Casino Royale’s 55th anniversary: Oh no, 007!

Adapted from a 2012 post

April Fool’s Day is as good as any occasion to note this month marks the 55th anniversary of Charles K. Feldman’s Casino Royale, the producer’s 1967 send-up of 007.

Feldman, one-time agent (Albert R. Broccoli was one of his employees) turned producer, was nobody’s fool. He had produced films in a variety of genres such as 1948’s Red River (uncredited), 1951’s A Streetcar Named Desire, 1955’s The Seven Year Itch and 1965’s What’s New Pussycat.

So, when he acquired the film rights to Ian Fleming’s first 007 novel in the early 1960s, Feldman recognized it had commercial potential even as the film series produced by one-time associate Broccoli and Harry Saltzman was getting underway in 1962.

Feldman tried to entice director Howard Hawks, his one-time colleague on Red River. Hawks was interested but the director backed out after seeing an early print of Dr. No with Sean Connery.

Feldman pressed on, signing distinguished screenwriter Ben Hecht to come up with a screenplay. Details of Hecht’s work were reported in 2011 by Jeremy Duns in the U.K. Telegraph newspaper. Hecht died in 1964, while still working on the project. In 2020, Duns uncovered additional details about an attempt by Joseph Heller to adapt Fleming’s first novel.

By the 1960s, Eon’s series was reaching its peak of popularity with 1964’s Goldfinger and 1965’s Thunderball. Broccoli and Saltzman agreed to a co-production deal with Kevin McClory, holder of the film rights for Thunderball.

James Bond, The Legacy, the 2002 book by John Cork and Bruce Scivally, presents a narrative of on-and-off talks between Feldman, Broccoli, Saltzman and United Artists, the studio releasing the Broccoli-Saltzman movies. In the end, talks broke down. (Behind the scenes, Broccoli and Saltzman had their own tensions to deal with, including Saltzman’s outside ventures such as his Harry Palmer series of films.).

So Feldman opted to go for farce, but not in a small way. His movie had an estimated budget, according to IMDB.com. of $12 million. The Cork-Scivally book put the figure at $10.5 million. Either way, it was more than the $9.5 million budget of You Only Live Twice, the fifth entry in the Broccoli-Saltzman series. Twice’s outlay included $1 million for Ken Adam’s SPECTRE volcano headquarters set.

Feldman’s film didn’t have that kind of spectacle. But he did pay money (or Columbia Pictures’ money) for talent such as John Huston (one of five credited directors), David Niven (playing the “original” James Bond, brought out of retirement, who implies the Sean Connery version of the Broccoli-Saltzman series was assigned the James Bond name by MI6), Peter Sellers, Orson Welles, Ursula Andress (now famous because of Dr. No), William Holden, Woody Allen and….well CLICK HERE to view the entire cast and crew.

Casino Royale, however, was less than the sum of its impressive parts. The humor is uneven, it doesn’t really have a story, despite employing a number screenwriters, including Wolf Mankowitz, who introduced Broccoli and Saltzman to each other.

The’67 Casino managed a reported worldwide gross of $41.7 million. That was good in its day, though less than a third of Thunderball’s $141.7 million global box office.

Much has been written since 1967 about the stressful production, including reported feuds between Sellers and Welles. Perhaps all that took a toll on the film’s producer. Feldman died in May 1968, a little more than 13 months after Casino Royale’s premier. He was 64.

Our favorite character actors: Jeanette Nolan

Jeanette Nolan in The Man From U.N.C.L.E.

One in an occasional series

“Jeanette Nolan…well, she continues to amaze me,” Richard Boone said in 1963 at the end of the initial broadcast of the anthology show that bore his name.

“She’s a remarkable actress,” Boone said. Nolan was part of the “company of players” who appeared in the weekly Richard Boone Show anthology series.

Indeed, Nolan proved her talents repeatedly over a half-century career.

From playing Lady Macbeth opposite Orson Welles in a 1948 movie to numerous guest appearances on television, Nolan was a chameleon. Her appearance, diction and accent all changed in response to the characters she played.

