton back as director for Diamonds Are Forever.

Guy Hamilton (1922-2016)

Guy Hamilton (1922-2016)

Diamonds also was helped by the return of Connery (a United Artists move). But the movie also reflected a clear change in tone from its predecessor to something much lighter and fluffy.

Diamond smuggler Tiffany Case (Jill St. John) is aware of the existence of Bond (“You’ve just killed James Bond!” she says after 007 switches wallets with deceased thug Peter Franks.) Blofeld at one point dresses in drag as part of a getaway. Some sequences (a chase involving a moon buggy and plant security cars comes to mind) contain a lot of slapstick.

Bond again was a success at the box office. Hamilton was retained to help introduce Roger Moore as the new 007 after Connery again departed the series.

The lighter tone continued, even intensifying, including a long boat chase in Live And Let Die and a ditzy Mary Goodnight in The Man With the Golden Gun. The former was a big hit worldwide, becoming the first Bond to exceed Thunderball at the box office. Golden Gun, however, fell off from that.

Hamilton was hired to direct his fifth Bond, The Spy Who Loved Me, but changed his mind and bowed out. In the 1990s, Hamilton told writer Adrian Turner that he probably had stayed too long with the series.

Perhaps so. Nevertheless, Hamilton had an enormous impact on the film Bond. Goldfinger let a genie out of the bottle. It wasn’t until the 21st century with the 007 films of Daniel Craig that there was a sustained, concerted effort to dial back humor. For Your Eyes Only and Licence to Kill were one-off attempts to do so. Even so, the former included an ending with slapstick involving a Margaret Thatcher lookalike and the latter had an over-the-top Wayne Newton and an ending featuring a blinking fish.

Even the Craig films, though, reflect the Hamilton-directed Bond movies.

Skyfall and SPECTRE include the tricked out Aston Martin DB5 from Goldfinger. (Casino Royale had a different, left-hand drive DB5 without gadgets.) A car chase in SPECTRE contains Goldfinger-style lightness. Quantum of Solace had a Goldfinger homage — a woman dipped in oil, rather than a woman painted in gold paint.

Goldfinger’s impact on the series lingers today. Guy Hamilton was one of the major reasons.

Guy Hamilton, Goldfinger director, dies

Guy Hamilton

Guy Hamilton

Guy Hamilton, director of the first 007 mega-hit, Goldfinger, died at 93, according to an OBITUARY BY THE BBC.

Hamilton directed four Bond films, with Diamonds Are Forever, Live And Let Die and The Man With the Golden Gun being the others. He initially agreed to direct The Spy Who Loved Me, but bowed out after agreeing to direct Superman. He ended up not directing that movie either, paving the way for Richard Donner to helm Christopher Reeve’s debut as the Man of Steel.

Hamilton also was offered the opportunity to direct Dr. No, the first 007 film produced by Eon Productions. He refused, with Terence Young eventually getting the job. After Young turned down Goldfinger, Hamilton didn’t say no to Bond a second time.

Hamilton was no rookie in the film industry when he got the Goldfinger job. He had been assistant director on The Third Man (1949) and The African Queen (1951). In the early 1950s, he graduated to the director’s chair on a series of films.

In the 1990s, Hamilton was interviewed by the British writer and film historian Adrian Turner for the book Adrian Turner on Goldfinger. Some highlights:

–On Eon Productions founders Albert R. Broccoli and Harry Saltzman: “Harry had the subtlety of an ape and he made Sean (Connery) feel like a complete gorilla…I could work happily with Harry and happily with Cubby, but when they were together it was a nightmare.”

— On Pussy Galore being gay in Ian Fleming’s original novel: “We had to glide over it. And you had to be wary of the censor who played a very big part in Bond.”

— On how a skeleton crew shot at the real Fort Knox: “It was just (Director of photography) Ted (Moore), Cubby ( producer Albert R. Broccoli) and me, and we did more shooting the next day than I think I’ve ever done in my life.”

–On taking over from Terence Young’s crew on Dr. No and From Russia With Love: “They were obviously surprised by the success of Dr. No and Russia so they were a bit lazy and arrogant…It was part of my job to put a big boot up all their arses.”

–On Live And Let Die and The Man With the Golden Gun: “I regret doing the two with Roger (Moore)…They made me an offer I couldn’t refuse.”

–On how Hamilton though Burt Reynolds would be a good James Bond: “I was in America and found the perfect Bond, who was Burt Reynolds. He had all Sean’s (Connery’s) qualities, a nice wit, but he moved like a dream. But UA (United Artists) said forget it, he’s just a stuntman.”

In the 21st century, some fans view Hamilton as being lucky with getting the Goldfinger job, while his three following 007 films didn’t come close to meeting the same standard.

