Maibaum’s ‘circular’ script structure

Christopher Reeve (right) with Roger Moore during filming of Octopussy.

A few James Bond films utilize a structure that, for the purposes of this post, I am crediting to veteran screenwriter Richard Maibaum (1909-1991).

That’s the “circular” structure — the audience sees something at or near the start of the movie that is repeated (with key variations) at the climax.

With the following examples, it’s difficult to give Maibaum full credit. Other screenwriters worked on the Bond films involved. But Maibaum is the only constant. So, without further ado:

From Russia With Love (1963): The film opens with James Bond apparently being stalked — and then killed — by Red Grant (Robert Shaw). However, Grant has only killed a double as part of a training exercise.

Grant kills Bond’s double using a garrotte hidden inside a watch. Later, Grant tries to kill the real Bond (Sean Connery) with the garrotte during a fight sequence on the Orient Express. Naturally, Bond turns the tables on Grant.

Caveat: Both Johanna Harwood (who got an “adapted by” credit) and Len Deighton (uncredited) also worked on the script.

The Man With the Golden Gun (1974): The film opens with a gangster (Marc Lawrence) hired to take out Scaramanga (Christopher Lee) on his home grounds, including a “fun house.”

Scaramanga has to scramble before he finally dispatches the gangster. Much later, James Bond (Roger Moore) is lured into the “fun house.” Bond loses his own Walther PPK. But he kills Scaramanga taking a PPK from a life-sized 007 figure.

Caveat:  Tom Mankiewicz was the original screenwriter, then Maibaum was brought in. Mankiewicz did the final rewrites.

Octopussy (1983): After the main titles, a 00-agent disguised as a clown flees from a circus. He’s fatally wounded by twin assassins who are also circus performers.

Toward the climax of the film, Bond (Roger Moore) is disguised as a clown — the same getup as his doomed predecessor — and manages to deactivate an atomic bomb just in the nick of the time.

Caveat: Octopussy began as a script with an effort by George Macdonald Fraser, which was later rewritten by Maibaum and Michael G. Wilson.

James Bond Radio says it will return in October

James Bond Radio logo

The James Bond Radio podcast said today via Twitter it will return in October.

Last month, the podcast announced that co-host Chris Wright was signing off. Tom Sears, the other co-host said he would be “thinking things through” concerning James Bond Radio’s future.

Today’s twitter post didn’t have specific details, such as a precise date for the podcast’s return or whether there would be a new co-host.

James Bond Radio debuted in 2014. Its highlights included a 2016 interview with 007 actor Roger Moore and a 2014 interview with Sylvan Mason, daughter of Jack Whittingham, the screenwriter who penned the first Thunderball screenplays for Kevin McClory.

Here is the tweet that went out this morning.

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RE-POST: Author talks about his Broccoli-Saltzman book

Cover to When Harry Met Cubby by Robert Sellers

Originally posted May 10. Re-posted today, Sept. 1, because the book is due out later this month..

Author Robert Sellers provided an in-depth look about the fourth James Bond film, Thunderball, with 2007’s The Battle for Bond. The writer has re-entered the world of Bondage with a new book, When Harry Met Cubby, about the founding 007 film producers, Albert R. Broccoli and Harry Saltzman.

The blog interviewed Sellers about his new book via e-mail.

THE SPY COMMAND: You did a comprehensive book about Thunderball. What about the Broccoli-Saltzman story enticed you to tackle their story?

ROBERT SELLERS: Mainly because no one had done it before, which is strange because seemingly every other aspect of the Bond films has been covered. But not the relationship between these two extraordinary men, not in any great detail that’s for sure. I just thought it was about time their story was told.

SC: The Broccoli-Saltzman partnership was a bit of an Odd Couple affair. What strengths did each partner bring? What was each partner’s weakness?

SELLERS: The words most people used to describe them was chalk and cheese. They shared almost nothing in common, save for drive, ambition and a love of movies. Personality-wise you couldn’t have had two more different individuals. That included their outside pursuits and social circles. If you went to Harry’s house for dinner, or you went to Cubby’s, even if there were 20 people at dinner there was no overlap. Cubby’s friends were completely different to Harry’s.

At the beginning there was this strange alchemy at work, theirs was a relationship that was based on two opposing points of view reaching the same objective and their combined qualities made for an ideal pairing. Things went bad after just a few movies, mainly because Saltzman had so many outside interests. Harry was always buying up companies, signing up talent or movie properties, he had so many other strings to his bow, other balls in the air, whereas Cubby knew that Bond was like the goose that laid the golden egg and was intent on preserving it and to make sure that nobody tarnished it. Broccoli never understood why Harry needed to make other pictures outside Bond and this did lead to friction between the two men.

Both men certainly brought a lot of separate talents to the Bond table. Harry loved the gadgets and gizmos, Cubby was very much concerned with the casting, making sure that the girls were pretty, and worrying about the script, that it didn’t get bogged down with too much dialogue, that it got on with the action, and that the storyline was straightforward enough so people from ten to 100 could follow it.

As (screenwriter) Tom Mankiewicz so brilliantly put it to me: “So much of the pizazz that went in Bond belonged to Harry, and much of the essence and soul of Bond was Cubby.”

SC: Saltzman exited the world of Bond in the mid-1970s. He is perhaps less well known to newer Bond fans compared with Broccoli (especially since Broccoli’s daughter and stepson still run the show). Should Saltzman be better remembered than he is? Why?

SELLERS: Absolutely. People have told me that in the early days Harry was the driving force behind the films, much more proactive than Cubby. That changed later on when Harry began to diversify all over the place. Harry was a real ideas man; he’d churn them out with machine gun rapidity. The only problem was most of his ideas were either too expensive, too impractical or downright dumb. So, it was a case of sieving through the bad ones to get to the good ones. But those good ideas were often absolute gems.

There was also something of the showman about Harry Saltzman, the spit and sawdust of the circuses he worked in during his early days in show business and it was these elements that he later brought to bear upon the Bond movies; everything had to have an over the top style. That was Harry’s circus philosophy, make it bigger, make it more spectacular, make it something audiences have never seen before. There was something of P. T. Barnum about Harry.

SC: Eventually, each partner alternated as primary producer for each Bond film. When did that start? As early as You Only Live Twice? Even earlier?

Albert R. Broccoli and Harry Saltzman pose with Roger Moore during the filming of Live And Let Die.

SELLERS: The fractures in the producer’s relationship was really highlighted around the making of You Only Live Twice, ironically at much the same time as both of them fell out with their star, Sean Connery.

There had always been disagreements behind the scenes, but what had begun to grate with Cubby was the feeling that his partner wasn’t as committed to Bond as he was. This growing imbalance between the two men in their commitment to the Bond pictures reached a point where Cubby just felt aggrieved that he was carrying the load of the franchise almost on his own. As a result, Cubby was pretty much the working producer on You Only Live Twice. I was told Harry never stepped foot in Japan once cameras started rolling.

By the time of Diamonds Are Forever, the two producers could no longer work together and it was decided they ought to take turns being the operating producer on each new Bond. As Guy Hamilton succinctly put it: “I can work very happily with Cubby, and I can work very happily with Harry. But working with Cubby and Harry together is a nightmare.”

SC: Without giving too much away about your book, what was the biggest surprise you encountered during your research?

SELLERS: I guess the thing I could say that impressed me the most was just how much creative control both producers had over the films.

According to Broccoli and Saltzman, there were two kinds of producers, the business and administrative producer and the creative producer. Both men identified themselves as creative producers, involved in all aspects of the filmmaking process, offering ideas and guidance and ultimately putting their individual stamp on the pictures.

In post-production, too, they were a presence in the cutting room and at rushes. Even when the film was in release their job wasn’t finished; they’d scrutinize ad campaigns, carefully go through every detail with the distributors, attend opening nights round the world and read reviews to gauge what the critics were saying.

This was especially important to Broccoli. He might be on holiday or visiting some city in the world, and if there was a Bond film playing, he would go in and sit and listen to the reaction of the audience to find out what they liked, and what they didn’t like.

The way each of them operated as producers on the set was different, though. Harry would be around, but you wouldn’t know he was there. He might be in his trailer or having meetings somewhere. Whereas Cubby was always very visual, always around. And he knew every crew member’s name. The crew loved Cubby, not so much Harry.

Ian Fleming, Harry Saltzman and Albert R. Broccoli

SC: In terms of the early Bond films, could any other producers have achieved what they did? Was it like catching lightning in a bottle? I know that a lot of the regular crew members (Ted Moore, Ken Adam, Richard Maibaum) had worked for Broccoli when he was partner with Irving Allen.

SELLERS: I honestly believe the Bond films would not have been the success they were without Broccoli and Saltzman at the helm. Probably their greatest contribution was selecting the right team for the films, many of whom had worked for Cubby before, people that he knew were dependable and could deliver the goods.

On Dr No, Broccoli and Saltzman chose the technicians with the same care and diligence as the actors. They brought together an excellent crew and encouraged them; that was their real talent, hiring the right people and allowing them the creative freedom to express themselves. Can you imagine what the Bond films would have been without the vital contribution of Ken Adam or John Barry? Or for that matter the skillful editing of Peter Hunt, who was brought in by Saltzman.

Broccoli and Saltzman were also risk takers. They knew that in the film business you have to take risks and have the strength of your conviction. Both men were not afraid to make tough decisions and both stood up for what they believed in.

There is no better example of this than their choice of Sean Connery to play Bond. When United Artists voiced their disapproval, Broccoli and Saltzman stood by their man, telling the studio top brass they intended going ahead with Connery or not at all. Instinct told them this was the guy. And history proved them correct, of course. That’s why the Bond films were a success under Harry and Cubby, all the decisions they made were the right ones.

When Harry Met Cubby: The Story of the James Bond Producers is set for publication in September from The History Press. You can view its Amazon entry BY CLICKING HERE. You can view its Amazon UK entry BY CLICKING HERE.

Half of James Bond Radio team signs off

James Bond Radio logo

Half of the James Bond Radio team is signing off.

“This is a bit of a heartfelt message, but with so many ongoing things at the moment, unfortunately, I’ll be stepping away from JBR for the foreseeable future,” Chris Wright said in an announcement on its Facebook page today.

“Sometimes life gets in the way of Bond, and sadly this is one of those times,” he added. “So this is Agent Wright signing off.”

His partner, Tom Sears, also had a message in the announcement.

“What can I say?” Sears wrote. “After 5 years and 2 million downloads, I’m of course gutted to see our man in Cardiff go, but like all good things, it has to come to an end eventually. As far as the future of the podcast goes? I’m not yet sure. I’ll be thinking things through over the next few weeks.”

Since its debut in 2014, James Bond Radio had a lot of 007 chat. It also has had various interviews. A notable “get” was a 2016 interview with seven-time film 007 Roger Moore.

James Bond Radio also had a 2014 interview with Sylvan Mason, daughter of Jack Whittingam, who wrote the first Thunderball screenplays for Kevin McClory.

The Wrecking Crew-Golden Gun mashup

Bruce Lee supervises Sharon Tate (left) and Nancy Kwan during production of The Wrecking Crew

The new movie Once Upon a Time…in Hollywood prompted the blog to again watch The Wrecking Crew, the final Matt Helm film with Dean Martin.

The latter figures prominently in the Quentin Tarantino-directed Once Upon a Time.

After the latest viewing of The Wrecking Crew, I couldn’t help but notice some similarities with the 1974 James Bond film, The Man With the Golden Gun.

Wrecking Crew: Freya Carlson (Sharon Tate) is a klutz.

Golden Gun: Mary Goodnight (Britt Ekland) is a klutz.

Wrecking Crew: Freya works for British Intelligence.

Golden Gun: Goodnight works for British Intelligence.

Wrecking Crew: One of Freya’s colleagues is known as JB.

Golden Gun: One of Goodnight’s colleagues is James Bond.

Wrecking Crew: Matt Helm (Dean Martin) spends a portion of the movie commenting on Freya’s clumsiness.

Golden Gun: James Bond (Roger Moore) spends a portion of the movie commenting on Goodnight’s clumsiness.

Wrecking Crew: When the mission is completed, Helm’s boss, MacDonald (John Larch) unexpectedly calls Helm in the villain’s private rail car that is towing $1 billion in gold. (You’d think it’d have an unlisted number.)

Golden Gun: When the mission is completed, Bond’s boss, M (Bernard Lee) unexpectedly calls Bond in the villain’s private boat. (You’d think it’d have an unlisted number.)

Wrecking Crew: Movie ends with Helm and Freya making out, about to make love.

Golden Gun: Movie ends with Bond and Goodnight making out, about to make love.

David Hedison dies at 92

David Hedison (1927-2019)

David Hedison, star of the original film version of The Fly, the Voyage to the Bottom of the Sea TV series and a two-time Felix Leiter, has died at 92, according to various reports, including The Hollywood Reporter.

