Bond girls Jenny Hanley, Caron Gardner, Francesca Tu.
BY MARK MAWSTON
The ultimate “Bonding†session once again
took place at the home of the 007 franchise, Pinewood Studios, on Sunday 24th
September. Those lucky enough to attend were treated to a dealer’s room, a 50th
Anniversary 4K screening of You Only Live
Twice, at which organizer Gareth Owen read a message received from the e
Prime Minister herself, Theresa May, which touched on the amazing feats of
ingenuity and sheer technical mastery that went into the construction of the
films famed volcano set; a three course lunch and afternoon tea and of course a "who’s who" from the world of Bond from both in front and behind the camera.
These included:
Peter Lamont - Assistant Art Director - Art Director and Production Designer of 18
Bond films, Terry Ackland-Snow - Art Director on two Bond films, Alan Tomkins - Art director on five Bond films, Monty Norman – Composer, Vic Armstrong - 2nd Unit Director and stunt performer /
supervisor, Rocky Taylor - Stunts - You Only Live
Twice and many other Bond films; Norman Wanstall - Dubbing Editor/ Oscar-winning Sound Designer, Paul Weston – Stunts, and
William P. Cartlidge- Assistant Director- You Only Live Twice and future
Bond Associate Producer.
Monty Norman, composer of "The James Bond Theme".
Shane Rimmer, a Bond film veteran cast member and his wife Sheila, lead the crowd out of the John Barry Theatre.
Alan Tomkins and Peter Lamont.
Brian Gorman presented his one-man Bond tribute show.
And from in front of the camera: Shane Rimmer - three Bond films including You Only Live
Twice, Eunice Gayson - Sylvia Trench in Dr. No & From Russia With Love, Jenny Hanley – “Irish
Girl†in On Her Majesty's Secret Service, Sylvanna Henriques - Title sequence - You Only Live Twice and “Jamaican
Girl†in On Her Majesty's Secret Service, Caron Gardner - Pussy Galore Flying Circus pilot in Goldfinger,
Nadja Regin - Kerim's girl
in From Russia With Love and Bonita in Goldfinger and Francesca
Tu, Osato’s secretary- You Only Live Twice.
Stunt Legends Vic Armstrong and Rocky Taylor enjoy some amusing anecdotes along with interviewer Gareth Owen.
William P. Cartlidge reflects on the trials and tribulations of bringing "You Only Live Twice" to the screen.
The highlight for many of those stars, as well
as the fans in attendance, was a special tribute to the late, great Sir Roger
Moore. The day was rounded off with a specialpremiere
of Brian Gorman’s wonderful 60 minute one-man show “One Man Bond†(every Bond
film in 60 minutes!). Afterwards Gorman said “It’s a dream to perform at
Pinewood at this event, as you already know that this audience will get it,
terrifying though it is if you get something wrong! It’s not like a normal
crowd and I’ve never used a microphone before!†He needn’t have worried though and
this rounded off what was another excellent event organized by Bondstars Andy
Boyle and Retro’s own Gareth Owen.
(All images copyright Mark Mawson. All rights reserved)
Joe Robinson, 2004. (Photo copyright Cinema Retro. All rights reserved.)
BY LEE PFEIFFER
Joe Robinson, the estimable stuntman, stunt arranger and occasional actor, has passed away in his native England at age 90. Robinson came from a family of wrestlers and he won the European Heavyweight Championship in 1952. Robinson drifted into the film industry initially as an actor, starring in the 1955 movie "A Kid for Two Farthings". Leading man status eluded him but he found a steady career arranging stunts for films and television shows and occasionally acting in them as well. Like many British and American actors, he gravitated to Italy in the early 1960s to appear in some of the "Hercules"-inspired strongman films that were quite popular during that era. He scored small action roles in "Barabbas" and "Ursus" before returning to England, where he had a supporting role in Tony Richardson's classic "The Loneliness of the Long Distance Rnner. He was a noted judo and karate expert and helped train Honor Blackman for her action scenes in "The Avengers" TV series and in the 1964 James Bond film "Goldfinger". In 1971 he landed his best-remembered role as smuggler Peter Franks in the James Bond movie "Diamonds are Forever". In the movie's best action scene, he has a bruising battle with Sean Connery inside the tight confines of an elevator. This writer and fellow Cinema Retro publisher Dave Worrall met him in 1995 when he participated in recording a laser disc commentary track we were producing relating to the elevator fight along with "Diamonds are Forever" director Guy Hamilton at Pinewood Studios (the track is available on the DVD and Blu-ray versions of the film today).
Robinson battling Sean Connery in the 1971 James Bond film "Diamonds are Forever".
Robinson was very much a free spirit who would often turn up unexpectedly at events and ingratiate himself with people by discussing his fascinating stories of working in the film industry. He later would appear with the James Bond International Fan Club at various 007-themed events and conventions where he enjoyed meeting his admirers and signing autographs. He once told this writer that many years after filming "Diamonds are Forever", he decided to drop by Sean Connery's estate in Spain. When he rang the doorbell buzzer in the gated community, Connery asked who was there. When he heard it was Joe Robinson, Connery exclaimed "Tiger Joe!", referring to Robinson's nickname in the industry. The two men spent a pleasant afternoon reminiscing about old times. In addition to his other achievements, Robinson and his brother Doug co-authored "Honor Blackman's Book of Self-Defence", a 1965 volume that illustrated their training sessions with Blackman. For more click here.
Here's a hidden gem: an obscure interview from 1965 on the set of the James Bond thriller "Thunderball". The interview takes place at Pinewood Studios on the set that served as M's office. Not sure who the woman is who is conducting the interview or what network it was filmed for. Suffice it to say she epitomizes the type of uninformed interviewer that ultimately turned Connery off to the publicity surrounding the Bond phenomenon (she doesn't even know what city he was born in.) She also wastes time asking Connery about comparisons between Bond and MacBeth (!), who he had portrayed a few years earlier on Canadian television. Nevertheless, this is an interesting piece of long-forgotten Bond history. - Lee Pfeiffer
Steven J. Rubin's 40th anniversary tribute to "Rocky"; extensive coverage ON the making of this
landmark film with exclusive comments from key members of the cast and
crew.
Christopher Weedman celebrates the career of British actress Anne Heywood with insights from
the lady herself.
Diane Rodgers' homage to the Monkees' only feature film, "Head"- with a screenplay by Jack Nicholson!
Martin Gainsford diagnoses the problems of bringing Doc Savage to the big screen in
the ill-fated 1970s production.
Nick Anez extols the virtues of Sidney Lumet's brilliant but little-scene "The Offence" with a
powerhouse performance by Sean
Connery.
Tim Greaves examines the creepy-but-neglected chiller "The Little Girl Who Lives Down the
Lane" starring young Jodie
Foster.
Did Sergio Leone "ghost
direct" the cult Italian Western "My
Name is Nobody"? Chris Button examines the case for and against this theory.
Raymond Benson works overtime, providing us with his Ten
Best Films of 1956 as well as his favorite movie trilogies of all time.
Gareth Owen looks back at the founding of Pinewood Studios
Lee Pfeiffer rocks on with the Dave Clark Five in their feature film "Catch Us If You Can" (AKA "Having
a Wild Weekend"),which marked John Boorman's directorial debut.
ISSUE #39 (September, 2017)
Highlights
of this issue will appeal greatly to 007 fans:
50TH anniversary of the James Bond classic You Only Live Twice with exclusive interviews, rare photos & memorabilia and movie poster art.
Remembering Sir Roger Moore
Susan George's career- second and final part of our coverage
Vivan Pickles recalls filming Play Dirty with Michael Caine
The kinky, controversial thriller Night Hair Child (aka What the Peeper Saw)
The
world-famous Pinewood Studios celebrates 80 years in the film business this
year and Penguin Books have published a luxurious large-format 376-page
hardback book to commemorate the fact. Loaded with interesting stories - from
the studio's beginnings to the latest 'Star Wars' offering under the Disney
banner - it's certainly an interesting ride along the way. All of your
favourites are here: the 'Carry On', James Bond, Superman and Batman series, as
well as photos galore - many I'd not seen before (although a few captions are
incorrect) - make for an easy read without getting too bogged down with
statistics. Nice to see industry insiders being interviewed, and there are
numerous quotes from the likes of Sir Roger Moore, Barbara Broccoli, Sir Ridley
Scott, Martin Campbell, Michael G. Wilson and Michael Grade, to name but a few.
Interestingly, now that Pinewood owns the 'other' famous British studio at
Shepperton, this gets coverage, too.
Author Bob McCabe mentions first visiting
the studio in 1977 (aged 10) and seeing the American cars scattered on the
backlot following the filming of 'Superman'. Well, I was there too, Bob -
although a tad older! For those of you, like me, who have been fortunate to
visit this wonderful 'film factory', then it is worthy of a place in your
library. For those of you who will probably never pass through its portals,
then it's an even a bigger treat. Oh, and Cinema Retro gets a credit in the 'sources
of research' section! 'Pinewood: The Story of an Iconic Studio' has a cover
price of £40.00., but is currently available from Amazon UK for the bargain
price of £26.00. Now that's what I call a great Christmas present.
With
Christmas 1970 on the horizon, the UK’s thrilling new sci-fi TV show UFO was
well underway. Gerry and Sylvia Anderson's first live-action series, it was set
in the future and revolved around the activities of the Supreme Headquarters
Alien Defence Organisation (SHADO), a covert agency presided over by Commander
Ed Straker (Ed Bishop) to fend off alien attacks on mankind. As a wide-eyed 8-year-old
I was hooked and I can recall wishing two things. One was that I could have one
of the Dinky Toys’ missile-firing SHADO Interceptors, which I thought then (and
still think now) was the coolest among the incredible array of vehicles that
appeared in the show; I’d not be nearly as forgiving today as I was back then
that Dinky had manufactured it in garish green, where the ‘real’ ones on TV
were white. The other wish was that I could somehow watch UFO whenever I wanted
instead of having to wait the week-long eternity between each episode. Now, the
first of these wishes had a pretty good chance of being granted, after all
Christmas was coming and if it didn't materialise then it would only be a few
months more until my birthday. The second wish was… well, frankly it was silly;
the only way to watch episodes whenever one wanted would be to own them and
that was beyond the realms of possibility, literally the stuff of dreams.
Yet here's the thing: Although I never did get that Interceptor toy, almost 20
years later, thanks to a TV run in the early hours of the morning during the
late 1980s, I got to own every episode on video. Then along came the wonders of
DVD and a spiffy Network box set release which suddenly made those
dropout-impaired, off-air VHS recordings completely redundant. It's now almost
half a century since UFO first aired on television in the UK and Christmas has
truly come early this year with Network's upgrade of the show to sparkling
Blu-Ray format.
Throughout
the 1960s the Andersons were best known for a slew of action shows aimed at
children with marionettes as their stars – Fireball XL5, Stingray, Thunderbirds
and Captain Scarlet remain among the most fondly remembered – and, aside from 1969
TV movie Doppelgänger (aka Journey to the Far Side of the Sun), UFO was their
first dalliance with live-action. It was also their first move towards
something aimed at a more mature audience, its storylines touching upon some distinctly
adult themes; not only was there the ever-present core threat of aliens
abducting humans and harvesting their organs to sustain their dying race, there
were flirtations with adultery, divorce, interracial romance and the
recreational use of hallucinogenic drugs, a facet which prevented the final
episode, “The Long Sleepâ€, from being screened during the series' initial run;
it eventually showed up some two years later. The very appearance of the aliens
was disconcertingly sinister, sporting eerie liquid-filled helmets, the viscous
green fluid therein enabling them to breathe. Additionally, the characters
regularly made flawed decisions and not all the stories concluded happily. There
was also a pervasive frisson of sexuality throughout the series; not only were most
of SHADO’s female personnel clad in rather provocative attire, in the first
15-minutes of the show’s pilot episode alone a woman fleeing from aliens tears her
dress and exposes her underwear, moments later there’s a protracted tracking
shot of a young woman's shapely legs as she walks across the studio forecourt, then
Gabrielle Drake performs a semi-striptease (to accompanying wah-wah organ music).
