Thunderball (1965)

Thunderball

A poker in the hands of a widow.  Two of NATO’s atomic bombs are hijacked by the criminal organisation SPECTRE, which holds the world to ransom for £100 million in diamonds, in exchange for not destroying an unspecified city in either the United Kingdom or the United States (later revealed to be Miami). The search leads James Bond (Sean Connery) to the Bahamas, where he encounters Emilio Largo (Adolfo Celi) the card-playing, eye patch-wearing SPECTRE Number Two whom he bests at the tables. Backed by CIA agent Felix Leiter (Rik Van Nutter) and Largo’s mistress Domino Derval (Claudine Auger) Bond’s search culminates in an underwater battle with Largo’s henchmen but time is running out … What strange eyes you’ve got. The one that caused the franchise a whole lot of legal issues in the ensuing years, this was also the one the audiences went bonkers for with Widescreen shooting, seriously glossy production values and slick underwater sequences that take up about a quarter of the overall running time which at two hours ten minutes was by far the longest in the series thus far. The legal issues arose because Ian Fleming’s 1961 novel was based on a story by producer Kevin McClory and was intended as the first in the series with a screenplay by them with Jack Whittingham. The new screenplay is by Richard Maibaum and John Hopkins and it commences with an ingenious escape from a surprising funeral. The cat and mouse relationship between Bond and Largo is consistently surprising and satisfying; Celi is particularly good in the role. The production design by Ken Adam is quite breathtaking, the women are among the most beautiful of the era – Auger (Miss France, voiced by Nikki van der Zyl), Luciana Paluzzi as femme fatale Fiona Volpe, Martine Beswick as Paula Caplan, Bond’s tragic CIA ally, Molly Peters as physiotherapist Patricia Fearing – and Bond is actually saved by a woman. The gadgets include water-firing cannon affixed to the rear of the Aston Martin, a jetpack and a handbag-friendly Geiger counter. It all looks glorious and the incredible underwater work is shot by Ricou Browning although it’s not always clear what’s going on. The theme song by composer John Barry (returning to the franchise) with lyrics by Don Black is performed by Tom Jones who fainted in the recording booth as he sang the final note. What’s not to like? Directed by Terence Young in his third and final Bond outing. Remade 18 years later as Never Say Never Again, with Connery once more taking the lead in what was his final Bond film. Was ever a man more misunderstood?

Goldfinger (1964)

Goldfinger theatrical

I must be dreaming. MI6 agent James Bond (Sean Connery) is holidaying in Miami when his opposite number in the CIA Felix Leiter (Cec Linder) asks him to keep an eye on a fellow hotel guest – so he winds up investigating a gold-smuggling ring run by businessman Auric Goldfinger (Gert Fröbe). As he delves deeper into his activities, he uncovers a sinister plan to attack Fort Knox’s gold reserves to destroy the world’s economy… Do you expect me to talk?/No, Mr Bond. I expect you to die! The third in the series, this is where everything came right – action, humour, thrills, villain, style, ingenious gadgets,  great set design by Ken Adam, doubles entendres, devilish mute Korean hitman Oddjob (Harold Takata), Goldfinger’s persuasive personal pilot Pussy Galore (Honor Blackman) with her Flying Circus and the notorious death by gold paint of Jill Masterson (Shirley Eaton) which still startles today. Adapted by Richard Maibaum and Paul Dehn (with suggestions by Wolf Mankowitz) from Ian Fleming’s eponymous seventh novel, the character of Auric Goldfinger is a very specific kind of nemesis, with his psychopathic obsession the Achilles heel of the man: This is gold, Mr. Bond. All my life I’ve been in love with its color… its brilliance, its divine heaviness. That’s what makes him a perfect crazed criminal but also a great pivot into Cold War politics and economic ideas, a kind of double bluff à la Hitchcock. This is a narrative where sex and danger and death are combined symbolically in the iconic title sequence (by graphic artist Robert Brownjohn) with all those dead painted girls providing a backdrop of morbidity and Connery freely imbues his performance with fear particularly when he’s about to get his by an artfully directed laser beam. The chase and action sequences are brilliantly managed with the modified Aston Martin DB5 in a class of its own. Then of course there’s the legendary theme written by composer John Barry with lyrics by Leslie Bricusse and Tony Newley and performed by Shirley Bassey, creating a siren song of sass. Smartly directed by Guy Hamilton, a colleague of Fleming’s in Britain’s wartime intelligence operations, this is totally thrilling entertainment that provided the blueprint for the films that followed.  Man has climbed Mount Everest, gone to the bottom of the ocean. He’s fired rockets at the Moon, split the atom, achieved miracles in every field of human endeavour… except crime!

