Here's another blast from the past from the Cinema Retro archives. We thought of it when we came across this news blurb in the November 18, 1964 issue of the trade paper The Film Daily:
"GOLDFINGER PREMIERE FOR NY LINCOLN SQUARE
American premiere of United Artists' Goldfinger will be held at the DeMille Theater, New York, on Dec. 21 as a benefit for the Lincoln Square Academy at Lincoln Center. Vincent Sardi Jr. is premiere chairman."
We delved into our archives and came up with this image of a screening ticket for an invitational preview of the film shown at the DeMille Theater on October 29. We wonder how many people in attendance realized how the film would revolutionize the action movie genre...
Christopher Lee with Britt Ekland on the set of The Man With the Golden Gun in Thailand. His character had three nipples, thus allowing Ian Fleming to milk the idiosyncrasy for all it was worth.
Did you ever sit and ponder for hours about the origins of the names that Ian Fleming gave to the villains in his James Bond novels...er, neither have we. However, for those whose lives might be a bit less hectic, the searing answer to this question can be found in writer Anthony Horowitz's interesting article in London's Daily Mail. Horowitz even interviews the grandson of the man who is alleged to be the namesake of the evil Scaramanga a.ka. The Man with the Golden Gun. It's claimed that Fleming used his writing skills to immortalize the name in the annals of literary villainy simply because he hated a fellow schoolmate named George Scaramanga! (Couldn't he have been content simply shaking him down for his milk money?) In any event, Horowitz points out some thought-provoking facts about Bond baddies: the types of personality and physical deformaties they displayed in the 1950s and 1960s would be virtually impossible to use today. For example, when Fleming created the character of Rosa Klebb, her lesbianism was presented as a deformity and perversion. Today, every actress is trying mightily to arrange to be photographed "unawares" playing tonsil-hockey with another chick in the hope it makes onto Page Six in the New York Post. This is why I was delighted to see the most recent Bond villain, Le Chiffre in last year's Casino Royale reverting to the grand, old tradition of displaying a unique physical deformity: his eyes tear blood. Doubtless, this cost the producers heavily at the box-office when all men who bleed from their eyes decided to boycott the film, but it was a welcome return to vintage Fleming. - Lee Pfeiffer
for Bond: The Genesis of Cinema’s Greatest Heroby Robert Sellers (Tomahawk Press)
Review by Christopher Andersen
Author Robert Sellers has plenty to be proud of with the
recent publication of his new book The Battle for Bond. Not
only is the book well-written but also sheds light on one of the few relatively
unexplored aspects of the 007 franchise: the seemingly endless legal battles
concerning the franchise and, in particular, Thunderball.
Even for a lifetime Bond fan like myself, this book provides fascinating
new information pertaining to the legal minefield of disputes between Ian
Fleming and his one-time friends and collaborators Kevin McClory, Jack
Whittingham, Ernest Cuneo and Ivor
Bryce- who were the principal creative forces behind the Thunderball storyline. Their collaboration would result in a high
profile court case when Whittingham and McClory accused Fleming of basing his
novel on elements of scripts they had collaborated on with him. The fallout
resulted in the ailing Fleming settling out of court and giving up screen rights
to the novel.
In addition, the book offers a terrific insight to the later
legal battles between Kevin McClory and Cubby Broccoli over McClory’s efforts to
capitalize on those screen rights by producing a remake of Thunderball in the 1970s and 1980s. Robert Sellers hasmanaged to
uncover rare photos and storyboards to enhance the little-known stories behind
these aborted efforts that later resulted in the making of Never Say Never Again, the 1983 Bond film that was indeed a remake
of Thunderball.What’s truly an exceptional find are
original storyboards from the abandoned 1970s project that Sean Connery had
co-scripted the screenplay for. The book even includes rare photos of Connery
touring prospective film location sites for the project including the Statue of
From a personal perspective, my favorite part of the book
covers complexities of the making of Never
Say Never Again. Sellers keeps the complicated events easy to follow –no easy
task. I do have a special interest in this film because back in 1984, the film's
producer Jack Schwartzman discussed with me his intentions to create a
specialvideo edition of this movie
–using a new score and adding some deleted scenes. Schwartzman also disclosed
that he felt he could have done a better job of handling the complex production issues that are inevitably part of a film of this scope. My
marketing research on behalf of Schwartzman showed that this special edition
would have been a very successful, even in the still-early days of Home Video
back in 1984.
The 40 year saga involving Kevin McClory and his obsession
with the material he contributed for Thunderball
is presented in dramatic fashion and Robert Sellers’ dedication and thorough
investigation into this Bond story results in a book that is a “must” for any serious fan of the franchise.
Cinema Retro subscriber Tom Pennock shares with us a rarity
from his 007 movie poster collection.
Like the American 24 sheet billboard size poster, this
great 1965 French 63" x 94" two panel features the classic artwork by
Robert McGinnis and Frank McCarthy that depicts the underwater battle in Thunderball.
When I purchased this poster it was in two 47" x 63" one panel
sections. It was machine folded in 1965 in France at the printers. The printer
was Saint Martin. As with many older foreign
posters, it was very acidic. The most important movie posters in my collection
have been preserved by the late Igor Edelman. He actually invented the process
of linenbacking and deacidifiying posters to preserve them. The paper was very
brittle and there was a slight bit of aging to the paper. The foreign paper was
really never intended to last longer than a normal film engagement. Thus,
posters printed on this paper stock generally should be linenbacked to insure
future stability and to guard against erosion. This process involves using all
"acid free" materials. Mr. Edelman also did a superb job of lining up
the two 47" x 63" one panel sections to form a 63" x 94"
two panel. This poster was also framed archivially as well, using an acid free
mat and buffered acid free foamcore backing. It took me six years to find
someone who could properly frame it. Now the Thunderball French poster
is preserved for the future and with the deacidification, linenbacking and
archival framing. A
nice tribute to my favorite James Bond film of all time- and the crown jewel of
my 007 collection.-Tom Pennock
Cinema Retro responds: Thanks for sharing, Tom. We
have to say we admire your choice of fine art and we're kinda jealous. The
"jewels" of our collection are the old dogs playing poker print and a
velvet Elvis we got at a flea market in Bayonne,
New Jersey! For the uninitiated,
Tom raises a good point. If you have any valuable movie posters, you should
invest in getting them linen-backed. The process preserves the poster and
greatly enhances their value. A great resource site is www.learnaboutmovieposters.com