Of course, as a futuristic action series it was still going to harbour huge
appeal with a younger audience and whilst the heavier plot tropes would probably
have by-passed most kids, throwaway dialogue such as "These clouds give
about as much cover as a G-String on a belly dancer" almost certainly flew
right over their heads; at 8-years-old I doubt I even knew what a belly dancer
was, let alone a G-String!
Ed Bishop and Ayesha Brough
Producer
and co-creator (with Sylvia) of UFO, Gerry Anderson also wrote and directed the
first episode, "Identified". Other directors on the series were David
Lane (8 episodes), Ken Turner (6 episodes), Alan Perry (5 episodes), Jeremy
Summers and David Tomblin (2 episodes each), and Cyril Frankel and Ron Appleton
(a single episode each). As with any series there are great stories and
not-so-great stories, but there isn't a single entry in UFO's run that doesn't
have something intriguing going on. Among my personal favourites are Frankel's
"Timelash", in which Straker arrives at SHADO HQ and finds the entire
establishment frozen in time; Turner's "Ordeal", which finds a key
SHADO member abducted by the aliens and turned into one of their own; Lane's
"A Question of Priorities", in which Straker is torn between the
responsibility of his job and a tragedy in his personal life; and Summers'
"The Psychobombs", wherein the aliens turn several humans into living
explosive devices.
Heading
up the cast, Ed Bishop was the only actor to participate in all 26 episodes but
there were regular appearances by a handful of others, among them Michael
Billington (as Colonel Paul Foster), George Sewell (as Colonel Alec Freeman), Dolores
Mantez (as Nina Barry), Antonia Ellis (as Joan Harrington), Vladek Sheybal (as Dr
Doug Jackson), the aforementioned Gabrielle Drake (as Lieutenant Gay Ellis), Keith
Alexander (as Lieutenant Keith Ford), Wanda Ventham (as Colonel Virginia Lake)
and Ayesha Brough (who, despite the fact she appeared in 19 episodes, was
curiously never given the courtesy of a name).
William
Blood (Kenneth More) is a man with an incredible immune system and without worries.
He spends most of his time working as a human guinea pig for government departments
such as the Common Cold and Flu Research Agency. There he frustrates the men in
white coats by stubbornly refusing to catch a cold. He never gets ill, and his
secret is that he has no emotional attachments. “The minute you get into a
relationship with a woman, your guard is down and the coughing will start!â€
News of this remarkable constitution gets to the scientists at N.A.A.R.S.T.I.,
the National Atomic Research Station and Technological Institute, who are
preparing to send the first maned rocket to the moon. They have previously sent
up dogs and monkeys, but owing to public complaints about cruelty to animals,
they have decided it would be far better to send a human. However, it is far
too risky to send one of their trained astronauts. After all, training is
expensive. Far better to send William Blood instead in the first rocket, and
provided he gets there in one piece, they will then send up the real
astronauts. This sounds like a fool-proof plan, but what is not accounted for
is a distraction, in the shapely form of stripper Polly (Shirley Anne Field),
who has fallen in love with him.
Once
Blood begins his astronaut training he has to face the other jealous astronauts
lead by a young Charles Gray, who are furious that they won’t be the first on
the moon after all their preparations. However, he does have the project leader
Dr. Davidson (Michael Horden) on his side, and he goes through a rigorous
raining regime featuring extreme temperatures and G-force simulators to prepare
him for the adventure ahead.
Man in the Moon is a
delightful film with a sparkling and witty script written by Bryan Forbes and
Michael Relph. Basil Dearden’s direction is inventive and makes use of some
excellent location work at RAF Denham alongside impressive sets built at
Pinewood Studios. It is a perfect encapsulation of an England on the cusp of
great change. Blood, whizzing around in an open-topped Messerschmitt
bubble-car, is the epitome of modern man, whilst those in charge at
N.A.A.R.S.T.I. he meets are still wearing tweed and smoking pipes. His thinking
is progressive, as he has no qualms about seducing a beautiful woman whilst still
actively berating the institution of marriage. The Britain of Man in the Moon has one foot in the war
years, the other in the Atomic Age, with an endearing performance by Kenneth
More at the centre of it all.
In
his forty-year career, Basil Dearden made dozens of film, many of which are now
considered classics. With notable hits including Violent Playground (1958), The
Blue Lamp (1950) and The League of
Gentlemen (1960), he clearly had an affinity for film noir-style crime
dramas, and it is perhaps easy to forget that one of his early hits was
actually the early Ealing comedy The
Goose Steps Out (1942) starring Will Hay. Dearden made many films for
Ealing Studios, even contributing to the classic supernatural portmanteau Dead of Night (1945). His last film was the
supernatural mystery The Man Who Haunted
Himself (1970), frequently cited by Roger Moore as the best film he ever
made. Sadly, Dearden died in a car crash shortly after completing the film, the
accident occurring in the very spot where months earlier they had shot Roger
Moore’s character’s car crash for that film.
Man in the Moon is another release in Network Distributing’s ‘The British Film’
collection, and as such comes with little bonus material, limited to an
original trailer, image gallery and press book. Despite this reservation it is
still a superb release. The main reason for watching is to see an excellent
transfer from original elements, and like all the films in their collection, Man in the Moon is a forgotten
but entertaining gem.
THIS STORY HAS BEEN UPDATED WITH CRAIG'S COMMENTS ABOUT THE BOURNE FILMS.
BY LEE PFEIFFER
Last evening Daniel Craig took to the stage for a 90 minute interview as part of the New Yorker Festival, sponsored by the legendary magazine. The interview took place at New York's School Visual Arts. Craig, who is not known to be enamored of engaging in interviews, was clearly in a feisty and humorous mood and attributed his presence at the event as a sign of his long-standing respect for the New Yorker magazine. The wide-ranging discussion covered a multitude of topics with the predominant subject unsurprisingly being James Bond. Craig was sporting a bleached blonde crew cut for a forthcoming role that made him bare a resemblance to the legendary Bond villain Red Grant, played memorably by Robert Shaw in "From Russia With Love". He was dressed casually in jeans, sneakers and a leather jacket and walked on stage with host, writer Nicholas Schmidle, without any formal introduction. Craig displayed considerable humor but did pepper his comments with some liberal use of profanity. Here are some highlights of the interview:
Craig said that rumors that he has been offered $150 million for the next two James Bond films are completely untrue. "I haven't been offered any money", he said. Craig noted that the next Bond film isn't even under discussion at this time. He said that after having spent a full year filming "Spectre", everyone involved feels they need a break from the series for a while. Craig did acknowledge controversial comments he made to the press last year in which he said he would rather slash his wrists than play 007 again. Although he didn't formally apologize for the comments, he clearly seemed to regret saying them. He admitted he was in a foul mood at the time because the ordeal of filming "Spectre" had left him emotionally drained and physically injured after having suffered accidents in the course of production. He did not rule playing Bond again in or out but did say that if he were not to play the role again "I would miss it terribly" and said he considered it "the best job in the world". When asked what specific perk he likes the most about playing the role, he wryly noted that he has an Aston Martin stashed in a garage in upstate New York- a direct benefit of playing Bond.
Craig said that throughout his life he has always enjoyed seeing Bond films but had never read Ian Fleming's novels. He never dreamed he would be asked to play the part of 007. When producers Barbara Broccoli and Michael G. Wilson told him he was their choice to play Bond in the 2006 reboot of the franchise, "Casino Royale", Craig almost dismissed the offer out of hand. He said he felt he was all wrong for the role and took a full year to give the producers his answer, after having consulted with family. He said he reluctantly agreed to take on the part with the proviso that it was understood he would not attempt to play the role like Bond actors who came before him. He was effusive in his praise of his immediate predecessor, Pierce Brosnan, but told the producers that he would not be successful in playing Bond in the lighthearted manner that succeeded with Brosnan. He demanded to see a finished script and to have input in defining the character of Bond in his own persona. Craig was surprised when his demands were met and was highly impressed by the finished script. He said he appreciated the producers' willingness to allow him to make creative suggestions regarding the films he has appeared in.
(Photos copyright Tom Stroud. All rights reserved)
Craig spoke highly of his colleagues with whom he works on the Bond films. He was especially generous in his praise of producer Barbara Broccoli, who is producing his forthcoming New York production of "Othello" in which he will play Iago. Craig said that, while he had heard of Barbara Broccoli before being approached for the Bond role, he assumed she was a woman in her seventies. When he finally met her face-to-face he was astonished that she was decades younger. He praised Broccoli and his other colleagues on the Bond series as the epitome of professionalism.
Asked about the current political situation in the United States, Craig said he was a solidly supporting Hillary Clinton. While not mentioning Donald Trump by name, he did say that he thought a country should not be run like a business, as Trump has professed. Craig said that companies only care about the bottom line and making a profit while the first priority of a nation should be to provide help and compassion for its least-fortunate citizens. His comments got rousing applause. (The scandal of Trump's sexually-charged comments on the 2005 video was unfolding during the interview and Craig may well have been unaware of the developments.)
Craig acknowledged that his second Bond film, "Quantum Of Solace", had a rushed production schedule and suffered from script deficiencies due to a writer's strike. He said the script had to be fine-tuned without the benefit of the screenwriters and that even he ended up writing material, stressing that he did not consider himself qualified to do so. Still he defended the film saying there were still some "fantastic" elements to it.
Regarding his private life, Craig denied tabloid reports that he is "prickly" to deal with. He said that he understood that by playing Bond his life would never be the same and that he would be the subject of intense media attention. He did say, however, that to whatever extent possible, he tries to stay out of the press. He scoffed at the notion that he is anything like Bond in real-life, saying that he is neither a bon vivant or a tough guy. He laughingly said that the public should never confuse him with his on-screen alter-ego. Asked if he had any advice for his possible successor in the role, Craig said that actors should not try to emulate their predecessors and bring their own style and conviction to the part. He said the most challenging aspect of filming a Bond movie was the sheer amount of time it takes to shoot it- a full year. He said he misses his family and New York when filming. He also said that not much time elapses between the end of shooting and the release of the film- perhaps six months. Thus it is important to work out the movie in great detail before filming begins because the schedule doesn't allow much time for making changes after production has wrapped.
Craig cringed when a clip was shown of him in his feature film debut in director John G. Avildsen's little-seen 1992 prison drama "The Power of One". He needn't have been embarrassed as the clip showed Craig giving a powerful performance as a brutal and abusive prison guard. He said he had not seen the film since it was originally released.
Asked about criticism from Paul Greengrass, director of the Bourne spy films, that he wouldn't want to direct a Bond film because they were outdated, Craig responded that no one associated with Bond would want him to and that "He should be so lucky" to be asked. This evoked laughter and applause from the audience. Craig, who made his comments seemingly in jest, did say he has yet to see a Bourne movie, but looks forward to getting around to it in the future.
Asked about long-time criticisms that the character of James Bond was sexist, Craig commented on a clip from "Spectre" in which Bond seduces a character played by Monica Bellucci and pointed out that charges of sexism against Bond were misguided because such scenes are meant to be viewed with a degree of camp.
(Photo copyright Cinema Retro. All rights reserved)
Craig said that since he was a young boy he wanted to be an actor. He used to fantasize about being on the big screen. He said one of the films that inspired him most was Ridley Scott's "Blade Runner", which was a bomb when it first opened. He said he recalled watching it in awe in a mostly empty theater and being mesmerized by the film. He recalled that this particular movie was one of the ones that most inspired him to pursue an acting career.