For Your Eyes Only (1981)

For Your Eyes Only theatrical

Welcome to Remote Control Airways! After a British information-gathering vessel gets sunk into the sea, MI6’s Agent 007 (Roger Moore) is given the responsibility of locating the lost encryption device the Automatic Targeting Attack Communicator (ATAC) and thwarting it from entering enemy ie Russian military hands led by the KGB’s General Gogol (Walter Gotell). Bond becomes tangled in a web of deception spun by rival Greek businessmen Aris Kristatos (Julian Glover) who initially presents as Bond’s ally and Milos Columbo (Topol); along with Melina Havelock (Carole Bouquet), a British-Greek woman  seeking to avenge the murder of her parents, marine archaeologists working for the British Government … The Chinese have a saying: “When setting out on revenge, you first dig two graves”. This is the Bond that rather divides the purists. Culled from the title story in the eponymous collection along with another, Risico, plus an action sequence from Live and Let Die, this is back to basics and a down to earth reboot after the sci fi outing Moonraker. James visits late wife Tracy’s grave (from OHMSS) and has to live on his wits instead of Q’s (Desmond Llewelyn) gadgets – hence the Lotus exploding early on followed by a hair raising Keystone Cops-style chase through a Spanish village in a rickety little Citroën 2CV. It’s got to be one of the more visually pleasurable of all films, never mind in the franchise, with heart-stoppingly beautiful location shooting in Greece and Italy, and Greece standing in for some scenes set in Spain. Bouquet is a fabulous leading lady with great motivation – revenge – and she can shoot a very mean crossbow.  The action overall is simply breathtaking – that initial helicopter sequence around the abandoned Beckton Gas Works (which Kubrick would turn into Vietnam for Full Metal Jacket), the ski/motorbike chase and jump, the mountain top monastery that lends such a dramatic impact for the final scene, the Empress Sissi’s summer palace in Corfu that provides such a distinctive setting, the yachts that home the catalysing confrontations which include sharks! Glover (originally mooted as Bond himself, years earlier) makes for a satisfying ally turned villain after the jokey title set piece, the winter sports, and the use of the bob sleigh run are quite thrilling. Topol is very charismatic as the Greek helpmate Columbo, Kristatos’ former smuggling partner; and Lynn-Holly Johnson is totally disarming as the ice-skating Olympic hopeful and ingenue Bibi Dahl who has an unhealthy desire for inappropriate relations with a clearly embarrassed Bond. Smooth as butter with Moore very good in a demanding realistic production. What’s not to love in a film that channels the best bits of Black Magic and Martini adverts from the Seventies?! This boasts the first titles sequence in the series to feature the song’s performer, Sheena Easton, singing a composition by Bill Conti and Michael Leeson. Badass Cassandra Harris who plays Columbo’s mistress Countess Lisl Von Schlaf was visited by her husband Pierce Brosnan during production and the Bond team duly took notice. Charles Dance makes a brief appearance as a henchman of Locque (Emil Gothard), a hired killer deployed by Kristatos. Out of respect for the recent death of Bernard Lee, the role of M was put aside. The screenplay is by vet Richard Maibaum and executive producer Michael G. Wilson while long time editor John Glen graduates to the top job and does it wonderfully. Remarkably good in every way, this is one of the very best Bonds and even though it was the first one of the Eighties feels like it could have been made an hour ago. Don’t grow up. You’ll make life impossible for men