Naturally, such a versatile talent was seen many times on spy and related television shows.

Among them: Edith Partridge, the eccentric but deadly wife of villain G. Emory Partridge in The Man From U.N.C.L.E.; two episodes of I Spy (one as the contact for Kelly Robinson and Alexander Scott); one episode of Hawaii Five-O; and one episode of The FBI.

Nolan was part of an acting family. Her husband was veteran character actor John McIntire (1907-1991) and her son was Tim McIntire (1944-1986). She on occasion acted together with her husband, including the Western series The Virginian.

Jeanette Nolan was never a star, with the exception of Dirty Sally, a short-lived spinoff series from Gunsmoke.

Nolan’s IMDB.COM entry lists 200 acting credits. She died on June 5, 1998, at the age of 86.

Have No Fear, Bond is Here: 50 Years of Casino Royale

Poster for Charles K. Feldman’s 1967 version of Casino Royale

By Nicolás Suszczyk, Guest Writer

It was a day of 2002 when my father bought me a VHS tape of the 1967 satirical version of Casino Royale, then the only film tied to Ian Fleming’s much different book that initiated the literary saga of James Bond.

That video had no subtitles in Spanish, and by then my English knowledge was good but not good enough to understand a movie. If the film’s plot was already confusing, misguided and in many aspects “incomplete,” just imagine a 12-year-old boy trying to get something out of it, barely understanding a few words and having not read the novel.

Strangely enough, I was fascinated by the movie. I still am.

The Charles K. Feldman production is a colorful, bombastic and very funny film: you won’t be laughing for hours, but there are a few humorous moments that will make you raise a smile.

It has a great score, with the legendary Burt Bacharach and the Herb Alpert trumpets for the main titles. And there’s the delicate voice of Dusty Springfield, who performed the Oscar-nominated song that has outlived the movie, “The Look of Love.”

‘Suggested by’

The story, “suggested” by Fleming’s novel and written by, among others, Wolf Mankowitz, has the four leaders of the secret services begging the retired Sir James Bond (David Niven) for help after a mysterious threat has agents of every secret service killed.

Sir James refuses, disappointed by the abuse of gadgetry in the operatives and upset for “the bounder who was been given his name and number,” an obvious reference to Sean Connery’s official 007.

Failing every attempt to bring him back, a missile (actually a plan of M to take him out of retirement) blows his mansion away. Back to London, Sir James plans a strategy to confuse the enemy: to recruit a number of agents and name them all “James Bond 007,” including the girls.

What follows is an absolute nonsense. Peter Sellers is seduced by Ursula Andress and recruited to play baccarat against Orson Welles. The daughter of Mata Hari and James Bond are kidnapped by an UFO. A psychedelic mind torture replaces the infamous carpet beater from the novel.

Woody Allen, pioneering a look for Bond villains that would be seen in the official 007 film series

And the evil threat behind it all… the nephew of 007, Jimmy Bond.

In the end, after an everyone vs everyone battle that includes George Raft, Jean Paul Belmondo, Geraldine Chaplin and dozens of Indians and cowboys, everything goes up in smoke.

Messy production

The production of the film was messy, with the stars fighting each other almost like at the end of the movie, and Peter Sellers rewriting his scenes and hassling with Orson Welles to the point their scenes had to be shot separately.

The film was directed by five movie makers (John Houston, Ken Hughes, Robert Parrish, Joe McGrath and Val Guest) not knowing what the other was shooting. Yet, I don’t think Casino Royale is a bad movie.

The best advice is to fully enjoy it would be to put the novel aside, forget every comparison to the official Bond films, sit back and enjoy an hilarious and colourful story that resembles the swinging 1960s. The structure of the story evokes another Charles K. Feldman production, What’s New Pussycat, released two years before.

The cast has a good number of very talented actors that maybe don’t show all their talents and even when their appearances are limited to a few frames, it wasn’t bad to see them. Yet, in my opinion, the ones that steal the show are David Niven and Woody Allen.