In terms of future projects Craig acknowledged that he will star in an co-produce a two-season television production of author Jonathan Franzen's best-selling novel "Purity" for Showtime. Craig said he wife got him hooked on the book and he immediately called producer Scott Rudin, who owned the screen rights to make a deal to film the story. Craig said that he feels T.V. is the proper medium for the adaptation because he does not want to have to cut down on the essential elements of the story in order to squeeze them into a feature film's running time. His goal is to ensure that virtually every important element of the book is brought to the screen. He also said that he will play a small supporting role in the forthcoming film "Kings" with Halle Berry, which apparently deals with the aftermath of the L.A. riots that took place in Los Angeles in 1992 following the Rodney King verdict.
Craig verified internet rumors that he was indeed in the latest "Star Wars" movie, playing an anonymous Storm Trooper. Craig indicated he is a big "Star Wars" fan and when the "Spectre" filming coincided with filming of "Star Wars" at Pinewood Studios, he couldn't resist asking director J.J. Abrams if he could appear in a tiny, uncredited role. Not surprisingly, his wish was granted.
(Photo copyright Cinema Retro. All rights reserved)
As the evening approached the last half hour, Craig took questions from audience members. This is always a bit dodgy since eccentrics and kooks seem to be drawn to an open microphone the way moths are attracted to a flame. Refreshingly, most of those who participated asked intelligent questions though there was at least one of the requisite hams who droned on with some self-serving comments, as if the audience wanted to hear about him. Craig handled them all- the good, the bad and ugly- with graciousness, respect and humor. At evening's end, the packed house gave him a rousing ovation. Craig said that, contrary to what one may think of the man who plays James Bond, he goes to sleep early and said he was up beyond his bedtime. With that, he bid everyone goodnight. For more click here.
Between the early 1950s and mid 1980s the Children's Film
Foundation was a non-profit making establishment behind dozens of films aimed
at a young audience, most of them screening as programme constituents at
Saturday morning 'Picture Shows'. I didn't catch many of these during my own
childhood. But I do recall a couple of particularly enjoyable ones that I did get to see in the early 1970s: Cry Wolf (1969) and All at Sea (1970), both of which are conspicuously absent from the
half dozen or so collections issued on DVD to date. Many of the CFF’s films had
a run-time of around an hour, although there were also a number of serials in
their catalogue. Masters of Venus was
one such production. Comprising eight 15-minute instalments, it arrives on DVD
in the UK in a restored release from BFI.
On the day prior to mankind's first mission to Venus, chief
scientist Dr Ballantyne (No Road Back's
Norman Wooland) is being assisted with last minute preparations on the
rocketship Astarte by his two intellectual children, Jim (Robin Stewart) and
Pat (Amanda Coxell). When the base is infiltrated by a pair of sinister,
ray-gun-toting saboteurs the siblings' only route of escape is the Astarte; it blasts
off and catapults them, along with two technicians, into space. When it
transpires the Chinese are on the verge of launching their own exploratory rocket
ship, rather than guide his children home Ballantyne asks that they continue to
Venus in order to secure Great Britain's place in history. Upon their arrival the
team are made welcome by the planet’s inhabitants, but it soon becomes apparent
that a plan to invade the Earth is underway.
Shot on sets at Pinewood Studios, this sub-Flash Gordon-esque serial was directed by Ernest Morris (as prolific
a second unit director as he was an occupant of the centre seat) from an
endearingly dumbed down Michael Barnes screenplay: "They'll be on the trip
for several weeks, you know," remarks Ballantyne casually (Weeks?! More
like months!).
Where most of the adult characters in CFF films are inept – or at
best ineffectual to the point of comical – the very purposeof these movies was to allow the kids to shine. Both youngsters here
are likeable enough and outsmart their elders regularly. Amanda Coxell (the nom de guerre adopted by Mandy Harper)
had worked regularly as a child actor but as she got a little older her career
wound down (Masters of Venus was in
fact one of her last pieces of work). Robin Stewart on the other hand made that
tricky transition from child to adult actor very successfully, carving out a
career that found him lead roles in such films as The Legend of the 7 Golden Vampires for Hammer and The Haunted House of Horror, as well as
a lead role as Sid James' son in a 65-episode run of TV sitcom Bless This House. There’s worthy support
from The Revenge of Frankenstein's
Arnold Diamond, From Russia With Love's
George Pastell, Where Eagles Dare's
Ferdy Mayne and Zienia Merton (who later became a regular face on TV’s Space: 1999). The effects of pretty
respectable given the shoestring budget – the Astarte itself is a nicely Gerry
Anderson-esque hunk of space hardware – while Eric Rogers (best known for his
whimsical scores on a couple of dozen Carry
On entries) supplies suitably dramatic musical accompaniment to the action.
With a total running time of just over two hours, if you were to
lose the “Our story so far…†and “See next week’s exciting episode to find out…â€
bookends and a little of the loquacious padding you're probably looking at a decent
90-minute adventure. In any event, it is what it is and Masters of Venus will certainly find an appreciative audience among
those who remember it from their halcyon childhood days (which, to be fair, is
a statement applicable nowadays to all the CFF's output).
The BFI’s DVD presents the 8-part black-and-white serial in
its original 1.66:1 ratio. Transferred from the best extant elements held
at the BFI National Archive, there are occasionally patches of detritus
accumulation in evidence and a couple of episodes bear some
light vertical scratching, but overall picture quality is fine given
the age of the material. The PCM 2.0 mono sound labours under varying
degrees of crackle but seldom is it too intrusive. There are no additional
features.
Over the last year the entertainment industry has suffered incalculable losses of talented people. Some of them hit home personally, as is the case with producer Euan Lloyd, who passed away this weekend in London. I first met Euan in 1978 when I was attending college in New Jersey. I had the enviable gig of being the film critic for the campus newspaper, which afforded me the opportunity to routinely attend press screenings of forthcoming films in New York, which was a stone's throw across the river from my native Jersey City. I had read about the upcoming release of "The Wild Geese" which seemed to promise a "too-good-to-be-true" cast composed of some of my favorite actors (Richard Burton, Roger Moore and Richard Harris above all) in the kind of gritty, macho British war flick that I had become addicted to ever since seeing "Zulu" at age 8. To say the film lived up to expectations would be an understatement. I thought it was a superbly crafted blend of rugged action, social commentary and splendid performances under the capable direction of Andrew V. McLaglen. The film was inspired by the exploits of a real life mercenary named Col. Michael Hoare (not so affectionately known as "Mad Mike"). He was a technical adviser on the film and was speaking at the post-screening press conference along with the film's producer Euan Llloyd. I had seen some of Lloyd's earlier films and liked them. The two men gave a riveting account of the making of "The Wild Geese", after which I approached Mr. Lloyd and introduced myself. I told him that I was greatly impressed with the film and would be writing an excellent review of it. I had hoped to just get a handshake and a few nice words since I wasn't exactly representing the New York Times. To my surprise, Mr. Lloyd spoke to me at length about my experience writing film reviews. He hung on every word. Whether he was just being polite or had a genuine interest, I can't say to this day. However, he astonished me by inviting me to breakfast at the Plaza the next morning. As a college kid, the Plaza on Central Park was a place you only saw in the kidnapping scene of "North By Northwest", as few people from my blue collar background had the kind of bankroll that would afford a trip to the bar or restaurant. The next morning I dined with Mr. Lloyd, who insisted that I call him Euan. After breakfast we took a long walk around the city and he related fascinating stories about the film trade. He even gave me an inside scoop on the next James Bond movie. He said he had recently screened "The Wild Geese" for Cubby Broccoli, who was so impressed by the sequence in which the mercenaries sky dive into Africa that he decided to plan a major aerial scene to start "Moonraker" off with - and indeed he did. Euan had asked me to bring him copies of some of my reviews, which he read in my presence (a nerve-wracking experience for me, as I recall.) He was highly complimentary and encouraged me to take up writing as a career. I had never heard such words of encouragement from anyone. He also told me that if my schedule permitted it, he could get me a bottom-rung job on the set of his forthcoming film "The Sea Wolves". It was an offer I wasn't able to take because of factors in my personal life at the time, not these least of which were that I needed a steady job and was about to get married. Still, the offer was an extremely kind gesture. I parted with Euan that day and was destined not to see him for many years. In the pre-E mail era, these types of casualties happened to people's relationships.
Richard Burton, Roger Moore, Richard Harris and Hardy Kruger in "The Wild Geese".
In 2002, my old friend and future Cinema Retro publishing partner Dave Worrall happened to meet Euan Lloyd and Andrew V. McLaglen at an event at Pinewood Studios. He asked Euan if he might have remembered a guy named Pfeiffer he had met many years ago. To his surprise, Euan recalled the day I had spent with him and relayed the message that we should visit him when next I was in London. A few months later we did just that and I was delighted to renew my friendship with this remarkable man. In 2006, he was our guest of honor for a black tie dinner we held at the Reform Club in London. His anecdotes were captivating but he never seemed pretentious or full of himself. He was always an example of humility and class. When we started Cinema Retro magazine a few years later, Euan was front and center and we ran an extensive interview with him over the first three issues that was conducted by writers Mac MacSharry and Terry Hine. Euan would always be there when you needed him. It should be said that Euan was one of the first very successful producers to eschew studio financing in favor of raising money for his films on his own, then selling distribution rights to the major studios. In his early days in the industry he worked for future James Bond producer Cubby Broccoli and his (then) partner Irving Allen. Lloyd always credited Cubby for giving him a him this opportunity, which was actually arranged by Alan Ladd, who Euan had befriended. Euan helped oversee production on many successful movies for Cubby and Irving's Warwick Productions. When Cubby later teamed with Harry Saltzman to form Eon Productions, Euan continued to work with Irving Allen and co-produced the second Matt Helm film, "Murderer's Row" starring Dean Martin. From that point on, he would produce his own films. They included Sean Connery's first post-Bond film, "Shalako" in 1968. He struck pay dirt with the 1978 release of "The Wild Geese", which was a major hit internationally and spawned a loyal cult following that seems to be growing to this day. Some of his movies including "The Sea Wolves" and "Who Dares Wins" did not do well at the boxoffice in America but reaped large profits from the European markets. "Who Dares Wins", which was based on a real life incident in which the SAS fought terrorists to free the Iranian embassy in London, counted among its admirers Stanley Kubrick, who wrote Euan Lloyd a letter praising the film. Another admirer of the 1982 movie was President Ronald Reagan, who requested that it be screened at the White House. Euan was also a man who seemed to have no enemies. I once received an unexpected phone call from Sean Connery and in the process of speaking to him, I told him that I was a friend of Euan Lloyd's. Connery recounted his experiences making "Shalako" and said that although he had battled with producers many times over the course of his career, Euan was one of the most honorable men he had ever worked with. Similarly, Roger Moore, who starred in "The Wild Geese" and "The Sea Wolves" for Euan, counted him among the most trustworthy producers in the industry.
Lee Pfeiffer introduces Euan Lloyd at a dinner in his honor at the Reform Club in London.
Over the years, Dave and I would try to see Euan whenever we were in London. He would occasionally join us at the royal premieres of James Bond films. On my last visit in October 2015, I knew he had been seriously ill. We planned to meet briefly at his apartment but his illness prevented this from happening. I think Euan was looking out for me even then, as I don't believe he wanted me to see him in a weakened state. Perhaps he was right. My only memories of him are of a vibrant, elegant man who was always "dressed to the nines" and the epitome of class, style and kindness. He was old school in the best sense of the term. Small wonder that producer Jonathan Sothcott titled his excellent 2004 documentary tribute to Euan "The Last of the Gentleman Producers". I realize now more than ever how that title perfectly encapsulates the man. Upon learning of Euan's passing, Sir Roger Moore referred to him as "a legend". Somehow, that word seems equally appropriate.
(Click below to watch "The Last of the Gentlemen Producers")
Sam Mendes hosted the press launch to mark production of Spectre at Pinewood Studios in 2015.