When Eight Bells Toll (1971)

When Eight Bells Toll

Operates best under conditions of extreme pressure. Philip Calvert (Anthony Hopkins) is a tough British Navy secret service agent called in by ‘Uncle Arthur’ (Robert Morley) to track down gold bullion smugglers after two agents are murdered on the job tracking cargo ships that have been hijacked in the Irish Sea. He follows the trail off the Scottish coast to a close-mouthed community where Greek tycoon Sir Anthony Skouras (Jack Hawkins) has moored yacht off and finds the well-connected aristo is married for the second time to the stunning much younger Charlotte (Nathalie Delon). After his colleague Hunslett (Corin Redgrave) is murdered and he escapes from his Royal Navy helicopter following the shooting of his pilot, who is conducting the heists? … You can’t go round acting like a one-man execution squad. This is England! Alistair MacLean’s 1965 adventure bestseller was eyed up as a potential starter for a series to rival the James Bond franchise but that’s not what happened. Despite ample action, jaw-droppingly witty lines and a lovely lady who may or may not be one of the good guys, this isn’t quite slick enough looking to fit a 007-shaped hole following Sean Connery’s departure. Hopkins is a rather unlikely romantic lead but his scenes with Delon feel like they’re straight out of screwball comedy: The nights would be good but the days would be a drag. Morley is playing a role he’s done before but putting this portly gent out in the field and into a rowing boat is a stroke of genius – literally an outsize fish out of water in water. We’re going to prove that Britannia rules the waves. Every line hits the bullseye. This is a story about class distinction and clubbable men too:  Working-his-way-through-the-ranks type, he comments disdainfully of Hopkins. Any time the action flags a little the robust score by Angela Morley lifts it into another dimension. The only thing they couldn’t alter is the miserable grey sky. We can sympathise with Delon and close our eyes and reimagine this in the Med but for MacLean who adapted his book for producer Elliott Kastner (who had also made Where Eagles Dare) this was of course coming home. An unsung and fast-moving gem of its era with an inventive approach to the enemy lair.  Jack Hawkins had to be dubbed by Charles Gray following the removal of his larynx (nothing to do with the action here however). Directed by Étienne Périer. There’s always peril in the water

You Only Live Twice (1967)

You Only Live Twice

Bad news from outer space. When an American space capsule is supposedly swallowed by a Russian spaceship it’s an international incident. James Bond has apparently been killed in Hong Kong but he is ‘resurrected’ following his own funeral and sent undercover to Japan to find out who is behind the political aggression and the owner of the mysterious spacecraft. However while Russia and the US blame each other and Japan is under suspiion, he discovers with the assistance of his Japanese opposite number Tiger Tanaka (Tetsuro Tanba) that SPECTRE is responsible for this attempt to start World War III and uncovers a trail that leads to the mysterious Ernst Stavro Blofeld (Donald Pleasence) whose evil empire is run from the centre of a volcano … Now that you’re dead our old friends will perhaps pay a little less attention to you than before. The one where Bond turns Japanese and trains as a ninja. A carnival of implausibilities that has the benefit of some gorgeous Japanese locations, stylish direction by Lewis Gilbert and introducing cat-loving megalomaniac Blofeld in the form of Pleasence, who we only glimpse over his shoulder as he strokes his pussycat before the big reveal. What an amazing villain! And how ripe for parody! Roald Dahl’s screenplay may throw out most of Ian Fleming’s novel (there is ‘additional story material’ by Harold Jack Bloom) but he does something clever – he takes the title seriously and has the second half begin exactly as the first, replacing a US with a Soviet rocket and doing a Screenplay 101 with the differing outcome second time around. The Cold War/space race theme might remind you of a certain Dr Strangelove. There are some good media jibes – If you’re going to force me to watch television I’m going to need a smoke, says James before aiming his cigarette at the enemy; astonishing production design by Ken Adam; and very resourceful sidekicks in Aki (Akika Wakabayashi) and Kissy Suzuki (Mie Hama); as well as the series’ first German Bond girl, Karin Dor, aka Miss Crime, due to the number of thrillers she starred in. Sadly it doesn’t save her here. This is gorgeously shot by Freddie Young and the restoration is impeccable. The John Barry and Leslie Bricusse theme song is performed by Nancy Sinatra. For a European you are very cultivated! 