Niven, an original suggestion of Fleming to portray Bond, plays a refined 007 in his retirement. The movie shows him as a man worried about banal things like the black flower in his garden, his time to play Claude Debussy pieces on piano, and came from “a selected priesthood” to become a spy.

This Bond shows a great difference with Eon’s version. He refuses the seduction of the many young girls who laid eyes on him at McTarry’s castle and rejects his widow (Deborah Kerr), considers a spy has now became a “sex maniac” and his trademark drink is a lapsang souchong tea instead of a martini shaken not stirred. In Feldman’s vision, this is not Connery’s Bond retired but “one and only” and Connery’s Bond an impostor.

On the other hand, Woody Allen’s Dr. Noah – head of SMERSH, no reference is made to the Soviets as in the book – is seen in the shadows until his real identity is revealed: Jimmy Bond.

The nephew of Sir James can’t speak in front of him – a trauma makes his voice block upon the admiration of his uncle. Shortly after, we see him trying to impress (and ultimately falling into her trap) the captive agent Detainer (Daliah Lavi) by replicating all the abilities of his uncle: “everything uncle James does, I can do it better.”

Another special mention goes to Joanna Pettet and the late Ronnie Corbett in the Berlin scenes, where Pettet’s character Mata Bond (daughter of Sir James and Mata Hari) infiltrates the old dancing school of her mum that has become a SMERSH hideout, to find a battery operated butler who – falling into Mata’s seduction — reveals Le Chiffre is trying to make money by selling his “art collection,” actually… soldiers caught in the act having fun with hookers.

Like I said before, this movie has won my heart. I would not dare to put it next to the Eon Bond films (not in chronological order, at least) but as I get older, I understand its humor more and more.

Everytime I watch it, I feel like getting into a time machine and going back to the late 1960s. And it’s a great experience indeed!

GUEST REVIEW: The Man From U.N.C.L.E. (2015)

U.N.C.L.E. movie poster

By Nicolás Suszczyk, Guest Writer

I never fully watched The Man from U.N.C.L.E. I wasn’t born when it was released and no DVDs (and few TV telecasts) where released in my country, at least in my teens.

As a Bond fan, of course, I enjoyed many rip-offs, from the funny ones like Get Smart, Johnny English and Kingsman: The Secret Service to the more realistic ones like Tom Cruise’s Mission: Impossible saga, the Harry Palmer films and a few modern-espionage films like The International.

Still, I barely knew about Napoleon Solo and The Man from U.N.C.L.E. except for the fact it was one of the many ingredients of the ‘60s spy phenomenon and the Ian Fleming connection with the character of Napoleon Solo. I was kind of interested, but I never ended up closely following the episodes as I did with Zorro, Batman, The Saint or other cult TV series.

So, what follows “review” of someone in the mid-20s who hasn’t properly watched the original TV series produced by Norman Felton but has an idea on it.

I had a free afternoon so I booked the tickets on a close theatre in my hometown in Buenos Aires. The screening was around 6:30 p.m. As I entered the theatre, all the seats were empty! I wondered if some of the negative reviews had such an impact on people that left Napoleon Solo a bit… “solo” (if you speak Spanish, you’ll get the word game).

A few minutes later, people appeared — not many, five or seven more, making around ten people if you count me. On a side note, I catched the SPECTRE teaser trailer before the film. I’ve always been unlucky in finding a Bond trailer on a screening, something that only happened before in 2002 when the Die Another Day trailer popped up before My Big Fat Greek Wedding, the movie my grandmother took me to watch.

And then, Guy Ritchie’s The Man from U.N.C.L.E. filled the screen.

Overall, the film is enjoyable… enough to relax after a tough day at work, at least. It looks indeed as a movie set in the 1960s: a masterful work of the cinematographer, the costume designer, and Daniel Pemberton in the music department.