BY LEE PFEIFFER
Director Sam Mendes brought the James Bond franchise to an all-time high in terms of critical acclaim and boxoffice receipts with the 2012 release of "Skyfall", which marked the 50th anniversary of the movie series. He then announced he would not be on board for the next 007 flick, "Spectre". However, after much negotiating (and presumably a boatload more money), Mendes relented and directed that film as well. While not enjoying the hype and response that "Skyfall" did, "Spectre" was also a major international hit grossing close to $900 million, outdone only by "Skyfall", which racked up a gross of $1.1 billion. Now Mendes says he won't direct the next Bond film- and this time he says he means it. Mendes has nothing but good things to say about working on two 007 blockbusters but says it's now time for a new director with a new vision. He also says he doesn't know whether Daniel Craig will continue in the role. Craig, who has done four Bond films to date, has made conflicting statements about his desire to continue in the role. Mendes says that the ultimate decision will be left to producer Barbara Broccoli, who initially championed Craig for the part when virtually everyone else thought he would make a poor choice. That was then and this is now and Craig has enjoyed enormous popularity among the fan base. Still, while diamonds may be forever, a Bond actor's lock on the role isn't. Way back when Sean Connery left the series after "You Only Live Twice" in 1967 many critics predicted the end of the franchise. It would be too inconceivable, they said, to consider anyone else in the role. Over a half-century later, however ,the series is thriving. Bond is cool again even for kids and there is no signs of the character or the films running out of steam. Doubtless, the producers don't look forward to the stress involved in finding a new actor but they have succeeded many times before. George Lazenby played the part very well in his one turn before quitting the series in 1969. Connery came back in 1971 for one film before Roger Moore took the helm for a successful string of films that lasted from 1973 to 1985. Timothy Dalton played the part twice and Pierce Brosnan proved to be the Bond of the new era with four major successes between 1995-2002. Craig began the role in 2006 with "Casino Royale" and has been the Bond of record since. (Before the purists complain, we'll acknowledge that Connery returned again to the role in 1983 with "Never Say Never Again" but the production was not part of the official franchise.) The recent respectability the Bond films have enjoyed from the critical establishment has also upped the ante in terms of who directs the next film. Gone are the days when Bond directors would be dismissed as being workmanlike in their skill. In fact, a new generation of critics is far more complimentary toward some of the previous directors than critics had been at the time of the movies' original releases. The franchise is now attracting "name" directors who might have once avoided being pigeon-holed as a 007 director. One thing seems certain: any major decisions about the next Bond films seem to be quite a ways off. Even if Craig can be lured back to the role, he is committed to some high profile projects in the coming months. For more click here.
Character actor Burt Kwouk has passed away at the age of 85. Although primarily known for his work in comedy in film and television, Kwouk was equally adept at playing dramatic roles. In fact in the year 2011, he was awarded an OBE in honor of his accomplishments in drama. However, Kwouk will always be immortalized as Cato, the long-suffering but fanatically devoted man servant to Peter Sellers' bumbling Inspector Clouseau in the Pink Panther series. A common theme throughout the series was having Cato follow Clouseau's orders to keep him on guard by ambushing him at the most inopportune moments. Their raucous battles were the stuff of inspired lunacy. He and Sellers first appeared together in 1964 and he would continue to play the same character in new installments of the series after Sellers death up until 1992. Kwouk was also a popular presence in British television and reinforced his cult status by appearing in two James Bond films in supporting roles, "Goldfinger" (1964) and "You Only Live Twice" (1967). He also made an appearance in the 1967 spoof version of "Casino Royale". Kwouk, a gentle and good-humored man in real life, relished the fact that his appearances in the Pink Panther and Bond films had made him popular even with younger generations. He frequently attended Bond-related fan conventions at Pinewood Studios in London where he enjoyed discussing his career and signing autographs. For more click here.
Cinema Retro mourns the loss of Sir Ken Adam, the ingenious, Oscar-winning production designer who has passed away at age 95. Adam's work helped redefine films in terms of the elaborate and creative designs he invented, particularly for the James Bond franchise. Adam's work on the first 007 film, "Dr. No" in 1962 was deemed to be nothing less than remarkable, considering that the entire film was shot on a relatively low budget of just over $1 million. His exotic designs so impressed Stanley Kubrick that he hired Adam as production designer on his 1964 classic "Dr. Strangelove." For that film, Adam created the now legendary "War Room" set which many people believe actually exists at the Pentagon. In fact when Ronald Reagan was inaugurated as President in 1981 he asked to see the War Room, only to be told that it was a fictional creation. Reagan acknowledged that he had been intrigued by the concept since seeing it in "Dr. Strangelove". Adam had a somewhat tumultuous relationship with Kubrick, whose habit of changing his mind at the last minute caused Adam enormous grief. However, the two collaborated again on "Barry Lyndon" and Adam won his first Oscar for his work on that film. Adam's close relationship with the Bond franchise is based on his now famous designs seen in the early films. They include the massive Fort Knox set for "Goldfinger", which was created entirely on the back lot at Pinewood Studios on the outskirts of London. Perhaps his greatest achievement was the gigantic volcano set that housed a full size rocket capable of lifting off. This was done for the 1967 Bond film "You Only Live Twice". Incredibly, Adam's work was not recognized with an Oscar nomination despite what many feel is one of the greatest production design achievements in film history. His other Bond films were "Thunderball", "Diamonds Are Forever", "The Spy Who Loved Me" and "Moonraker". For "The Spy Who Loved Me", Adam built the first incarnation of the massive "007 Stage" at Pinewood Studios. It burned down in 1984 and was rebuilt by his protege, production designer Peter Lamont.
Adam's other film achievements include two of the Michael Caine Harry Palmer spy films, "The Ipcress File" and "Funeral in Berlin", "Sleuth", "Chitty Chitty Bang Bang" (for which he designed the famed "flying car"), "The Madness of King George" (for which he won a second Oscar), "The Last of Sheila", "Woman of Straw" and "Addams Family Values". He was also a prolific race car driver and had the distinction of serving in RAF in action against Hitler's forces, despite being a German national himself.
On a personal basis, Sir Ken was a good friend of Cinema Retro and had contributed to our magazine in its early stages through interviews conducted by his friend, Sir Christopher Frayling, who co-authored books about Sir Ken's remarkable life and career.He also contributed valuable interviews for documentaries we worked on about the Bond film franchise as well as "Dr. Strangelove". In his later years, Adam appeared at events pertaining to the Bond franchise that were held at Pinewood Studios by www.bondstars.com With his laid back mannerisms, wry sense of humor and omnipresent cigar, he always delighted fans with his remarkable stories. This writer sat next to him a few years ago to watch the digital screening of "Goldfinger" at Pinewood. Ken told me that he was incredulous at how wonderful it all looked. When the scene came to the interior of Fort Knox, he said to me, "I never thought I'd live to see my work presented so gloriously". It's safe to say we won't see his kind again.
(For full interview with Sir Ken Adam, see Cinema Retro issue #2)
Eon Productions has confirmed that Daniel Craig has undergone knee surgery for an injury he suffered during a fight sequence on the latest James Bond production, "SPECTRE". Eon said the surgery was "minor" and is not anticipated to affect filming. Craig is anticipated to resume shooting the movie on April 22 at Pinewood Studios, the series' traditional "home" outside of London. The film is shaping up to be the most expensive and ambitious entry in the long-running series. For more click here.
Today is "Red Nose Day" in England, wherein celebrities, sports stars and the public raise money for charity. The BBC have a show called "Comic Relief" on TV tonight, which comes live from The London Palladium from 7 PM through 2 AM. Filled with comedy sketches, music acts, etc, one of the highlights will be a special James Bond segment filmed at Pinewood starring Daniel Craig - and Sir Roger Moore!
Cinema Retro's own Gareth Owen is interviewed on Bloomberg TV regarding the reasons that Pinewood Studios has remained James Bond's 'home" for more than 50 years. The Broccoli family have always felt most comfortable at Pinewood and they maintain permanent offices there. However, there is an economic incentive to film there, as well. After decades of losing major film productions due to punitive tax measures, the UK is now attracting blockbuster franchises such as Star Wars, Batman and The Avengers due to lucrative incentives that allow producers to reclaim as much as 25% of their British expenditures. The new Bond film SPECTRE is filming at Pinewood and other locations around the world.
(Read Gareth Owen's "Pinewood Past" column in every issue of Cinema Retro!)
Here is the brilliant new teaser campaign for the James Bond film "SPECTRE". What makes it brilliant? Any Bond fan would know...the bullet hole references the final, haunting frame of the 1969 Bond classic "On Her Majesty's Secret Service" starring George Lazenby. In those final moments, Bond's beloved new bride Tracy (Diana Rigg) was murdered by SPECTRE arch villain Ernst Stavro Blofeld and his henchwoman Irma Bunt. The fact that the franchise is reaching back into its early days in terms of this reference bodes well for the new film. Of course, it could be coincidental that the logo mirrors the final image from "OHMSS", but- given the title- it seems intentional. We shall see... Regardless, we love the fact that the SPECTRE octopus symbol is woven into the logo...
WATCH REPLAY OF THE BOND PRESS ANNOUNCEMENT AT PINEWOOD STUDIOS
LONDON,
UK, December 4, 2014 – 007 Soundstage, Pinewood Studios, London. James Bond
Producers, Michael G. Wilson and Barbara Broccoli today released the title of
the 24th James Bond adventure, SPECTRE. The film, from Albert R. Broccoli’s EON
Productions, Metro-Goldwyn-Mayer Studios, and Sony Pictures Entertainment, is
directed by Sam Mendes and stars Daniel Craig, who returns for his fourth film
as Ian Fleming’s James Bond 007. SPECTRE begins principal photography on
Monday, December 8, and is set for global release on November 6, 2015.
A
cryptic message from Bond’s past sends him on a trail to uncover a sinister
organisation. While M battles political forces to keep the secret service
alive, Bond peels back the layers of deceit to reveal the terrible truth behind
SPECTRE.
The
007 production will be based at Pinewood Studios, and on location in London,
Mexico City, Rome and Tangier and Erfoud, in Morocco. Bond will return to the
snow once again, this time in Sölden, along with other Austrian locations,
Obertilliach, and Lake Altaussee.
Commenting
on the announcement, Wilson and Broccoli said, “We’re excited to announce
Daniel’s fourth installment in the series and thrilled that Sam has taken on
the challenge of following on the success of SKYFALL with SPECTRE.â€.
Written
by John Logan and Neal Purvis & Robert Wade, Director of Photography is
Hoyte van Hoytema and Editor is Lee Smith. Production Designer, Dennis Gassner
returns along with Costume Designer, Jany Temime and Composer, Thomas Newman.
Action Specialist, Alexander Witt is the 2nd Unit Director. Stunt Coordinator
is Gary Powell, SFX Supervisor is Chris Corbould, and Visual Effects Supervisor
is Steve Begg.
Skyfall,
the 23rd James Bond film, was a worldwide box office phenomenon, opening #1 in
70 territories around the world, taking over $1.1 billion worldwide and setting
a new all-time box office record in the UK by becoming the first film to take over
£100 million.
The
launch of SPECTRE was streamed live on007.comandFacebook.com/JamesBond007,
and the video is now available on demand at both sites.
Minutes ago, director Sam Mendes announced that the new James Bond film title will be "SPECTRE". The announcement was made at the legendary "home" of the 007 franchise, Pinewood Studios on the Albert R. Broccoli 007 Stage. Christoph Waltz was confirmed as the new villain. His character's name was not given, but the title "SPECTRE" gives credence to rumors that he will be playing the arch villain Ernst Stavro Blofeld, who has not officially appeared in an Eon Bond film since Charles Gray played him opposite Sean Connery in the 1971 film "Diamonds Are Forever".
Returning cast members include Ralph Finnes, Naomi Harris, Ben Wishaw and Rory Kinnear. The writing team from "Skyfall"- John Logan, Neal Purvis and Rob Wade- is also returning.
Bond's new car was also unveiled: the new Aston Martin DB10.
The film is scheduled for release in October 2015.
