Bond Is Forever: "From Russia with Love"

Evil terrorist organization SPECTRE is planning to steal a Lektor, a cipher machine, from the Russians. Rosa Klebb (Lotte Lenya), aka #3, a member of SMERSH who defected from Russia, gives an assignment to agent Tatiana Romanova (Daniela Bianchi), who is unaware that Klebb is a member of SPECTRE. Tatiana informs MI6 that she is defecting to the UK with the Lektor, and she will only do so with superspy James Bond (Sean Connery). Red Grant is assigned with the task of assassinating 007, but only after SPECTRE has retrieved the Lektor. Meanwhile, Bond travels to Istanbul to obtain the cipher machine, teaming up with head of Station T (Turkey), Ali Kerim Bey (Pedro Armendáriz).

From Russia with Love introduces two recurring characters to the series. One was Q, whose name is Major Boothroyd, and who actually made an appearance in the previous year's Dr. No (portrayed by Peter Burton). But Q as played by Desmond Llewelyn became associated with Bond's gadgets. Boothroyd in Dr. No only gave 007 his Walther PPK. In From Russia with Love, Q supplies Bond with what would technically be the very first gadget of the cinematic series: an attaché case containing a sniper rifle, with hidden ammunition, knife and money. And for good measure, there would be an unpleasant surprise for anyone who did not open the case properly. Making his debut in the series is SPECTRE head, Ernst Stavro Blofeld. You only see his hands in this film, as he lovingly strokes his cat. Anthony Dawson plays Blofeld (or, rather, plays Blofeld's hands), and he also portrayed the villainous Professor Dent in Dr. No. Blofeld's voice was provided by actor Eric Pohlmann. He and Dawson both reprised the role in 1965's Thunderball.

With a pre-credit teaser and the addition of gadgets, the only substantial difference between the second Bond film and next year's Goldfinger (as well as future 007 films) is the lack of a title song. Like Dr. No, only music plays over the opening credits. However, the film does have a title song (of sorts), near the end, composed by Lionel Bart and sung by Matt Monro. SPECTRE desiring revenge for Dr. No's death is not the only connection to the previous Bond outing. Near the beginning of From Russia with Love, Bond is enjoying some time with Sylvia Trench (you can also hear the title song on the radio). Fans may recall that 007 met Ms. Trench in Dr. No while gambling, and it is to her that the spy introduces himself as, "Bond. James Bond."

During production, actor Armendáriz was diagnosed with inoperable cancer. He finished his scenes, and afterward checked himself into a hospital. Sadly, he committed suicide before the film was released. His son, Pedro Armendáriz, Jr., has a small role in a Bond film, Licence to Kill (1989). Martine Beswick, who plays one of the feuding gypsy women (and who is inaccurately billed in the opening credits as "Martin Beswick"), also appeared in Thunderball as Paula, one of Bond's allies. Fans of Hammer Films may also recognize Beswick from her significant roles in Prehistoric Women (aka Slave Girls) (1967) and Dr. Jekyll and Sister Hyde (1971). The actress playing the other gypsy woman, Aliza Gur, was roommates with actress Bianchi during the 1960 Miss Universe pageant (Gur was Miss Israel, Bianchi Miss Italy), and both ladies were runners up. Walter Gotell, who plays a henchman on SPECTRE Island, would later portray General Gogol, head of the KGB, in numerous Bond films, beginning with The Spy Who Loved Me (1977).

In a key scene, a billboard for the 1963 film, Call Me Bwana, is clearly displayed. The movie starred Bob Hope and Anita Ekberg, and was produced by Bond producers Harry Saltzman and Albert "Cubby" Broccoli (along with a number of From Russia with Love crew members). Call Me Bwana is the only film produced by EON Productions that was not related to 007.

During production, Terence Young, art director Michael White, and a cameraman were in a helicopter scouting locations (for the boat chase near the end) and crashed into a lake. Fortunately, they were so close to land that other members of the crew helped them ashore, and Young went right back to filming. Similarly, while on the way to film a scene, actress Bianchi was in an automobile accident, and her face was swollen so badly that she was unable to film for two weeks. Ms. Bianchi was helped from the wreckage by her superspy co-star, who had been following in another car.