There’s a lot of humor like the one you’ll find in Kingsman: The Secret Service, but a lot less exaggerated, and more in the vein of the 1972 TV series The Persuaders. The Henry Cavill-Armie Hammer relationship onscreen is in a way very similar to the Roger Moore-Tony Curtis one.

A scene of Napoleon Solo (Cavill) comfortably drinking wine and having sandwiches while sitting in a truck as Russian agent Ilya Kuryakin (Hammer) gun fighting his enemies on a boat is particularly effective and funny for the inclusion of “Che Vuole Questa Musica Stasera” (sung by Peppino Gagliardi) as both events are taking place. This rivalry that slowly turns into friendship is akin to The Persuader’s pilot “Interlude.”

Other of the film’s pros is the backdrop created for the protagonists: Solo being an art thief working for the CIA on probation and Kuryakin having with anger management problems. The girls, Gaby (Alicia Vikander) and Victoria (Elizabeth Debicki), are in a way the stereotypical “good girls” and “bad girls” you’ll find in any retro spy series. They are not complex characters, but they fit very well into the film.

More into the 60s influence, the scene where Solo is tortured seems to have a small nod to the 1967 spoof version of Casino Royale, where Le Chiffre (Orson Welles) provides a “mind torture” to Peter Sellers’ Evelyn Tremble, aka James Bond 007, when uncle Rudi shows a video of the Nazi “achievements” as the hero is tied to an electric chair.

A special mention is deserved by Hugh Grant as Waverly, whose presence itself is more than welcome and adds a special touch to the film with his comic quips.

There is, however, a big negative point in The Man from U.N.C.L.E.: the editing. It tried to be artistic and it perhaps succeeded in the desired effect, but the fast camera shots, the flashbacks and the split-screen shots are very distracting. It happens, even in a more confusing way, the same that in the shakey cam shots of Quantum of Solace.

The film’s ending offers a nice cliffhanger, maybe predictable, but very similar to the current “reboot” movies where we see the inception of what has been established before. There is a word association to the last line said by Waverly to the relationship a character had with other, something that would probably get lost in translation for many non-English speaking countries.

Verdict: Love the ‘60s spy movies with lots of humor? Watch it!

Two non-007 homages in Skyfall

Dude (Dean Martin) survives his moment of crisis in Rio Bravo

SPOILERS lie ahead if you haven’t seen Skyfall.

007 fans are comparing notes about Skyfall’s homages to past Bond movies. What’s not getting as much attention are homages to non-Bond films in the 23rd 007 entry.

First, there are Daniel Kleinman’s main titles include Daniel Craig’s James Bond shooting at mirrors. This appears to be an homage to Orson Welles and his 1948 film, The Lady From Shanghai. The movie wasn’t a commercial hit but gained attention over the years as noted in an article on TCM.COM. An excerpt:

Film critic Pauline Kael once pointed out that Welles’s contribution to the evolution of film language lay in his dramatizing the techniques of cinema. That is obvious in every frame of The Lady from Shanghai. Jump cuts in the editing, the almost Brechtian distancing effect of the stylized performances, the doubling of the film frame in the Chinese theater scene, the deep focus that disorients by giving far backgrounds equal weight with extreme close-ups, the use of optical devices ranging from water tumblers to windshields to (in the film’s most famous set pieces) aquarium glass and multiple mirrors – all of these serve to forefront the experience of watching cinema and to push the envelope of what is expected and permissible on screen. (emphasis added)

Mirrors have figured into set pieces in movies such as Blake Edwards’ Gunn (1967), Enter the Dragon (1973) and, appropriately enough, The Man With the Golden Gun (1974).

The other homage, intentional or not, is Howard Hawks’ 1959 Western, Rio Bravo. One of its main characters is Dude (Dean Martin), who has substance abuse problems (he’s an alcoholic) and has trouble shooting straight until, in a moment of crisis, it all comes together for him. There’s also a scene where an attractive woman (Angie Dickinson) shaves him with a straight razor.