Cinema Retro has received the following press release from Sony Pictures (UK):
(Pinewood Studios, UK) - On Thursday 4th December at 11:00am GMT (3:00am PST; 6:00am EST) Albert R. Broccoli's EON Productions, Metro-Goldwyn-Mayer Studios and Sony Pictures Entertainment will present a live announcement and photo call from the 007 Stage at Pinewood Studios. The title and cast of the 24th Bond film will be revealed, marking the start of principal photography on Monday 8th December. A global audience will be able to watch the announcement live via a web stream atwww.007.com
The legendary Albert R. Broccoli 007 Stage is located on Broccoli Road at Pinewood Studios.
(Photo copyright Cinema Retro. All rights reserved.)
MEDIA INFORMATION
·The announcement of the title and cast for the 24th Bond film will be streamed live on www.007.com and distributed live via satellite
·The announcement will also be live-tweeted via the official James Bond handle @007
Jane
Birkin, Anita Pallenberg, a character named “Penny Lane,†sitar music by George
Harrison, Mod set design, Carnaby Street fashions, trippy psychedelic colors --
if you need a late-‘60s cultural fix and you’re short a time machine, Joe
Massot’s “Wonderwall†(1968) may be your next best remedy.
Middle-aged
scientist Oscar Collins (Jack MacGowran) lives a drab existence. At work, he peers through a microscope at
wriggling microbes. At home in his
solitary apartment, he reads Scientific American amid piles of bundled back
issues. One evening, he accidentally
knocks a hole in the wall that allows him to peer into the adjoining apartment,
occupied by a pretty aspiring model named Penny Lane (Birkin). Oscar’s flat looks like a disheveled Hobbit
hole. Penny’s is a swirl of vivid Pop
Art colors. Becoming infatuated and then
obsessed, Oscar devises additional ways to spy on his neighbor. When Penny holds a party, Oscar dresses up in
a tuxedo but remains in his apartment, watching through the peep hole. He imagines a series of chaste romantic
encounters with Penny, and a series of comic duels with Penny’s boyfriend (Iain
Quarrier) involving increasingly absurd phallic objects.
Very much reminiscent of other Mod-era films like “Blow-Up,â€
“2001,†“If . . .,†and “Candy,†“Wonderwall†is given a welcome rescue from
obscurity by Fabulous Films and Shout Factory. The Blu-ray Collector’s Edition includes the original theatrical version
restored in hi-def by Pinewood Studios, a director’s cut assembled by Massot in
the late 1990s, and numerous extras. A
glossy, colorful souvenir booklet highlights Massot’s reflections about the
making of the film, written in 2000, two years before his death, with fond and
sometimes poignant memories of hanging with the Beatles, Polanski, Sharon Tate,
Eric Clapton, and others in the Swinging ‘60s. The Fabulous Films/Shout Factory Collector’s Edition Blu-ray can be ordered from Amazon by CLICKING HERE.
(This review pertains to the UK Region 2 DVD release.)
Scandinavian
scientist Nils Ahlen (John McCallum) has developed a process via which sound impulses
can be converted into electrical energy. When his wife Helga (Mary Laura Wood)
and assistant Sven (Anthony Dawson) abscond with vital components of the
revolutionary device, Ahlen teams up with Police Inspector Peterson (Jack
Warner) to chase them down. The pursuit takes them into the icy, blizzard-wreathed
wilderness where they seek the assistance of Lapp reindeer herders to help them
survive the perilous terrain.
Written
and directed by thrice Bond-helmer Terence Young more than a decade before he
first brought the celebrated spy to the screen, 1951’s Valley of Eagles was shot over a couple of months in testing
Norwegian weather conditions. The film has taken a fair bit of stick in the
past, the main target of viewer negativity being that what kicks off as a
promising B-grade crime thriller quickly devolves into a life-evaluating
melodrama. A bit disappointing, perhaps, but that doesn’t make it a bad movie,
so – always one to buck the trend – I’m pleased to have the chance to redress
the balance here. There’s no disputing that 60-something years after the fact,
the plotting of Valley of Eagles
could be classed a little mundane; cinema has come a long way in the years
since the picture first saw the light of a projector bulb (though not always
for the better), and mundane is an accusation that could be levelled at a hefty
percentage of the cinematic output of that period. Yet that doesn’t translate
as making it a pointless investment of one’s time.
Young’s
narrative is never less than engaging, peppered as it is with outbursts of brutality
(wolves are vigorously slain with ski poles) and exotic sex appeal (courtesy of
Nadia Gray, hair appealingly braided, as tough Lapp maiden Lara). There’s also
a terrific set piece in which a pack of wolves assail a team of herders astride
reindeer, the wolves themselves then set upon by the titular birds of prey. The
cast does a serviceable job with the material at hand, particularly an
underused Dawson, the consummate shifty-eyed baddie (see also Dial M for Murder, Dr No and Midnight Lace for
similarly sinister turns). Future Dixon
of Dock Green Jack Warner, here bearing a remarkable resemblance to Bernard
Lee, makes for a staunch lead and if McCallum comes across as a little starchy
that’s because the character he’s portraying is. It’s also nice to see an
early, albeit minor appearance by Christopher Lee wearing an amusingly wide-brimmed
hat. The film certainly benefits from its exhaustive, picturesque location
shoot, with some splendid Harry Waxman cinematography on offer (Pinewood-lensed
back projection shows up only occasionally) and suitably dense, if not
especially memorable Nino Rota compositions serve to underscore the gravity of
the onscreen drama.
Valley of Eagles is
available on DVD from Fabulous Films/Freemantle Media. The print utilised has
certainly seen better days, with a surfeit of light scratches and various
accumulations of detritus in evidence throughout. But one should overlook such
deficiencies and be grateful for this DVD premiere of what I’d have no
hesitation in labelling a “golden oldieâ€. The disc supplements are slight, though
still worth perusing, and comprise galleries of hand-coloured lobby cards,
press stills and poster art, along with interesting textual material that one
presumes has been lifted from the original release pressbook.
Although Eon Productions has yet to confirm it, Variety reports that the new James Bond film starring Daniel Craig will begin filming on December 6 at the traditional "home" of the franchise, Pinewood Studios outside of London. The script was rewritten by Neal Purvis and Rob Wade, working from an initial story by John Logan. "Skyfall" director Sam Mendes will be at the helm again and cast members introduced in that film are expected to return for this entry in the series. "Skyfall", which was released in 2012- the 50th anniversary of the screen series- became the highest grossing film of the series and the highest grossing British movie ever released. For more click here.
The day kicked off with a screening of The Living Daylights
in Pinewood’s theatre, which has recently been re-named The John Barry Theatre.
Director John Glen and members of cast and crew were on hand to introduce the
film.
Following the screening, guests signed autographs and
chatted with fans. Cinematographer Alec Mills launched and signed copies of
his new autobiography ‘Shooting 007 and other Celluloid Adventures.’
Maryam d'Abo
Also returning to Pinewood for the first time in 27
years was the soft-top Aston Martin as
driven by Bond in the early scenes of the movie. Displayed on the lawn in front
of the manor house, the Aston became the centre of a fun re-union photograph
with John Glen at the wheel. Cinema Retro’s Dave Worrall led visitors on his
“traditional†tour of the studios, before the special guests took to the stage
for a series of lighthearted interviews, in which they regaled the audience
with their memories of making the film.
Another enjoyable and memorable event. BondStars promise
to return with another great lineup next year.
Son Terry (left) watches his Father Dickie, dance with lead vocalist Kerry Schultz and guitarist David D'Andrade (far right) during the band's performance of The Man With the Golden Gun.
By Dave Worrall
Last weekend (Saturday 22nd March) I had
the pleasure of being invited to Jean and Dickie Bamber's Diamond Wedding
anniversary celebrations held at Heatherden Hall, Pinewood Studios. Dickie has
worked in the film industry for over 50 years on productions such as Genevieve, The Ipcress File, Thunderball,
Battle of Britain, A Bridge Too Far and many of the Carry On comedies, to name but a few. Their
son Terry, himself a veteran of the industry, and who I first met on the set of
the James Bond film GoldenEye, did
his parent's proud. Following a champagne reception we dined in the Pinewood
house restaurant (remember the scene in Who
Dares Wins where the hostages are held around a dining table in the US
Ambassador's residence? Well, we were in the same room.)
The evening's cabaret
was provided by the 14-piece band 'Q the Music' who specialize in performing
music from the James Bond films. From Dr.
No to Skyfall, this
mini-orchestra performed some of the best cover versions I have ever heard.
They were brilliant. Bond fans themselves, their renditions of even the
instrumentals such as 'Bond 77' from The
Spy Who Loved Me and 'Runaway' from For
Your Eyes Only, were spot on. Kit Mlynar on saxaphone, and David D'Andrade
on guitar, were excellent, as was lead vocalist Kerry Schultz. Wow, what a
voice. This was professionalism at its best.
Lead vocalist Kerry Schultz belts out a Bond hit song.
If you are a James Bond fan, or
simply like to hear movie music live, I highly recommend this band. In fact,
they are at The Lincoln Drill Hall on April 18/19, and in Wycombe on May 11th.
Check out their web site for further details and treat yourself to a fabulous
night out. www.QTheMusicShow.com
Twilight Time has released the 1966 epic Khartoum as a Blu-ray special edition. Officially the film was a Cinerama production but the process used was 70mm, not the original Cinerama three-strip format. The film, impressively directed by Basil Dearden, was met with respectable, if unenthusiastic, reviews upon its initial release. The boxoffice take was also anemic especially in the all-important American market where the film's historical basis was largely unknown to U.S. audiences. However, Khartoum has always had enthusiastic defenders and their ranks seem to be growing as the years pass, especially in an age when such "thinking man's epics" are few and far between. The film boasts two magnificent performances by two larger-than-life stars. Charlton Heston stars as General "Chinese" Gordon, so named because of his record of military victories in China. Laurence Olivier is The Mahdi, the self-described religious prophet who is on a fanatical course to convert everyone in the Arab world to either convert to Islam or die a violent death. The film opens with an excellent prologue that gives a snap shot of the political situation in the 1880s and how this affected the British empire. Britain was allied with Egypt at the time and considered itself to be that nation's military protector. The Mahdi took advantage of the politically fluid situation in the Sudan to gain a major foothold in taking over the government by commanding a growing army of fanatical followers. The Mahdi hated the Egyptians because he felt they were too secular and their ties to the West had sold out their religious obligations to Islam. The Egyptians feared that the Mahdi's growing power would leave them unable to defeat him in an all-out war should he ultimately seize control of the Sudan. The British sent an officer corps to lead Egyptian troops in a preemptive strike against the Mahdi. However, the religious leader outwitted them by drawing the invaders into the oppressive desert and then slaughtering the exhausted soldiers. The Mahdi was now making his move to take control of the crown jewel of the Sudan, the city of Khartoum which is situated on the banks of the Nile.
The film presents the British Prime Minister, William Gladstone (Ralph Richardson) as going against the tide of England's obsession with colonialism. He doesn't want anything to do with sending a major force into the Middle East to combat an army of religious zealots- yet he feels a sense of obligation to make at least a token effort to evacuate a significant number of Egyptian citizens from Khartoum before the Mahdi lays siege to the city. He reluctantly sends General Gordon on a mission that is very much doomed from its inception. Gordon was highly respected in the Sudan, having ended the slave trade there. He is stubborn, arrogant and generally ignores orders. However, he is regarded as a virtual saint by the Sudanese. Gladstone calculates that by sending Gordon of a fool's errand, he will take the blame if his mission fails. Gordon sees through the ploy but his ego gets the better of him and he accepts the challenge. He is accompanied by Col. Stewart (Richard Johnson), who acts as his right hand man even though he admits to being a personal spy for Gladstone. The abrasive relationship between Gordon and Stewart eventually turns to mutual respect and the two men work together on thwarting the Mahdi's plans. Upon arrival in Khartoum, Gordon abandons his primary mission which is to evacuate Egyptian nationals down the Nile via riverboat. Instead, he makes a daring visit to the Mahdi's camp and attempts to get the "prophet" to show mercy on the citizens of the city. When the Mahdi makes clear he intends to slaughter every man, woman and child who does not swear loyalty to him, Gordon informs his adversary that he will mount a defense of the city. Gordon sends Stewart on the long voyage back to England to blackmail Gladstone into sending a British military expeditionary force. Gladstone is outraged but agrees to do so because the British public is impressed with Gordon's courage and the gallantry of his mission. Meanwhile, in Khartoum, Gordon sets about fortifying the city- and praying that the British troops arrive before the Mahdi can advance upon the city, the garrison of which is greatly outnumbered.
Khartoum is a lavish epic that boasts fine performances across the board. The action sequences are thrilling and spectacularly filmed and the entire production impresses on every level. The Twilight Time Blu-ray does point out the film's flaws, however. In the commentary track by film historians Lem Dobbs, Nick Redman and Julie Kirgo (the latter two are among the founders of the video label), they rather pointedly call out various aspects of the movie for falling short. In the aggregate, they believe Khartoum is a Wal-mart version of a David Lean epic. They observe (correctly) that there are some really bad rear screen projection shots and that most of the production was filmed at England's Pinewood Studios, with on-location Middle East filming spread out to look more extensive than it actually was. There is also criticism of the historical aspects of the film. Apparently Gordon was as much a fanatic for Christianity as the Mahdi was for Islam- indeed, he sounds as though he was a complete crackpot. None of that is alluded to in the script, which obviously intended to present Gordon as a more traditional hero. Amusingly, every now and then the trio of film historians remind the viewer (and each other) that they really do like Khartoum, but then they quickly get back to tearing it down. Other justifiable criticisms they have is that the film presents some impressive British character actors in the London sequences but fails to utilize them in any meaningful way. They just stand around like props. It is also observed that the two meetings between Gordon and the Mahdi that are depicted in the movie never took place in real life. Call it commerce over historical accuracy, as the studio wasn't about to disappoint viewers from enjoying the smartly-written byplay between the two leads. Redman, Dobbs and Kirgo also appropriately give credit to famed stunt director Yakima Canutt for bringing the film's stirring battle sequences to fruition- and they heap lukewarm praise on composer Frank Cordell for what this reviewer thinks is actually a magnificent score. In totality, much of the joy of this Twilight Time release comes through the informative audio commentary, even if you may disagree with our "hosts". The transfer is magnificent and the release boasts the usual excellent collector's booklet with liner notes by Julie Kirgo. An original trailer is included as is a cool compilation trailer promoting the 90th anniversary of MGM.
The region free release is limited to 3,000 units.
Eagle-eyed subscriber Frank Coronado sent us a YouTube link to some fascinating B&W footage shot on the Pinewood Studios set of Thunderball in 1965. You'll see Terence Young directing actors Sean Connery, Claudine Auger, Adolfo Celi and Philip Locke in the casino sequence. The footage originated with a Dutch television program.
Once again, Cinema Retro is proud to bring you behind the scenes on a world-class retro movie event.
By Matthew Field
It seemed only appropriate that Octopussy, the only James Bond film with a tenuous link to
Wimbledon, should be the theme of BondStars’ summer barbeque on the very day
Andy Murray became champion. (Octopussy
actor and former tennis player Vijay Amritraj was semi-finalist in the men’s
doubles in 1976!)
On a sweltering summer’s day, OCTOPUSSY AT 30, re-united cast and crew from the 13th
James Bond movie at Pinewood Studios where the movie was made back in 1982/83.
The day kicked off with a screening of the Blu-ray
master (kindly lent by Eon Productions) in Theatre 7. Director John Glen, assistant
director Anthony Waye and stars Maud Adams and Kristina Wayborn, were on hand
to introduce the film to fans at the sold out event. Glen told the audience that
Octopussy was his favourite pre-title
sequence along with The Spy Who Loved Me.
He also remarked with a smile how gorgeous his actresses were still look today
– and they certainly were!
A lineup of Bond royalty: Peter Lamont, Kristina Wayborn, John Glen, Maud Adams and Alan Tomkins. (Photo: copyright Matthew Field, All Rights Reserved.)
Later in the day guests were also joined by twins David
& Tony Meyer, Carole Ashby, Jeremy Bulloch, production designer Peter
Lamont and stunt arranger Paul Weston. Cinema Retro’s Dave Worrall, our very
own veteran tour guide, led guests around the studio, pointing out of
particular note, the entrance to the manor house which doubled for the British embassy
where 009 turns up dead with the Faberge egg in Berlin.
Well, Louis Jourdan couldn't make the event, but we've got the next best thing: Cinema Retro's Matthew Field, the thorn between two roses: Kristina Wayborn and Maud Adams.
Cinema Retro's Dave Worrall is still pondering why his relationship with this lovely lass never quite worked out! (Photo: copyright Matthew Field, All Rights Reserved.)
On stage the Meyer twins recalled the filmmakers first
approached them after John Glen had seen twins in France performing a knife-throwing
act. But the French duo had turned the film down on the grounds that jumping
off of trains wasn’t really their sort of thing! Maud Adams said how proud she
is to be associated with the Bond franchise while Kristina Wayborn recalled her
first day at the studios in 1982 where she met not James Bond in the Pinewood restaurant
– but Superman actor Christopher Reeve. Ipads and smart phones were running the
Murray match throughout the day and there was a huge cheer as the young Scot
secured the trophy while Kristina and Maud were being interviewed on stage.
Stuntman extraordinaire Paul Weston (center) can't resist monitoring the action at Wimbledon. Paul performed some of the most harrowing stunts in the film. (Photo: copyright Matthew Field, All Rights Reserved.)
A lineup of 007 greats: Alan Tomkins, John Glen and Peter Lamont. (Photo: copyright Matthew Field, All Rights Reserved.)
The Octopussy
theme ran throughout the day. Circus acts entertaining guests in the Pinewood
gardens during lunch while specially designed cupcakes were served with
afternoon tea. An Octopussy special
was put together by Mi6 Confidential Magazine to accompany the event featuring
many interviews and behind the scenes photographs from the personal archives of
those who worked on the film. Sir Roger Moore wrote a wonderful introduction to
the day also.
Yet another great day for 007 fans and a new “All Time
High†for BondStars!
Primarily remembered as a footnote in James Bond trivia (more about that later), the 1963 comedy Call Me Bwana has been released by MGM's burn-to-order program. The film stars Bob Hope as Matthew Merriwether, a con man who has built a reputation as a courageous African explorer despite the fact that he has never visited the continent. When an American space capsule accidentally lands in the African jungle, the government is frantic to recover it before a team of Soviet spies does. U.S. agents coerce Merriwether into making a heroic trek into the area where the capsule has landed to see if he can locate it and return it safely to the government. In an amusing scene, Merriwether delays leading his safari into the heart of darkness long enough to pick up some tourist-themed maps of the country, as he has no idea where he is going. Complicating matters is the fact that he is accompanied by a sexy U.S. secret agent, Frederica (Edie Adams) and a faux father daughter team, Ezra and Luba (Lionel Jeffries and Anita Ekberg), who are, in fact, Soviet agents.Predictable but amusing sexual situations occur every couple of minutes with Merriwether's near seduction of both women interrupted by extraordinary events.
Along the way, Merriwether encounters every comical cliche the jungle can provide, from close encounters with dangerous animals to barbaric tribesmen who speak perfect English. The film's primary pleasures are simplistic but plentiful, topped by Hope's inimitable machine gun-like delivery of quips. There is also an infectious score by Monty Norman and some delightfully cheesy studio shots blended in with the limited second unit footage of Africa. (It appears that the closest the cast and crew ever got to the Dark Continent is the suburbs of London, as most of the film was shot at Pinewood Studios.) Somehow it took four credited screenwriters to bring this trifle to the screen, but it is a pleasant time-killer with an inspired cast.
As for the James Bond connection, Call Me Bwana is memorably featured on the side of a billboard advertisement that features in From Russia With Love. A SPECTRE assassin is shot and killed as he climbs through a window located in Anita Ekberg's "mouth". The film also represents the only non-Bond movie jointly produced by Albert R. Broccoli and Harry Saltzman. The 007 producers enlisted a stock company of talent from the Bond series including special effects man John Stears, editor Peter Hunt, screenwriter Johanna Harwood, cinematographer Ted Moore, associate producer Stanley Sopel and production designer Syd Cain, among others. Fortunately, the entire team was capable of far greater achievements or we wouldn't be discussing them today in relation to this sitcom-like production. Call Me Bwana generates some frequent laughs, but remains primarily a curious footnote in the history of Eon Productions.
Richard Klemensen’s Little
Shoppe of Horrors is a stellar magazine.If you like Gary Svehla’s Midnight
Marquee and similar publications that are well-written and polished, you’ll
love the beautiful Little Shoppe of
Horrors.In 2012 it entered its 40th
anniversary with the most current issue, number 29.Cinema Retro is a mere youngster by
comparison!Subtitled “The Journal of
Classic British Horror Films,†Little
Shoppe of Horrors is chock full of exclusive images of the glory days of
the Hammer horror films.It is obvious
that Mr. Klemensen has a true love for these films.In this issue you’ll find a wonderful look
back at the life and work of Vincent Price.The front and rear covers of the latest issue feature beautiful images
by Jeff Preston and Mark Maddox, respectively, of Vincent Price, and the inside
covers feature artwork by Dean Ormston and Paul Watts.
Issue #29 includes:
·An exclusive interview with film and television
director Frank Darabont and film director Tim Burton, whose love of Vincent
Price can been seen through much of his work over the past thirty years, going
back to the very beginnings of his career with his short film, Vincent, which is about a young boy who
wants to be Vincent Price and can be seen here (it’s even narrated by Vincent Price!).Both directors talk specifically about The Abominable Dr. Phibes.
·Justin Humphreys gives readers an
in-depth look at the making of The
Abominable Dr. Phibes in a nearly 30-page article (take that, Cinefantastique!) about the making
of the film.He also profiles the late Dr. Phibes set designer Brian Eatwell.
·David Taylor writes about the late model-turned-actress
Virginia North who played Vulnavia in the film.
·Author Denis Meikle provides an inside
look on the set of The Abominable Dr.
Phibes when he interviewed Vincent Price.
·Sam Irwin and David Taylor create a chronological
history of the treatments and script ideas related to what was to become a Dr. Phibes franchise, in addition to a
look at how Dr. Phibes has lived on in novels and comic books.
And much, much more in its 108 pages.
Little Shoppe of Horrors
has a beautifully designed and easily navigable website
that permits readers to see what’s coming up in the next issue, in addition to
ordering copies of back issues.
All in all, this is a beautiful-designed and printed
publication, published first and foremost by the only people who should be
publishing it – die-hard fans with a true love for the subject matter.A must for horror fans!
As an aside, there is also a wonderful audio interview that
was recently conducted with Mr. Klemensen, and you can click here
to listen to it.He explains how he was
such a fan of these movies and how they differed from other horror films from
the time in that they were in color and featured classically-trained actors
such as Christopher Lee and Peter Cushing who both starred in innumerable roles
for Hammer.He also talks about how he
contacted people in the British film industry who were more than willing to
talk to him about their work, and how he managed to visit Pinewood Studios in
England.
Major
celebration of The Poseidon Adventure's 40th anniversary with
articles by David Savage, Tom Lisanti, James Radford and Chris Poggiali.
Includes many rare photos, international movie posters and interviews with
Carol Lynley and Mort Kunstler, the legendary artist who created the movie
poster. Kunstler also provides his original sketches for the ad campaign,
reproduced in this issue for the first time.
40th anniversary
tribute to Deliverance. John Exshaw visits director John Boorman
at his home in Ireland for exclusive interview about working with author
James Dickey on the landmark film.
