Originally published Sept. 18, the last of a four-part series. Reprinted today, the actual anniversary.
From Russia With Love, the second James Bond film, remains different from any 007 adventure since.
It’s the closest the Bond series had to a straight espionage thriller. The “McGuffin” is a decoding machine. That’s important in the world of spying but the stakes would be much larger in future 007 adventures: the fate of the U.S. gold supply, recovering two atomic bombs, preventing nuclear war, etc.
From Russia With Love includes memorable set pieces such as the gypsy camp fight between Bulgarians working for the Soviets and the gypsies working for MI6′s Kerim Bey as well as Bond dodging a helicopter. But they’re not the same scope compared with what would be seen in future 007 films. No underwater fights. No giant magnets snatching cars from a highway. No death-dealing satellites. Even when Bond movies such as For Your Eyes Only and The Living Daylights tried to have From Russia With Love-like moments, they still had larger action sequences.
From Russia With Love is by no means a small, “indie” film. It’s just different compared with what producers Albert R. Broccoli and Harry Saltzman, and their successors, would offer in future 007 installments. Perhaps that’s why some fans keep coming back to view From Russia With Love again and again.
From Russia With Love also introduced stylistic changes to the Bond series, particularly with the beginning of the 007 pre-credits sequence. It also had an actual title song, unlike Dr. No. However, the main titles used an instrumental version (plus an arrangement of the James Bond Theme). The vocal, performed by Matt Monro, is briefly heard during the film and isn’t played in its entirety until the end titles. Finally, the movie was the first time Eon Productions revealed the title of the next 007 adventure in the end titles.
From Russia With Love also demonstrated that Dr. No wasn’t a fluke. If Sean Connery as Bond had been a diamond in the rough in Dr. No, he was now fully polished in his second turn as Bond. At the box office, From Russia With Love was an even bigger hit with audiences than Dr. No.
The 1963 007 outing proved once and for all the judgment of Broccoli and Saltzman — the odd couple forced by circumstances to join forces — that Bond had major commercial potential. The likes of Irving Allen (Broccoli’s former partner who hated Ian Fleming’s novels) and Columbia Pictures (which had the chance to finance Dr. No only to see United Artists do the deal) had egg on their faces.
Nearly a half-century later, From Russia With Love is often in the conversation among fans (particularly older ones) as among the best of the Bond films. It also ensured the series would continue — though nobody realized how big things would get.
THE END…NOT QUITE THE END…JAMES BOND will return in the next Ian Fleming thriller “GOLDFINGER.”
Filed under: James Bond Films | Tagged: Albert R. Broccoli, Columbia Pictures, For Your Eyes Only, From Russia With Love, Harry Saltzman, Irving Allen, James Bond Films, Matt Monro, Sean Connery, Terence Young, The Living Daylights, United Artists | Leave a comment »