Hedison died last week and the news was released by a family spokeswoman, THR said.

Hedison’s IMDB.COM ENTRY lists more than 90 acting credits beginning in 1954 and extending into the 21st century.

The actor also was a friend of Roger Moore. “David phoned Roger regularly throughout his final illness in 2017 and was a great support.” according to a tweet from Moore’s official account on Twitter.

The two worked together in an episode of The Saint. They acted together again, with Hedison as Felix Leiter in Live And Let Die, Moore’s debut as James Bond. Hedison reprised the role opposite Timothy Dalton’s James Bond in Licence to Kill.

Hedison also had a relationship with producer Irwin Allen. The actor was in the cast of Allen’s 1960 version of The Lost World.

Allen wanted Hedison for the 1961 film version of Voyage to the Bottom of the Sea but the actor turned it down. Robert Sterling got the part instead. But Hedison signed on when Allen launched the 1964-68 television version.

The first season, shown in black and white, had a lot of espionage and international intrigue stories. As the series progressed, there were a lot of monster story lines.

After Voyage’s run concluded, Hedison didn’t lack for work, often getting guest star parts from producers Quinn Martin (The FBI, Cannon, The Manhunter and Barnaby Jones) and Aaron Spelling (The Love Boat, Dynasty, Fantasy Island).

Here’s the tweet from the Roger Moore account.

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Golden Gun’s 45th anniversary: The unloved Bond?

goldengunposter

The Man With the Golden Gun poster

Updated and expanded from a 2014 post.

This year marks the 45th anniversary of The Man With The Golden Gun.

The 1974 film has received a lot of flak over the decades. It’s exhibit A when the subject comes up about 007 film misfires. Too goofy. Too cheap. Too many of the crew members having a bad day.

For example, Don McGregor, then a writer for Marvel Comics, savaged the movie in a lengthy article in a 1975 issue of Deadly Hands of Kung Fu magazine (which featured a cover drawn by comics legend Neal Adams).

Also, the former Her Majesty’s Secret Servant website had few kind words when its contributors (including myself) did rankings of the Bond films. (Speaking only for myself, as I look back on my comments, one about John Barry was over the top.)

Over the years, Bond fans have said it has an average John Barry score (though one supposes Picasso had average paintings). It has too many bad gags (Bond watches as two teenage karate students take out a supposedly deadly school of assassins). And, for a number of first-generation 007 film fans, it has Roger Moore playing Bond, which is bad it and of itself.

Golden Gun is a way for fans to establish “street cred” — a way of establishing, “I’m not a fan boy.”

Neal Adams cover to The Deadly Hands of Kung Fu magazine containing an article savaging The Man With the Golden Gun

However, the movie also has its defenders. Among them is David Leigh, who runs The James Bond Dossier website and is a regular guest on the James Bond & Friends podcast.  Also, the August 2018 issue of 007 Magazine (which is sold out) had an article titled, “In Defence of The Man With the Golden Gun.”

The movie was a bit of a disappointment at the box office. Golden Gun’s worldwide box office plunged 40 percent compared with Live And Let Die ($97.6 million versus $161.8 million, according to THE NUMBERS website). Within a few weeks of its December 1974 U.S. release, United Artists hurriedly paired Golden Gun with Thunderbolt and Lightfoot, which UA released earlier in 1974, to make a double feature.

In terms of long-term importance, Golden Gun was the finale of the Albert R. Broccoli-Harry Saltzman 007 partnership. Saltzman would soon be in financial trouble and have to sell out his share of the franchise to United Artists. In a way, things have never really been the same since.

The end of the car jump of The Man With the Golden Gun

Golden Gun is not the best offering in the Eon Production series. Rather, in many ways, it’s the runt of the litter that many like to pick on — even among the same people who’d chafe at criticism of their favorite 007 film.

The documentary Inside The Man With The Golden Gun says the movie has all of the 007 “ingredients.” Of course, such a documentary is approved by executives who aren’t demanding candor.

But the statement is true. It has not one, but two Oscar winning directors of photography (Oswald Morris and Ted Moore); it has a score by a five-time Oscar winner (John Barry); it is one of 13 007 movies Richard Maibaum contributed writing.

Then again, movies sometimes are less the sum of their parts. It happens. Not everyone has their best day.

For many, Golden Gun is a convenient piñata. Despite some positives (including a genuinely dangerous driving stunt), it doesn’t get much love from part of the 007 fan community.