The Spy Who Loved Me (1977)

The Spy Who Loved Me

Why don’t you lie down and let me look at it. When a British and a Soviet nuclear submarine disappear off the radar, MI6’s top agent James Bond (Roger Moore) is ordered to find out what has happened. He escapes an ambush by Soviet agents in Austria and goes to Egypt where he might acquire an advanced surveillance system. He meets Major Anya Amasova ie Agent XXX (Barbara Bach) whose lover he unwittingly killed in Austria. They are rivals to recover microfilm and are obliged to deal with hitman Jaws (Richard Kiel) as they travel across the country. Forced to work together by their respective bosses, they identify the person responsible for the thefts as the shipping tycoon and scientist Karl Stromberg (Curt Jurgens) who is consumed with the idea of developing an underwater civilisation …. There is beauty. There is ugliness. And there is death! Christopher Wood and Richard Maibaum’s screenplay may take the title from Ian Fleming’s tenth book in the series but little else. With a son et lumiére show at Giza, a shark tank in the villain’s lair, an MI6 office shared with the Russians inside a pyramid, an astonishing hit man in the form of giant Kiel with his mouth full of metal teeth, a fun relationship between Bond and his Russian opposite number, the wonder was it was made at all, beset as it was by rights issues and production troubles. This includes the replacing of Blofeld as arch nemesis – hence the inventing of Karl Stromberg, a nuke-obsessed Nemo tribute act. Getting a director was another issue, with Lewis Gilbert ultimately taking on the project, returning to the fray ten years after You Only Live Twice, whose plot it mimics somewhat. Gilbert’s influence on the form the film took was profound, notably on Moore’s characterisation in Wood’s draft of the screenplay, which was a return to the humour and tone of the original books, despite the legal issues preventing much of the actual story material being used (and you’ll be hard pressed to see Fleming in the credits). Apparently former Bond scribe Tom Mankiewicz was also brought in for uncredited rewrites on the final draft. Like Connery before him and Craig more recently, Roger Moore’s third foray into MI6 territory would be the most successful with the public, keeping his end up for England. Then there’s the showstopping title sequence with the greatest ski jump ever filmed (performed by Richard Sylvester) with a Union Jack parachute payoff; plus a barnstorming theme song performed by Carly Simon, with lyrics by Carole Bayer Sager and composed by Marvin Hamlisch (and the first title song not to be named for the film) who does a minor pastiching of the Lawrence of Arabia theme, making this a home run among Bond freaks. Brit flick fans will get a kick out of seeing Caroline Munro (dubbed, as Stromberg’s sidekick Naomi), the director’s brother-in-law Sydney Tafler (as a Russian ship’s captain) and Hammer Horror vet Valerie Leon (as a hotel receptionist). And that’s without even mentioning the awesome production design by Ken Adam, the Lotus Esprit that turns into a submarine and a Jaws vs Jaws swimoff! A perfect blend of action, thrills, sex, great gadgets, sly wit, astonishing stunts, explosions and pithy banter. It’s lavish, but I call it Bond. James Bond. How does that grab you?