Gary Giblin
takes an in-depth look at another classic film celebrating its 40th
anniversary: Alfred Hitchcock's Frenzy, complete with rare
stills from sequences that the Master cut from the final version of the
movie.
Matthew R.
Bradley looks at one of the screen's legendary baddies, James Bond
nemesis Blofeld in both literature and cinema. The title of the
article: The Importance of Being Ernst.
Remembering Ernest
Borgnine: a tribute to the legendary Oscar winner.
Raymond Benson's
ten best films of 1983.
Lee Pfeiffer
pays tongue-in-cheek tribute to the 1976 B movie cult
"classic" Grizzly starring Christopher George, Richard
Jaeckel and Andrew Prine.
Gareth Owen
revisits the early days of director Michael Winner's career at
Pinewood Studios.
Mark Mawston's
new column Desert Island Flicks covers underrated gems like John
Frankenheimer's Seconds, Frank Perry's The Swimmer and
Don Siegel's Coogan's Bluff.
Adrian Smith
titillates readers with part two of his extensive look at the history of
British sexploitation films in More Sex, Please. We're British.
Dean Brierly's
Crime Wave International covers British classic crime movies of the 60s
and 70s including Get Carter, Payroll, The Long Good Friday, Robbery,
Villain and Sitting Target.
Plus the usual reviews of the latest film books, DVDs and soundtracks. Limited supply. Price: $30 (includes postage worldwide).
The old adage goes that you can't judge a book by its cover. In the parlance of my old Jersey City neighborhood, "Well, here goes your proof." The Bond on Set books by photographer Greg Williams are becoming a most welcome tradition. This impressive hardback is the best in the line, offering superb insights into the filming of the 007 blockbuster Skyfall. Williams captures not only the incredible hard work and diverse team of talented people concentrating on bringing this big budget film to the screen, but he also lets us see those behind the scenes moments of levity that show there is much joy in movie-making- in particular on an Eon production where so many cast and crew members consider each other part of an extended family. There are wonderful shots of producer Michael Wilson hugging Dame Judi Dench, the team members meeting for a pre-production conference in a very unglamorous bare room at Pinewood Studios, Daniel Craig and Javier Bardem living everyone's dream of sliding down the escalator barrier in the London underground and director Sam Mendes valiantly bringing all the disparate elements of a Bond production together as a coherent whole.
The book covers the entire process of making of the film in stunning color photographs. The only downside is the drab cover which doesn't do justice in the slightest to the dynamic content of this book. The main photo is a dismal B&W shot of Bond holding a shotgun, making one think a more appropriate title might be "Hunting Tips from Daniel Craig". Considering this is the most stylish and fashion conscious of Craig's three 007 movies, you have to wonder what the thought process was behind burying these aspects in marketing the book. Aside from, that this is a "must-have" for anyone who has ever admired the long-ignored contributions of still photographers on film sets. Williams does a magnificent job of showing us the magic behind Skyfall. The book does contain many spoilers, such as the secret behind Albert Finney's character, but chances are that if you are tempted to buy this book, you've probably seen the film numerous times.
On tonight's broadcast of 60 Minutes, Anderson Cooper takes us behind the scenes in the world of James Bond and interviews Daniel Craig, Barbara Broccoli and Michael G. Wilson about the legacy of the series. Cooper also visits Pinewood Studios and sees one of the original Aston Martin DB5 cars from Goldfinger. He also visits an old friend of Cinema Retro, Eon archivist Meg Simmonds, who takes Cooper inside a top secret warehouse filled with original Bond props including Oddjob's hat and the deadly attache case. Click here for link to page that allows you to view the segment. Make sure you also view the bonus Becoming Bond segment, as well.
To tie in with the recent Titanic commemorations, the Criterion Collection has issued its special edition DVD of A Night to Remember on Blu-ray. As usual, it's a first-class presentation all the way around. The 1958 British film was a modestly budgeted production by Hollywood standards, but represented a major investment for the Rank Organization, which specialized in films that were less-than-epic in scope. The film was shot at Britain's legendary Pinewood Studios, where the famous water tank facility was put to extensive use. The movie's scope may pale besides James Cameron's 1997 blockbuster, but it has lost none of its emotional impact. It presents the disaster through the experiences of numerous passengers and crew members, each of whom is superbly portrayed by a cast of young actors that includes such stars-in-the-making as Honor Blackman and David McCallum. The star of the film is Kenneth More, the reliable British actor whose popularity in England was sadly never replicated in America. More gives an impressive performance as Charles Herbert Lightoller, the second-in-command on the doomed vessel. The script by Eric Ambler captures all the intrigue and excitement of the best-selling novel by Walter Lord upon which the film is based.
The Criterion special edition contains precious interviews with key participants who have since passed away including Walter Lord, producer William MacQuitty and Roy Ward Baker, who did yeoman work as director.The interviews are contained in a 1993 documentary titled The Making of A Night to Remember. Although crude by today's standards, such documentaries were quite rare at the time and this one has a quaint appeal in that the filmmakers don't go in for the kinds of rapid-fire editing and pretentious special effects that mar so many "making of" featurettes today. The documentary presents McQuitty's home movies of the film's production along with extensive behind the scenes production stills. It's a priceless look into the making of a classic movie. The Blu-ray also contains:
Audio commentary by Titanic scholars and authors Don Lynch and Ken Marschall
Original theatrical trailer
An archival interview with Titanic survivor Eva Hart, who was a small girl at the time of the disaster who initially thought the entire event was a marvelous adventure.
There is also a fine Swedish television documentary from 1962 that features interviews with other Titanic survivors including a mother and her two daughters.
Rounding out the remarkable set is The Iceberg That Sank the Titanic, a stunningly filmed 2006 BBC nature documentary that explores how the deadly berg had been formed and how it ended up colliding with the ocean liner. It also features the one known photograph of the actual iceberg, taken the morning after the disaster.
Criterion has also included an excellent and informative collector's booklet with essays by writer Michael Sragow that is packed with vintage graphics pertaining to the film and the Titanic itself.
This is another Criterion release that should be classified as essential to any classic movie collection.
Don L. Stradley's tribute to
the first lady of kick-ass cinema, Pam
Grier
Steven Bingen presents our
"Film in Focus": the modern film noir classic "Farewell
My Lovely" starring Robert
Mitchum- with exclusive insights from the film's director, Dick Richards.
Howard Hughes looks at the
making of the 1968 Western "Bandolero!"starring Raquel Welch, Dean
Martin and James Stewart.
Keith Wilton celebrates the
glories of the long-gone widescreen process VistaVision.
Cai Ross pays tribute to the
late Ted Post, director
of “Hang 'Em High”, “Magnum Force” and “Beneath the Planet
of the Apes”
Mark Cerulli takes a working
vacation and visits some of the key Portugal locations for "On
Her Majesty's Secret Service" and tracks down extras who
appeared in the film.
Jonathon Dabell looks back on
director Richard Brooks' underrated 1975 Western "Bite
the Bullet" starring Gene Hackman and James Coburn
Howard Hughes' homage to the
Italian "Gamma 1" cult sci-fi flicks
Tim Greaves looks back on the
short but glamorous film career of Hammer horror sex symbol Olinka Berova
Charles Cohen discusses his ambitious efforts to restore
timeless film classics through The Cohen Film Collection
Lee Pfeiffer looks at the
mostly-forgotten and underrated film "Staircase" starring Richard Burton and Rex
Harrison as aging gay lovers
Gareth Owen focuses on the
filming of "The New Avengers" TV
series at Pinewood Studios
Sir
Christopher Frayling
provides a major 10 page article on the making of MGM's Cinerama
blockbuster How the West Was Won, featuring deleted
scenes and a wealth of rarely seen photographs.
Howard Hughes pays tribute to Jack Cardiff's
1968 gut-busting adventure Dark of the Sun(aka The
Mercenaries) starring Rod Taylor
Dave Worrall blows the lid off the 1969 Cinerama epic Krakatoa,
East of Javaand takes us behind the scenes for the
Cinerama family classic The Wonderful World of the Brothers Grimm.
Thomas Hauerslev takes us back to those wonderful
Cinerama travelogues This is Cinerama, Seven Wonders of the Worldand traces the history of the format.
Lee Pfeiffer reviews a plethora of spy movies on DVD
including The Man From U.N.C.L.E. feature films
Adrian Smith interviews actress Anneke Wills,
star of the mod London cult classic The Pleasure Girls and
pays tribute to Jane Asher in Jerzy Skolimowsky's Deep
End
Raymond Benson looks at the best films of 1981
Gareth Owen revisits the filming of The Great Gatsbyat
Pinewood Studios
Plus the latest DVD, soundtrack and film book reviews
The classic original version of The Italian Job was among many films shot at legendary Twickenham Studios.
Movie fans worldwide are mourning the closing of Britain's legendary Twickenham movie studios which has hosted acclaimed film productions that include the original versions of Alfie and The Italian Job, as well as A Hard Day's Night, Blade Runner and the recent War Horse. Tragically, the studio will close just before celebrating its centenary. The administration claims insurmountable debts. The studios are already in bankruptcy protection and will shuttered by June.Twickenham was not able to compete with the state-of-the-art facilities at nearby Pinewood Studios. For more click here
Director Sam Mendes has launched the first of planned blog updates on the filming of the new James Bond film Skyfall. The first 90 second installment is primarily an interview with Mendes, who says he has been a Bond fan since age ten. He also cites the 2006 Casino Royale and Daniel Craig's performance as motivating factors for wanting to try his hand at directing a 007 flick. There is precious little footage from the new movie, but you do get to see Mendes directing at Pinewood Studios and on a London street. For more click here
For Raymond Benson's exclusive interviews with Malcolm McDowell and Jan Harlan about the making of A Clockwork Orange, see Cinema Retro issue #21.
Producer Mike Kaplan has been in the film business for decades. In 1971, he was working as the head of promotions on Stanley Kubrick's 1971 classic A Clockwork Orange. In a recent article, Kaplan shares his memories of the extraordinary process of seeing that film come to life- and Kubrick's meticulous micro-managing of the publicity campaign, which mandated that actual frames from the film be used in place of traditional still photos. He also recalls the first industry screening of the film for Warner Brothers executives at Britain's Pinewood Studios. Click here to read
Cinema Retro enters its eighth great year with issue #22, now shipping worldwide. All subscribers will be receiving their copies shortly.
If you have not renewed your subscription, please do so today! We cannot hold copies in reserve for you, so don't miss out on a single great issue during 2012. Click here to subscribe instantly through our Ebay affiliate store or click here for other methods of subscribing.
Highlights of issue #22 include special features that celebrate the 60th anniversary of Cinerama:
Sir Christopher Frayling provides a major 10 page article on the making of MGM's Cinerama blockbuster How the West Was Won, featuring deleted scenes and a wealth of rarely seen photographs.
Howard Hughes pays tribute to Jack Cardiff's 1968 gut-busting adventure Dark of the Sun(aka The Mercenaries) starring Rod Taylor
Dave Worrall blows the lid off the 1969 Cinerama epic Krakatoa, East of Javaand takes us behind the scenes for the Cinerama family classic The Wonderful World of the Brothers Grimm.
Thomas Hauerslev takes us back to those wonderful Cinerama travelogues This is Cinerama, Seven Wonders of the Worldand traces the history of the format.
Lee Pfeiffer reviews a plethora of spy movies on DVD including The Man From U.N.C.L.E. feature films
Adrian Smith interviews actress Anneke Wills, star of the mod London cult classic The Pleasure Girls and pays tribute to Jane Asher in Jerzy Skolimowsky's Deep End
Raymond Benson looks at the best films of 1981
Gareth Owen revisits the filming of The Great Gatsby at Pinewood Studios
Plus the latest DVD, soundtrack and film book reviews
(Photos copyright Jon Walmsley. All rights reserved.)