Regardless, Hamilton was in the director’s chair for the first Bond film that made 007 a worldwide phenomenon. His record also includes directing a Harry Palmer film for Harry Saltzman (Funeral in Berlin) as well as the producer’s Battle of Britain movie.

With Hamilton’s passing, only Lewis Gilbert (b. 1920) remains among the directors of the first 11 Bond films. Terence Young died in 1994 and Peter Hunt died in 2002.

Roger Moore took to Twitter to write about Hamilton.

Live And Let Die: a soundtrack to listen without earmuffs

Design for LIve And Let Die's soundtrack album

Design for LIve And Let Die’s soundtrack album

By Nicolas Suszczyk, Guest Writer

George Martin was the first composer to face the challenge that would later come to Marvin Hamlisch, Bill Conti, Michael Kamen, Eric Serra, David Arnold and Thomas Newman: to replace the role of John Barry in a James Bond movie.

The soundtrack is an important part of every movie, and the James Bond films are not an exception. From Dr. No to Diamonds Are Forever, Barry had put his talent to the service of Eon Productions and set the standard for “the spy music,” either with dramatic sounds for Thunderball, funny melodies for Goldfinger or an Asian flavor for 007’s incursion into the east with You Only Live Twice. No matter what vibe he took, the John Barry cues always fitted the words “spy music.”

But in 1973, John Barry was busy composing a musical and unable to score Roger Moore’s debut in the franchise, Live and Let Die. He suggested George Martin, who had been producer of The Beatles.

It was a huge challenge: a new Bond had to be introduced and a new era in the series had begun. And every time a new actor is seen in the 007 gunbarrel logo, the composer has to adapt his tunes to the interpretative style of the new Bond and other topics of the movie: the script, the settings and the period of time.

George Martin was the first to take up the challenge of following in Barry’s footsteps and passed with flying colors. The score for Live and Let Die is explosive, adrenaline filled and exotic.

Tracks like “Trespassers will be Eaten,”, “Bond to New York” and “Whisper who Dares” capture the adventurist feeling of Roger Moore’s Bond adding an atmosphere of thrills and excitement. “Bond meets Solitaire” and “The Lovers” accentuate the delicateness of Jane Seymour’s Solitaire.

The Caribbean flavor of the film is transpired in tracks like “San Monique,” “Sacrifice” and “Baron Samedi’s Dance of Death” while the main motif of the title song is repeated often through the album, either to cue action sequences like the boat chase or as a source music, in a soul version performed by B J Arnau as James and Felix visit the Fillet of Soul bar.

The main title song, Live and Let Die, was also produced by George Martin who insisted to producer Harry Saltzman to hire Paul McCartney for the title song, warning him he’d drop the project if he refused.

Saltzman, a man hard to convince, went for the deal and Martin wasn’t wrong: the song, written by Paul and his wife Linda the same day they finished Ian Fleming’s novel, was the first Bond theme to get an Oscar nomination and it’s widely admired by Bond fans, brilliantly striking with Maurice Binder’s terrifying and colorful main title sequence.

Just like You Only Live Twice’s Asian feeling, Goldfinger’s swinging melody and Diamonds Are Forever’s luscious sound, Live and Let Die lets the influence of the new decade (the 1970s) fill into the soundtrack in a clever and representative way.

George Martin proved indeed the golden sound of Bond, established by John Barry, could be provided by many talented composers.

George Martin lives and let dies at 90

Live And Let Die's poster

Live And Let Die’s poster

George Martin, producer for The Beatles and a key musical contributor for Live And Let Die, has died at 90, ACCORDING TO AN OBITUARY IN THE WALL STREET JOURNAL.

Obituaries understandably concentrated on his work with The Beatles. But he was also a major contributor for the eighth James Bond film, helping to sell the Paul and Linda McCartney title song to producer Harry Saltzman as well as scoring the film.

Paul McCartney sought Martin’s help in preparing a demo version of Live And Let Die. McCartney wanted a big sound, something that would rival John Barry’s work on the 007 series.

Martin presented the demo to Saltzman, who liked the song but wanted a female singer to perform it. In a 2006 television special, Martin recalled he had to finally tell the producer that it was a package deal — he either took the song and McCartney or got nothing. Saltzman chose wisely and took the package. The title song would be nominated for an Oscar, losing out to The Way We Were.

Live And Let Die marked a new era, with a new 007 (Roger Moore). Its title song was the series first truly Bond rock song. In a 2006 U.K. survey about Bond songs, Live And Let Die ranked third overall and No. 1 among those 45 and younger.

Martin also took on the task of taking over the scoring chores from Barry, who had established the 007 film sound. He deftly wove the title song into the score while preserving elements of Barry’s musical template.

Roger Moore took to Twitter to note Martin’s contributions to the film: