1960s meme: The irresistible hero

Publicity still for Dr. No that established James Bond was irresistible to women.

A recurring meme of 1960s entertainment — greatly aided by the James Bond film series — was the hero so irresistible to women they couldn’t keep away.

By the end of the decade, it was so prevalent, it came up on all sorts in places. What follows are some examples — both obvious and one not so obvious. (And no, it’s not a comprehensive list.)

Sean Connery as James Bond (of course): In his first scene in his first movie (Dr. No), the Connery Bond already has the attention of Sylvia Trench (Eunice Gayson) while at a casino. She surprises him at his flat wearing nothing but his pajama top.

Over the course of Connery’s 1960s run, even small-part characters show their appreciation. In both Dr. No and Thunderball, women hotel clerks eye Bond as he walks away.

Film editor Peter Hunt, years later (for the “banned” Criterion commentaries), said Connery  “was really a very sexy man” and that the few stars of his appeal “virtually can walk into a room and f*** anybody.”

Certainly, that’s the way director Terence Young, followed by Guy Hamilton and Lewis Gilbert, staged it with Connery in the part. The success of the 007 films would soon be felt elsewhere.

Robert Vaughn as Napoleon Solo and David McCallum as Illya Kuryakin: The Man From U.N.C.L.E. was pitched to network executives as “James Bond for television.” Ian Fleming, 007’s creator, was involved for a time, though not many of his ideas made it to the final product.

Vaughn’s Solo was the obvious Bondian figure (although the blog has argued before there are key differences, including Solo having more of a moral streak).

But McCallum’s Illya also proved irresistible to the oppose sex. That included two first-season episodes where the female lead (played by McCallum’s then-wife Jill Ireland) decides Illya is the U.N.C.L.E. agent for her.

Another first-season installment included Susan Oliver as a woman whose uncle has been killed by his pet dog as part of an extortion plot. The Oliver character asks Illya if he is present “to bodyguard me? Uh, should I say guard my body?” In the final scene, they’re walking arm in arm.

Robert Conrad as James West: The Wild Wild West was pitched to network executives as “James Bond and cowboys.” So CBS aired the adventures of James West and U.S. Secret Service partner Artemus Gordon (Ross Martin).

West drew the attention of women, especially those working for his opponents. In the first Dr. Loveless episode, West wins over Loveless’ female assistant (Leslie Parrish). She helps him escape, enabling the agent to stop Loveless’ plot.

The producers also took advantage of Conrad’s chiseled physique, so there are a number of episodes where West appears shirtless.

Jack Lord as Steve McGarrett: In the first season of Hawaii Five-O, McGarrett, too, was intended to draw the attention of women. In the pilot, a graduate student (Nancy Kwan) falls for the lawman after being questioned about what she knows concerning the death of a U.S. intelligence agent.

Later in the first season, the girlfriends of two suspects in a complicated kidnapping case ogle McGarrett as he walks away. And in the two-parter Once Upon a Time, a woman medical quack (Joanne Linville) gets the hots for the Big Kahuna. So does a woman records clerk who helps McGarrett do research.

This sort of thing faded away in future seasons, although there would be occasional episodes where McGarrett became involved with a woman.

Robert Stack as Dan Farrell: At this point readers are wondering if this post has gone off the rails. But bear with us for a moment.

Dan Farrell (Robert Stack) busy researching a story for Crime magazine.

The Name of the Game was a 1968-71 series with three rotating leads: Stack, Tony Franciosa and Gene Barry. It concerned a magazine publishing empire run by Glenn Howard (Barry).

Stack’s Dan Farrell worked at Crime magazine. A first-season stack episode, Swingers Only, reflects how the irresistible hero meme could surface where you didn’t expect it.

A friend of Farrell’s (who’s also a staffer at Crime magazine) has been arrested for the murder of a young women he was having an affair with. Farrell looks into the situation. He has to check out Los Angeles’ “swingers” culture to do it.

The intrepid journalist shows up at a “swingers” pool party to talk to someone. The party is already getting out of control. A ping pong table is thrown into the pool.  A bikini-clad woman quickly gets out of the pool. “Hi! Do you belong to somebody?” She’s quickly disappointed when Farrell says he’s working. She still is making eyes at him as he walks away.

Later, Farrell visits another woman (Nancy Kovack) to follow up a lead. She grabs Farrell and begins making out with him. Farrell, though, keeps his cool. She’s lying to him and he knows it.

Eventually, Farrell gets into a bar fight following up another lead. Later, he solves the case (his friend didn’t do it) and writes a cover story for Crime. All in a day’s work.

Happy 88th birthday, Sean Connery

Sean Connery in a From Russia With Love publicity still.

It’s Sean Connery’s 88th birthday.

It has been three years since the last James Bond movie and the next one won’t be out for more than another year.

But that’s OK. Fans still have his seven 007 films (six for Eon Productions’ series, and Never Say Never Again, not part of that series) to view pretty much anytime. Not to mention his many other films.

Happy birthday, Sir Sean.

1970s: McClory enlists Connery, Deighton for a 007 script

Title page to the 1978 Warhead script.

Kevin McClory had struck it big in 1965. Holding the screen rights to Thunderball, he had been, in effect, made a partner by Eon Productions on the film adaptation. It was a big hit.

Under terms of his deal, McClory wasn’t to attempt another Thunderball-related project for a decade. Once that time elapsed, McClory decided to do just that.

This time, he enlisted Sean Connery, now the former 007, and author Len Deighton, who had performed uncredited work on the screenplay of From Russia With Love.

The trio’s names would be attached to a script titled James Bond of the Secret Service in 1976 and Warhead in 1978. The 1976 script is online, uploaded by 007Dossier.com. I dug out a copy I had of the 1978 effort. Meanwhile, the BBC on July 26 ran a story about the Warhead script.

The two are very similar with key differences. James Bond of the Secret Service is like Thunderball. Blofeld is the behind the scenes mastermind while Largo is the operational commander.

In Warhead, Blofeld (identified as Ernst Stavros Blofed, with the extra “s” in the middle name) performs both functions. The name Largo inadvertently appears a couple of times in my copy of Warhead, as if somebody forgot to remove it.

SPECTRE operates a mammoth underwater operation. In 1976, it’s called Arkos. In 1978, it’s named Aquapolis. The earlier script includes a large thug named Bomba, described as “a black man of gigantic proportions.” The 1978 script the henchman is called Ghengis, “a Mongloian of gigantic proportions.”

More Ambitious

SPECTRE, in both scripts, has gotten more ambitious than it had been in the Eon film series. It’s responsible for missing aircraft in the Bermuda Triangle (apparently because it can). It’s already extracting gold and other substances from seawater.

And this time out, SPECTRE aims to take control of the world’s oceans.

“My first act will be to stop all pollution,” Blofeld says in both scripts. “Each government will answer to me for any desctive elements coming in to our oceans. I will give them six months to cease using our oceans as umping grounds for their sewage, filth, poisons, chemicals and atomic waste.”

SPECTRE’s plan to accomplish all this includes robot sharks and nuclear warheads from a Soviet submarine the criminal organization has disabled.

Familiar Tale?

By this point, the average Bond fan is probably observing all this sounds familiar to The Spy Who Loved Me, the 10th film in Eon’s film series.

That 1977 movie featured villain Karl Stromberg, an industrialist who operated a mammoth installation called Atlantis and who was alarmed about environmental damage to oceans. He, of course, had a large henchman named Jaws. The story line emerged from the contributions of many writers besides the credited Christopher Wood and Richard Maibaum.

Indeed, there were court fights between Eon and McClory during this period. The result was that Eon and United Artists proceeded with Spy while McClory stayed on the sidelines.

In James Bond of the Secret Service/Warhead, we don’t encounter Bond himself until the scene switches to Shrublands. This story turned Schrublands from a health clinic into an “aquatactical centre,” which trains operatives of various countries, including the U.K. and U.S.

Here’s a stage direction from the Warhead script:

Along the beach, barbed wires comes down to the sea. JAMES BOND is having sun oil aplied to his body by a girl instructor, an exceptionally athletic and attractive fair-haired girl, JUSTINE LOVESIT. He is reclining in the shade of an old gun emplacement.

Perhaps she’s a cousin of Lovey Kravezit from the Matt Helm movie series. The dialogue here is certainly similar to a Helm movie with Dean Martin.

BOND
Call me James. And what’s your name?

LOVESIT
Justine Lovesit.

BOND
She does?

LOVESIT
My name is Justine.

BOND
(laughs)
Well, I’ll call you ‘Just’ for short.

Anyway, Bond and Felix Leiter meet up at Schrublands. They have an exchange that appears to reference scandals of the era involving the CIA and FBI.

“Good to see you, Felix,” Bond says. “So the Russians haven’t put you behind bars yet.”

“No, but Congress nearly did,” Leiter replies.

Dr. Blush

A briefing is conducted because SPECTRE has contacted the United Nations and “the leaders of the governments of five great powers” in the words of Gardner Steer, a CIA official. SPECTRE has already killed the UN secretary general, disabling his plane as it flew threw the Bermuda Triangle.

Meanwhile, SPECTRE agent Fatima Blush lurks about as a memeber of the medical staff. Bond quickly takes interest. “Well, if the party’s off, perhaps you’d like to give me my physical tonight, Dr. Blush,” the British agent says.

Also, at one point, Bond is scheduled is play Largo/Blofeld (depending on which script) in a backgammon game. But M orders Bond not to participate so we don’t get to see any such confrontation.

Eventually, the story results in a climax in New York City and at the Statue of Liberty. Naturally, the plot is foiled, the villain vanquished.

None of this would make the screen. A Thunderball remake finally became reality in 1983 with Never Say Never Again.

McClorry was aboard with the title of executive producer. But it was producer Jack Schwartzman (1932-1994) who did the heavy lifting, securing Sean Connery’s services to make one final appearance as 007.

Never Say Never Again’s 35th: Battle of the Bonds round 2

Never Say Never Again's poster

Never Say Never Again’s poster

Adapted from a June 2013 post. An epilogue is added at the end.

Never Say Never Again marks its 35th anniversary in October. The James Bond film originally was intended to go directly up against Octopussy, the 13th film in the 007 film series made by Eon Productions, that came out in June 1983.

Sean Connery, after a 12-year absence from the role, was going to make a James Bond movie his way. Warner Bros. and producer Jack Schwartzman had made the actor the proverbial offer he couldn’t refuse. He was not only star, but had approval over various creative aspects. He had much of the power of a producer without the responsibilities.

Schwartzman, an attorney turned film producer, took charge of a long effort to make an non-Eon 007 film. Kevin McClory, who controlled the film rights to Thunderball, had been trying to mount a new production since the mid-1970s with no success. Schwartzman became the producer, with McClory getting an executive producer credit and both men “presenting” Never Say Never Again.

McClory, at one point, had attemped a broader new 007 adventure. Never Say Never Again was only supposed to be a remake of Thunderball. Lorenzo Semple Jr., who had scripted non-serious (the pilot for the Adam West Batman series) and serious (Three Days of the Condor) was hired as writer. Irvin Kershner, who had directed The Empire Strikes Back, was brought on as director. As an added bonus, Kershner had a history of working with Connery on the 1966 movie A Fine Madness.

“As far as I’m concerned, there never was a Bond picture before,” Kershner said in quotes carried in the movie’s press kit. “There is a certain psychological righness to the characters as (Ian) Fleming saw them. He understood people very well. He was an observer of life and that’s what makes him a good writer. I tried to maintain that quality in the film. I wanted the people to be true.”

By the Way

Starlog magazine devoted a cover to the “Battle of the Bonds” in 1983.

Not mentioned in the press kit was the fact that Connery, who had script approval, objected to Semple’s effort. As a result, at Connery’s urging, Dick Clement and Ian La Frenais were hired to rewrite but didn’t get a credit.

The end result was a storyline that veered from a version of Largo who’s clearly off his rocker to goofy gags involving the likes of British diplomat Nigel Small-Fawcett (Rowan Atkinson). Perhaps Connery really meant it when, in 1971, he called Tom Mankiewicz’s lighthearted Diamonds Are Forever script the best of the Eon series up to that point.

Also present in Never was an over-the-top SPECTRE assassin, Fatima Blush (Barbara Carrera), a far wilder version of Thunderball’s Fiona Volpe (Luciana Paluzzi). In Thunderball, Bond tells Domino (Claudine Auger) her brother has been killed in a dramatic scene on a beach. In Never, he tells Domino (Kim Basinger) in the middle of a tango in a campy scene with loud music playing on the soundtrack.

‘Sean’s Warmth’

Speaking of music, composer Michel Legrand was recruited by none other than star Sean Connery, according to Jon Burlingame’s 2012 book, The Music of James Bond. According to the book, Legrand felt burned out after working on the movie Yentl. “Sean’s warmth and enthusiasm persuaded me,” Legrand is quoted by Burlingame. Legrand’s score is a sore point with fans, who still give Connery a pass for his role in bringing Legrand to the film.

Understandably, fans prefer to focus on Connery’s performance in front of the camera, rather than decisions he made behind it. The actor, who turned 52 before the start of production in 1982, looked fitter than his Eon finale, Diamonds Are Forever.

A survey of Her Majesty’s Secret Servant editors some years ago (the survey is now offline) reflects admiration for his acting while mostly downplaying his decision making behind the scenes.

At the box office, Never Say Never Again did fine while trailing 1983’s Eon entry, Octopussy, $55.4 million to $67.9 million in the U.S. The Schwartzman production had been delayed by four months compared with Octopussy.

Years later, Connery was seen on a CBS News show, saying that Never had “a really incompetent producer.” For Schwartzman, things didn’t end happily. He died in 1994 at the age of 61 of pancreatic cancer.

Connery remained a star until he retired from acting in the early 2000s. Eon and Metro-Goldwyn-Mayer eventually gained control of the rights to Never Say Never Again.

Cover to Bondage No. 12, 1983

2018 epilogue: Like Octopussy, Never Say Never Again polarizes fans. Maybe more so.

Bond fans who never warmed to Roger Moore say the movie is just fine and superior to many of the 007 offerings of Eon Productions during this era. Evidently, Nigel Small-Fawcett’s goofiness is better than the goofiness of, say, Eon’s Sheriff J.W. Pepper.

During this time, there was a U.S.-based 007 fan publication, Bondage. You got the idea whose side Bondage was taking with the “Battle of the Bonds.” Issue No. 12’s cover had a publicity still of Connery from Never Say Never Again.

“Sean Connery returns in NEVER SAY NEVER AGAIN,” read the cover blurb. “Plus Octopussy.” The publication devoted a second cover to Never Say Never Again in 1984.  (The Book Bond website ran a 2014 story showing all the covers from 1974 to 1989.)

Meanwhile, to this day, pro-Eon fans still curse the name of Kevin McClory. I’ve seen comments from 007 fans on message boards who abhor Never Say Never Again simply because it’s not an Eon product.

For me, Connery is my favorite Bond actor. But looking back, I suspect Connery discovered being a (de facto) Bond producer is a lot harder than it looks.

There have been fan efforts of re-editing parts of the movie, including one with an Eon gunbarrel logo (putting Connery’s head on top of Timothy Dalton’s body) and overlaying John Barry scores from the Eon series.

Decades after its release, Never Say Never Again still gets a rise out of fans, regardless of their opinion.

Octopussy’s 35th: Battle of the Bonds, round 1

Octopussy poster with a suggestive tagline.

Poster with a suggestive tagline.

Adapted from a May 2013 post with an epilogue added at the end..

Thirty-five years ago, there was the much-hyped “Battle of the Bonds.” Competing 007 movies, the 13th Eon Productions entry with Roger Moore and a non-Eon film with Sean Connery, were supposed to square off in the summer.

Things didn’t quite work out that way. In June 1983, Eon’s Octopussy debuted while Never Say Never Again got pushed back to the fall.

Producer Albert R. Broccoli was taking no chances. He re-signed Moore, 54 at the start of production in the summer of 1982, for the actor’s sixth turn as Bond. It had seemed Moore might have exited the series after 1981’s For Your Eyes Only. Broccoli had considered American James Brolin, and Brolin’s screen tests surfaced at a 1994 007 fan convention in Los Angeles. But with Never Say Never Again, a competing 007 adventure starring Connery, the original screen Bond, the producer opted to stay with Moore.

Also back was composer John Barry, who been away from the world of 007 since 1979’s Moonraker. Octopussy would be the start of three consecutive 007 scoring assignments, with A View To a Kill and The Living Daylights to follow. The three films would prove to be his final 007 work.

Barry opted to use The James Bond Theme more than normal in Octopussy’s score, presumably to remind the audience this was the part of the established film series.

Meanwhile, Broccoli kept in place many members of his team from For Your Eyes Only: production designer Peter Lamont, director John Glen, director of photography Alan Hume and associate producer Tom Pevsner. Even in casting the female lead, Broccoli stayed with the familiar, hiring Maud Adams, who had previously been the second female lead in The Man With the Golden Gun.

Behind the cameras, perhaps the main new face was writer George MacDonald Fraser, who penned the early versions of the script. Fraser’s knowledge of India, where much of the story takes place, would prove important. Richard Maibaum and Broccoli stepson Michael G. Wilson took over to rewrite. The final credit had all three names, with Fraser getting top billing.

As we’ve WRITTEN BEFORE, scenes set in India have more humor than scenes set in East and West Germany. Some times, the humor is over the top (a Tarzan yell during a sequence where Bond is being hunted in India by villain Kamal Khan). At other times, the movie is serious (the death of “sacrificial lamb” Vijay).

In any event, Octopussy’s ticket sales did better in the U.S. ($67.9 million) compared with For Your Eyes Only’s $54.8 million. Worldwide, Octopussy scored slightly less, $187.5 million compared with Eyes’s $195.3 million. For Broccoli & Co., that was enough to ensure the series stayed in production.

Hype about the Battle of the Bonds would gear back up when Never Say Never premiered a few months later. But the veteran producer, 74 years old at the time of Octopussy’s release, had stood his ground. Now, all he could do was sit back and watch what his former star, Sean Connery, who had heavy say over creative matters, would come up with a few months later.

2018 epilogue: Over the past five years, Octopussy has continued to generate mixed reaction.

One example was an article posted this month the Den of Geek website. 

While the site said Octopussy deserves another chance with fans, it also levied some criticisms.

It’s a funny old film, Octopussy, one used as evidence by both Moore’s prosecution and his defense. Haters cite the befuddled plot, an older Moore, some truly silly moments (Tarzan yell, anyone?), a Racist’s Guide to India, and the painfully metaphorical sight of a 56 year-old clown trying to disarm a nuclear bomb (rivalled only by Jaws’ Moonraker plunge into a circus tent on the “Spot the Unintentional Subtext” scale.)

At the same time, Den of Geek also compliments aspects of the movie, including its leading man.

Moore also submits a very good performance, arguably his strongest. Easy to treat him as a joke but the man really can act. Sometimes through eyebrows alone.

Thirty-five years later, Octopussy still has the power to enthrall some and to generate salvos from its critics.

I know someone, now in his 40s, who says it’s his favorite James Bond film. I have a friend who refuses to buy a home video copy of it (and every other Roger Moore 007 film) on the grounds that none of the Moore entries are true James Bond films. So it goes.

Sylvia Trench, an appreciation

Eunice Gayson (as Sylvia Trench), Zena Marshall (as Miss Taro), Sean Connery (as James Bond) and Ursula Andress (as Honey Rider) in a publicity still for Dr. No.

The character of Sylvia Trench, as portrayed by the late Eunice Gayson (1928-2018), has a special place in 007 film lore.

Sylvia was the only Bond woman character (aside from M’s assistant, Miss Moneypenny) to appear in more than one of the Bond films made by Eon Productions. Maud Adams appeared twice as two different characters in the Man With the Golden Gun and Octopussy.

Sylvia had less than 20 minutes of screen time combined for Dr. No and From Russia With Love.

Still, Sylvia was Bond’s first film on-screen conquest. Or was Bond her conquest? In Dr. No, Sylvia is the one who takes the initiative.

Sylvia Trench wasn’t an Ian Fleming character from his 007 novels. The idea was Sylvia, devised for the films, would be a recurring character. Bond would be rushing out to go on a mission but would, eh, spend some quick time with Sylvia before doing so.

At the same time the basic notion behind Sylvia’s character likely would have gotten old had it gone beyond two films.

How would you put Sylvia into Goldfinger? Asking Bond why he was morose after Jill’s death from being pained with gold paint?

Where would you place Sylvia in Thunderball? “Sorry, Sylvia. I have to go to this health clinic. Maybe I can see you when I get back.”

In You Only Live Twice? Maybe she’s sobbing after Bond has faked his death.

What about On Her Majesty’s Secret Service? Bond (with George Lazenby replacing Sean Connery) already tosses his hat to Moneypenny (Lois Maxwell) at his wedding. It’s a small emotional moment. What would he do for an encore for Sylvia?

The Sylvia Trench character actually helps make the first two 007 films, Dr. No and From Russia With Love, special. There’s a fair amount of continuity between the two movies without getting bogged down.

What’s more, Bond’s initial encounter with Sylvia in Dr. No  helps establish a lot about the 007 character in a very tight, economical way. The character, as played by Eunice Gayson, was a key part of that.

So with the passing of Eunice Gayson, let us also remember Sylvia Trench. The character was important to getting the film 007 off the ground. At the same time,  she certainly didn’t overstay her welcome.

Sometimes, less is more. But Sylvia stayed around long enough to have an impact.

Eunice Gayson, 1st Bond woman, dies at 90

Eunice Gayson in a publicity still.

Eunice Gayson, who played Sylvia Trench, the first Bond woman of the 007 film series, died June 8 at 90.

Gayson’s death was announced by her official Twitter feed.

The British actress played Sylvia Trench in Dr. No and From Russia With Love. The character wasn’t in Ian Fleming’s novels but created for the movies.

When first seen in Dr. No, she’s gambling at the same table as Bond. Sean Connery’s Bond initially isn’t seen to build up his introduction to audiences.

The audience witnesses Sylvia Trench losing twice to Bond. She then arranges to get more funds (“I need another thousand.”).

“I admire your courage, miss…” Bond says.

“Trench, Sylvia Trench. I admire your luck, mister..”

“Bond, James Bond,” as the character’s face is finally shown. Later, Sylvia surprises Bond in his apartment only wearing a pajama top.

The casino scene “locates Bond in this exclusive environment of high-stakes gambling, but what’s also interesting is that Sylvia Trench is there as an independent woman,” James Chapman, an academic who has written extensively about Bond, said in a sidebar to a 2012 BBC story.

“She’s the one who comes on to him with a double entendre-laden dialogue,” Chapman said. “”It’s 1962 and right on the cusp of sexual revolution. The scene is saying it’s OK for this woman to be unaccompanied in a casino, picking up men.”

Trench again played Sylvia Trench in From Russia With Love but the character was retired from the series after that.

During her acting career, Gayson also appeared in episodes of Danger Man/Secret Agent and The Saint.

Here was the post on Twitter announcing her death.

https://platform.twitter.com/widgets.js

UPDATE (9:50 a.m. New York time): Eon Productions issued a statement via Twitter by Barbara Broccoli and Michael G. Wilson about Gayson’s death. “Our sincere thoughts are with her family.”