Live and Let Die (1973)

Live and Let Die

Whose funeral is this?/Yours. James Bond (Roger Moore) is sent to New York to investigate the mysterious deaths of three British agents. The Harlem drug lord known as Mr. Big plans to distribute two tons of heroin for free to put rival drug barons out of business and then become a monopoly supplier is also in New York, visiting the United Nations. Just after Bond arrives, his driver is shot dead by Whisper (Earl Jolly Brown) one of Mr. Big’s men, while taking Bond to meet Felix Leiter (David Hedison) of the CIA. Bond is nearly killed in the ensuing car crash. Mr. Big is revealed to be the alter ego of Dr. Kananga (Yaphet Kotto) a corrupt Caribbean dictator, who rules San Monique, a fictional island where opium poppies are secretly farmed. Bond encounters voodoo master Baron Samedi (Geoffrey Holder) and tarot card reader Solitaire (Jane Seymour) who soon becomes a romantic interest. Bond’s fight to put a stop to the drug baron’s scheme takes him to New Orleans … What are you? Some kinda doomsday machine boy? Well WE got a cage strong enough to hold an animal like you here! A jazz funeral in New Orleans. Voodoo. Tarot cards. A crocodile farm. A shark tank. An underground cave. An awesome car and boat chase across the bayou. A cast of black villains worthy of a blaxploitation classic. A villain who is less megalomaniacal than usual who would really like to be James Bond’s friend. A redneck sheriff (Clifton James) to beat all redneck sheriffs, as director Guy Hamilton bragged. A morning ritual cappuccino preparation instead of a martini, a little nod to Harry Palmer, perhaps. And this was Roger Moore’s debutante appearance as the suavest double Oh! of them all, entering the picture in the arms of a beautiful brunette spy in dereliction of her own duty. And his only weapon? A magnetic watch! Come on! It starts in Jamaica, home of Goldeneye, author Ian Fleming’s long-time residence, where he wrote a novel between January and March every year between 1952 and 1964 and it concludes on a train, in homage to Dr No. That’s before we even mention the incredible song composed by Paul and Linda McCartney and performed by Wings. McCartney was so thrilled to do it he paid for the orchestra himself and hired George Martin to do the arrangement. It’s breathless escapism with action sequences moving seamlessly one unto the other, interrupted only by some hilariously silly lines uttered by the urbane agent. Effortlessly performed. Written by Tom Mankiewicz, who even remembered to include some of the original novel’s elements. It made its UK TV premiere in 1980 and remains the most viewed film on British TV . He always did have an inflated opinion of himself

The World Is Not Enough (1999)

The World is not Enough.jpg

There’s no point in living if you can’t feel alive. Britains’ top agent James Bond (Pierce Brosnan) is entrusted with the responsibility of protecting Elektra King (Sophie Marceau) the daughter of M’s (Judi Dench) college friend, an oil tycoon murdered while collecting money at MI6 in London. While on his mission in Kazakhstan, he learns about an even more dangerous plot involving psychotic villain Renard (Robert Carlyle) and teams up with nuclear physicist Christmas Jones (Denise Richards) while enjoying a romance with the woman he’s been sent to protect … This is a game I can’t afford to play. Brosnan is back and he’s a charmingly effective Bond in a literally explosive set of action sequences packed with non-stop quips, assaults and well-choreographed kinetic adventures commencing with a bomb in MI6 HQ. Marceau is lovely as his marvellously outfitted female foil, Carlyle is a useful if underexploited villain and Richards is perfect as the preposterously beautiful nuclear physicist whose name gives rise to some great puns in the climactic scene. The only inconsistency is M being made a dupe but you can’t fault the transition from Q to R (John Cleese as a Fawlty-ish successor) or the casting of Robbie Coltrane as a bumptious Russian casino proprietor. The screenplay is credited to Bond regulars Neal Purvis and Robert Wade from a story devised with Bruce Feirstein but weirdly somebody forgot to mention spy mastermind Ian Fleming. The title song performed by Garbage is composed by David Arnold and the legendary lyricist Don Black. The endless fun is directed by Michael Apted. You can’t kill me – I’m already dead