For many years I’ve been impressed by the enduring legacy of The Waltons, the hit CBS TV series from
the 1970s that lives on in reruns today. There have been reunion movies and a
remarkably enduring and enthusiastic fan base. Actress Michael Learned, the female lead of the series, was among other
cast members who recently reunited at a 40th anniversary celebration of the
show at the legendary Loew’s Theatre in Jersey City, New Jersey. Learned
describe the key to the show’s success as “love of family’.The surviving principal cast members, as well
as supporting players, really do consider themselves an actual family and keep
in close contact, often participating in each other’s personal lives and
activities.The Loew’s event was not only
a very sentimental reunion of the cast members but it also touched all those
fans in attendance, as well.
Ray Castro, who has known many of the cast members for over decades,
organized the event. He realized that the year 2011 marked the 40th
anniversary of the telecast of The
Homecoming, the classic TV movie that inspired The Waltons. Castro was determined to celebrate the date with a
special event and was delighted that cast members were in agreement. The Loew’s
proved to be the perfect venue for the event. The wonderful old movie palace
had been saved from the wrecking ball years ago and is staffed by a remarkable
and enthusiastic group of volunteers.This ‘diamond in the rough’ frequently shows old movies in original 35mm
format via carbon arc projectors on a 35 foot screen.The Waltons
event included a screening of The
Homecoming and a tribute to its star, the late Patricia Neal, a panel discussion and even a few songs; a
holiday entertainment treat for a reasonable $20.
A lineup of Eon crew, past and present: Peter Lamont, Anthony Waye, Vic Armstrong, Alan Tomkins, Terry Bamber.
By Dave Worrall
Photos by Mark Mawston (Copyright 2011, all rights reserved)
The
highlight of yesterday's Bondstars Christmas party at Pinewood Studios was an
on-stage talk by Alan Church, who worked with Maurice Binder on many of the
James Bond film title sequences. Alan showed the 120+ audience a DVD of behind
the scenes footage of Binder filming the titles for Licence To KIll, detailing how he filmed a scantily-clad model
dancing around and firing a gun. It was fascinating to see Binder directing
every move with attention to detail, using a wind machine, filming with
slow-motion cameras, and even painting out skin blemish's on the model's body!
Jenny Hanley emcees the Mastermind contest event.
Prior
to this, organizer Gareth Owen interviewed past crew members on stage,
including stunt arranger and second unit director Vic Armstrong and producer
Anthony Waye. Guests in attendanceincluded Margaret Nolan, Shane Rimmer, Britt Ekland, John Moreno, Tom
Chadbon, Keith Hampshire, Peter Lamont, Pavel Douglas, Doug Robinson, Tom So
(who auctioned off on stage a Casino
Royale crew jacket he donated for charity), and Beatrice Libert, who played
one of Drax's girls in Moonraker, to
name but a few.
Attendees watching the on-stage activities in the ballroom.
Earlier
in the afternoon Michael Chance performed a portion of his one-man show; 'The
Man With The Golden Pen', and On Her Majesty's Secret Service actress Jenny Hanley hosted the Bondstars
Mastermind Quiz, which was very entertaining, especially when 2nd unit
production manager Terry Bamber took to the stage (unaware it was a set-up by
the organizers), who had to answer ten questions whereby the sometimes embarrassing answers were inevitably about himself! As usual, Terry was a great sport and went with the flow with everyone clapping and
roaring with laughter, which pretty much summed up the mood of the entire day - a load of fun.
A line-up of Eon greats at the National History Museum in 2002, where Syd was promoting his autobiography. (L to R): Ken Adam, Syd Cain, Peter Lamont and Michael G. Wilson. (Photo copyright Dave Worrall. All rights reserved).
By Lee Pfeiffer
Syd Cain, the respected art director and production designer, has died at age 93. Syd's death is a personal loss to many of us at Cinema Retro who considered him a friend. His remarkable career included a long association with the James Bond films. He began on the very first film, Dr. No, in 1962 as art director, working with the legendary production designer Ken Adam. When Adam wasn't available for the second film, From Russia With Love, Syd took over for the art direction and production design duties. Syd was billed as the production designer for the 1969 Bond classic On Her Majesty's Secret Service in 1969, playing a crucial role in the design of the Piz Gloria sets that served as the Alpine HQ of Blofeld. He would return to the fold several years later as Supervising Art Director for Roger Moore's debut as 007 in Live and Let Die (1973). Cain also did other films for Bond producers Albert R. Broccoli and Harry Saltzman including the Eon Productions comedy Call Me Bwana and the Saltzman-produced Harry Palmer thriller Billion Dollar Brain. In the 1950s he also worked for Broccoli and his former partner Irving Allen and their Warwick Films company.
Other major films that Cain served as art director or production designer for include Alfred Hitchcock's Frenzy, A Funny Thing Happened on the Way to the Forum, The Road to Hong Kong, Lolita, Farenheit 451 and Bond director Peter Hunt's Shout at the Devil. Cain also had a long association with producer Euan Lloyd, working with him on The Wild Geese, Who Dares Wins and Wild Geese II. In 1995, Cain renewed his association with the Bond franchise, designing storyboards for the 1995 blockbuster GoldenEye.
Cain remained active in his later years, attending many Bond-themed events. On a personal note, I recall having him appear as a surprise guest at an event I was holding at Pinewood Studios in the late 1990s. Syd was shocked and humbled at the degree of interest attendees had in his work and he kept them spellbound when he unveiled a portfolio of some of his original storyboards. In 2002, Dave Worrall and I had the honor of assisting Syd with writing his autobiography, Not Forgetting James Bond, which we also published. It was fascinating to read his first-hand comments about the making of the 007 series. As with many alumni from Eon-produced films, the company always maintained reverence for his work and legacy and invited Syd to high profile events relating to the world of Bond. We join them in mourning his passing.
Albert Finney, one of the true legends of British cinema, is joining the cast of Bond 23 according to the Daily Mail.
By Lee Pfeiffer
For Bond fans who have been clamoring for a return to substance over the endless action sequences of Quantum Of Solace, producers Barbara Broccoli and Michael G. Wilson have obviously been listening. Not only is Oscar winner Sam Mendes (American Beauty) directing but he's brought the most prestigious cast in memory on board, with Judi Dench, Ralph Fiennes and Javiar Bardem already signed. Now the Daily Mail reports that the cast and crew were at a script reading at Pinewood Studios when Mendes announced that the legendary Albert Finney will also be in the cast. Finney's role will be more than window dressing- he will be playing M's boss. As a fan of the Bond franchise since age 8 in 1964, I've learned when advance news about the next film merits enthusiasm or cringe-inducing fear. The latter was experienced when it was announced way back in '74 that the character of Sheriff Pepper was returning in The Man With The Golden Gun. You instantly knew that the film would be a wreck even before you saw a single sequence. Conversely, the good news regarding Bond 23 just keeps getting better. I think we have the ingredients to rival the excitement that was accorded Casino Royale. Click here for more
I very rarely rave about new films. Some
puzzle me, others annoy me and many are plain incoherent when it comes to
dialogue vs special effects soundtracks. But more than anything, jerky camera
work does nothing to excite nor, in my opinion, does it "add"
anything to a movie.
How refreshing therefore it is for a misery
guts like me to see a film that bowls me over and one which flies in the face
of expected convention.
I first saw THE ARTIST in Cannes back in
May - at I think its fourth screening, as the other three were totally
over-subscribed. It is a black and white, silent movie shot in a 4:3 ratio.
Yes, that's correct: not widescreen, not 3D, not cluttered with sound effects
and not in colour. Furthermore its star is a Frenchman - Jean Dujardin. His
name might not mean much, but he is already one of France's highest paid actors
and is set for huge glory in Hollywood.
THE ARTIST is a beautifully crafted film,
exquisitely shot and brilliantly cast. It centres on silent movie star George
Valentin (Dujardin) and his fall from favour when 'talkies' come in.
Valentin is a hugely charismatic, charming
and likeable character. With his four legged Jack Russell, Uggy (who almost
steals the film), he stars in a vast number of silent movies from action-adventures
to romance and spy thrillers. However, his aversion to talking on film results
in a sudden fall from stardom, and coupled with the 1931 stock market crash, he
finds himself loveless, penniless and homeless.
A young extra, Peppy Miller (Berenice
Bejo), who was given a leg up in the industry by Valentinmeanwhile captures the hearts of audiences,
and soon becomes the doyen of the talkies. As Valentin's star fades, Peppy's
rises.
The sizzling chemistry between the two
characters leads Peppy to help her now suicidal friend and bring him back to
movies. "No one wants to pay to hear my speak" argues Valentin, in
one of the frequent subtitle cards. Instead they choreograph an amazing dance
routine, which reignites Valentin's star.
With guest turns from John Goodman,
Penelope Ann Miller, James Cromwell and Malcolm McDowell it is a film which
will capture your heart, and demonstrates that just because something is in
B&W and silent, it doesn't mean the power of storytelling is null and void
in this multiplex world.
(Gareth Owen writes the Pinewood Past column, covering the history of Pinewood Studios, in every issue of Cinema Retro)
Britain's fabled Pinewood Studios is in such demand by filmmakers that the studio is turning away a traditional source of revenue, TV productions, in favor of expensive, big-screen films. Revenue has been soaring over the past months as major films such as Dark Shadows, Woman in Black, The Iron Lady and Prometheus have gone into production at the studio, which will celebrate its 75th anniversary shortly. Pinewood is also investing in films with small budgets in hopes of finding the next King's Speech, a modestly-budgeted production that has grossed over $135 million to date. The new James Bond flick is expected to lens there later this year. For more click here
(Don't miss Gareth Owen's columns about the history of the studio- Pinewood Past- in every issue of Cinema Retro)
Michelle Williams is now filming My Week With Marilyn, based on Colin Clark's memoir about his experience as a young man on the set of the film The Prince and the Showgirl in which Marilyn Monroe co-starred with Laurence Olivier. The movie was shot at England's Pinewood Studios. Click here for more about the forthcoming production.
Jonathan Frid starred as vampire Barnabas Collins in the original version of Dark Shadows.
Director Tim Burton's long-awaited big screen adapation of the 1960s TV soap opera Dark Shadows has begun filming at Pinewood Studios, England. Johnny Depp, Helena Bonham Carter, Michelle Pfeiffer and Eva Green star. For more click here
Artist Al Hirschfeld's depiction of Sean Connery and Ursula Andress in Dr. No
By Lee Pfeiffer
Joe Dante sent us the head's up that he's just posted the original American trailer for the first James Bond movie, Dr. No on his Trailers From Hell web site as week long tribute to Connery's films. The trailer features an intro and narration by director Brian Trenchard-Smith, who remembers visiting Pinewood Studios as a child and being mesmerized by observing the movie being filmed. There are countless tales of exactly how Sean Connery got the part of Bond. Trenchard-Smith goes with the story, oft-told by long time Bond editor and director Peter Hunt, that it was he who brought the young Scot to the attention of producers Cubby Broccoli and Harry Saltzman. The film's director, Terence Young, also used to take credit for bringing Connery to the role. For the record, Broccoli told me that the first time Connery was suggested for the role of Bond occurred when he and his wife Dana attended a screening of Disney's Darby O'Gill and the Little People. Cubby admitted to me that he didn't initially see any potential in Connery as Bond until Dana convinced him that he had raw sex appeal that could translate to the role of 007. What is the actual truth behind all of these stories? There is probably truth in all of them, although Cubby always insisted that when he told Terence Young that they had cast Connery, with whom he had worked previously in the 1950s, the director simply put his head in his hands and said, "Disaster! Disaster!".
This much is indisputable: Connery himself says that without Young's mentoring, he would not have succeeded in the role. The young actor was a diamond in the rough and the erudite Young gave him a crash course in manners, dress and proper dining habits. In essence, he taught Connery the snobbier aspects of Bond's personality. It's doubtful all of these people would have been debating who got the credit for casting Connery as Bond if the film had not been a smash hit. As John F. Kennedy once observed, "Victory has a thousand fathers but defeat is an orphan." Click here to view