In Skyfall, of course, Daniel Craig’s 007 has substance abuse problems (he’s been hitting the sauce pretty heavily while presumed dead), can’t shoot straight (he records sub-standard scores on the MI6 shooting range) and gets shaved by fellow agent Eve (Naomie Harris). Like Dude, Craig’s Bond gets it together when he’s needed the most and is suddenly a crack shot.

Ironically, both Welles and Hawks have 007 ties. Welles was part of the cast in the 1967 spoof version of Casino Royale. Hawks in 1962 briefly considered directing a movie adaptation of Casino Royale until he saw an early print of Dr. No.

Casino Royale’s 45th anniversary: Oh no, 007!

April Fool’s Day is as good as any occasion to note this month marks the 45th anniversary of Charles K. Feldman’s Casino Royale, the producer’s 1967 send-up of 007.

Feldman, one-time agent (Albert R. Broccoli was one of his employees) turned producer, was nobody’s fool. He had produced films in a variety of genres such as 1948’s Red River (uncredited), 1951’s A Streetcar Named Desire, 1955’s The Seven Year Itch and 1965’s What’s New Pussycat.

So, when he acquired the film rights to Ian Fleming’s first 007 novel in the early 1960s, Feldman recognized it had commercial potential even as the film series produced by one time associate Broccoli and Harry Saltzman was getting underway in 1962. (CLICK HERE for a post on Jeremy Duns’s Debrief blog for a more detailed history.)

Feldman tried to entice director Howard Hawks, his one-time colleague on Red River. Hawks was interested but the director backed out after seeing an early print of Dr. No with Sean Connery.

Feldman pressed on, signing distinguished screenwriter Ben Hecht to come up with a screenplay. Details of Hecht’s work were reported last year by Jeremy Duns in the U.K. Telegraph newspaper. Hecht died in 1964, while still working on the project.

By now, Eon’s series was reaching its peak of popularity with 1964’s Goldfinger and 1965’s Thunderball. Broccoli and Saltzman agreed to a co-production deal with Kevin McClory, holder of the film rights for Thunderball. James Bond, The Legacy, the 2002 book by John Cork and Bruce Scivally, presents a narrative of on-and-off talks between Feldman, Broccoli, Saltzman and United Artists, the studio releasing the Broccoli-Saltzman movies. In the end, talks broke down. (Behind the scenes, Broccoli and Saltzman had their own tensions to deal with, including Saltzman’s outside ventures such as his Harry Palmer series of films.).

So Feldman opted to go for farce, but not in a small way. His movie had an estimated budget, according to IMDB.com. of $12 million. The Cork-Scivally book put the figure at $10.5 million. Either way, it was more than the $9.5 million budget of You Only Live Twice, the fifth entry in the Broccoli-Saltzman series. Twice’s outlay included $1 million for Ken Adam’s SPECTRE volcano headquarters set.

Feldman’s film didn’t have that kind of spectacle. But he did pay money (or Columbia Pictures’ money) for talent such as John Huston (one of five credited directors), David Niven (playing the “original” James Bond, brought out of retirement, who implies the Sean Connery version of the Broccoli-Saltzman series was assigned the James Bond name by MI6), Peter Sellers, Orson Welles, Ursula Andress (now famous because of Dr. No), William Holden, Woody Allen and….well CLICK HERE to view the entire cast and crew.

Casino Royale, however, was less than the sum of its impressive parts. The humor is uneven, it doesn’t really have a story, despite employing a number screenwriters, including Wolf Mankowitz, who introduced Broccoli and Saltzman to each other. (For a more sympathetic view, CLICK HERE for a long essay on the subject.)

The’67 Casino managed a reported worldwide gross of $41.7 million. That was good in its day, though less than a third of Thunderball’s $141.7 million global box office.

Much has been written since 1967 about the stressful production, including reported feuds between Sellers and Welles. Perhaps all that took a toll on the film’s producer. Feldman died in May 1968, a little more than 13 months after Casino Royale’s premier, at age 64.