Cinema Retro has received the following press release:
In 2017, after ten years of service, MI6 Confidential has
introduced a new special format: a limited-run 100-page perfect bound issue of
the magazine taking a deep dive into one particular facet of the franchise.
This first special issue was contributed by Oscar-winning art department veteran
Peter Lamont spent more than 40 years working in art departments of the James
Bond films. From draughtsman to production designer; from Goldfinger to Casino
Royale, Peter worked on every picture but one. One of the films for which he
has collected a great deal of documents and has many fond memories is Roger
Moore's debut as 007, Live And Let Die.
A lot of that material could not be squeezed into his recent autobiography, so
Peter came to MI6 Confidential with an offer too good to refuse. In this
special 100-page perfect bound edition of MI6 Confidential magazine, Peter
tells the story of making the film, location by location, as they appear in the
film. It is lavishly illustrated with rare stills from the film, behind the
scenes photographs never committed to print, and notes and storyboards from
Lamont's personal collection. Let our friend and Bond veteran be your guide to
the eighth official Bond adventure and Sir Roger Moore's first.
This Special Issue:
100 page special magazine; professionaly printed; perfect
A personal dedication to Sir Roger Moore from Peter
More than 50 of Lamont's never-before-printed behind the
Over 25 documents, storyboards and ephemera from the
A richly illustrated narrative with stories behind the
Peter's memories of characters like Derek Meddings, Harry
Saltzman, Syd Cain and Roger Moore
CLICK HERE TO ORDER (Very limited quantities remain!)
American filmmakers have been fascinated by horror and the fantastical since the birth of cinema itself, with one early example cited here being an 1898 New York screening by the Thomas Edison Company of a short film featuring a witch and an appearance from Mephistopheles. Partially inspired by the work of French magician Georges Méliès, it was not long before ghosts, demons, witches and devils would become commonplace in the silent films being produced in New York, and eventually Hollywood itself.
Jonathan Rigby’s American Gothic (Signum publishing) is a fascinating and idiosyncratic exploration of the American horror film, a genre which has inspired filmmakers to create some of the most memorable moments in cinema history. More than a simple encyclopaedia, the book charts the historical development of the genre through not only the classics such as Phantom of the Opera, Dracula and The Cat and the Canary, but also through the hundreds of cheaper independent films and supporting features which are often forgotten but are no less enjoyable. Each chapter, written in his inimitable prose style, covers a specific period and discusses in detail not only the films but the filmmakers, actors and studios involved. Rigby is not afraid to criticise films which many hold sacred, as well as finding positive aspects amongst the failures. Boris Karloff and Bela Lugosi loom large of course, their enduring appeal spanning at least half of the period covered here. Having slipped almost inevitably from their 1930s heights into B-movie lows, Karloff still managed to maintain some level of dignity despite the cheapness of the material, whereas the same could not be said for Lugosi, who suffered the ultimate indignity of finishing his career in the Z-grade films of Edward D. Wood Jr.
Out of print for more than ten years, American Gothic has now been revised and expanded by Jonathan Rigby, completing his horror trilogy alongside English Gothic and Euro Gothic. What this book confirms is that American cinema has been the world’s leading producer of the horrific and terrifying, in sheer number if not always in quality. Whereas those other two books cover the entire history of film in their respective countries and continents, Rigby has had to curtail American Gothic’s coverage at 1959, arguably when things were about to get really interesting. This was perhaps as much for his own sanity as well as for the length of the book. With dozens of rare and exceptional film stills and publicity materials, American Gothic is an essential read for any serious enthusiast of horror or cinema history. Here’s hoping that Rigby will eventually pluck up the courage to tackle the next sixty years.