Editor Peter Hunt, who had worked on Dr. No and would edit subsequent Bond releases, as well as directing On Her Majesty's Secret Service (1969), played an important part in the completion of From Russia with Love. With a film over its budget and behind schedule, director Young turned over duties to Hunt and allowed him much liberties. Hunt altered the order of particular sequences (e.g., the chess scene was initially later in the film, instead of immediately following the opening credits), and suggested several "tricks" to save time and money. With so many rewrites, the sequence of Blofeld discussing the mission with Klebb and Kronsteen (aka #5) had to be reshot. Blofeld's dialogue was not a concern, since his face is not shown. Hunt's solution for Klebb reshoots was to, in lieu of rebuilding the set, use a previously shot scene as a matte. Actress Lenya was filmed in a chair, and that image was placed atop an earlier shot of Lenya, so that the actress literally covers herself up (all so that the set in the background can be seen). Peter Hunt's work resulted in a wonderfully paced movie that keeps everything moving.

I think From Russia with Love is one of the greatest Bond films. It was only his second time as 007, but Connery seems to have already mastered the role, alternately charming and lethal. Director Young and editor Hunt created an action-packed movie, with memorable scenes, such as the fight between Bond and Grant, and a sniper sequence with Bond and Kerim Bey. Italian actress Bianchi is excellent (she was dubbed by Barbara Jefford, who would dub actresses in future Bond films), a worthy and distinguished "Bond Girl." Lenya makes an outstanding villain, and Armenáriz is likewise superb.

Bond Is Forever will return next month with The Man with the Golden Gun (1974).

The Five Best James Bond Theme Songs

He's lunched with Cubby Broccoli--the late 007 film producer--and has a James Bond memorabilia collection that would be the envy of Auric Goldfinger. Today, guest blogger TerryB counts down his picks for the five best Bond theme songs.

Twenty-three official James Bond films. I’ve been a fan of the 007 films since my college roommate encouraged me to join him at a James Bond Film Festival on campus. Seeing On Her Majesty’s Secret Service in a very cold auditorium amplified the film’s snowy setting. The projectionist cranked the film’s sound after Bond’s wife Tracy is killed in the final moments. The counter-point of the James Bond theme over the film’s emotional ending was a sort of sneer to emotion and reminded us that Bond was an agent first. I fell in love with Bond music that night.

I’ve always said that when *I* win the lottery, one way I’d love to spend the money is mount a one-night concert of all the Bond theme song artists, each performing their theme(s), in order of release. Until that concert can be arranged, here’s a different sorting--my choices for the five best 007 theme songs:

5.  Casino Royale – “You Know My Name,” performed by Chris Cornell.  Written by Chris Cornell and David Arnold. Perhaps the most gritty of all the James Bond themes, this song was meant to be a reflection of the new James Bond (Daniel Craig) and that his Bond was conflicted and not the seemingly indestructible agent played by Roger Moore and Pierce Brosnan. The lyrics describe James Bond’s world this way: I've seen diamonds cut through harder men/Than you yourself/But if you must pretend/You may meet your end/The coldest blood runs through my veins/You know my name.

4.  A View to a Kill – “A View to a Kill,” performed by Duran Duran. Written by John Barry and Duran Duran.  Although Barry had never collaborated with a band for a Bond song, the fast-living, hyper-successful Duran Duran somehow seemed a natural choice to join him in 1985, and the result remains one of the biggest hits of any 007 track. The first Bond theme song to chart #1 in the U.S., it’s lyrically loony: A sacred why/A mystery gaping inside/The weekend's why/Until we dance into the fire/That fatal kiss is all we need. Still, it has a stomping, throbbing beat that was a perfect marriage for James Bond and one of the biggest bands of the time.

3. Live and Let Die – “Live and Let Die,” performed by Paul McCartney and Wings.  Written by Paul and Linda McCartney. Probably the only Bond theme song that has little to do with the film, except sharing a title, this song’s piercing flute notes and eccentric bridge were quite effectively married to the film’s many chase sequences. Turning an innocent into a world-weary cynic (or killing them) is often the path of many Bond heroines. The song lyric captures their journey so well: When you were young and your heart was an open book/You used to say live and let live (You know you did, you know you did, you know you did)/But if this ever changing world in which we live in/Makes you give in and cry/Say live and let die.

2. The Spy Who Loved Me – “Nobody Does It Better,” performed by Carly Simon. Written by Marvin Hamlisch (music) and Carole Bayer Sager (lyrics). A fitting type of theme for nearly all of the Roger Moore-era 007 films, romantically-inclined, but painting Bond with equal palettes of love and vengeance. And both are deadly. The lyric wins for working in the film’s title smoothly and keeping the song palatable for Top 40 radio: I wasn’t looking, but somehow you found me/I tried to hide from your love light/But like heaven above me, the spy who loved me, is keeping all my secrets safe tonight. The title yielded a phrase used in marketing later Bond films: the 13th 007 opus Octopussy ("Nobody does it better…thirteen times") and the 2006 release Casino Royale (the commercials used the song's title, "Nobody Does It Better", as a catch phrase).

1. Goldfinger – “Goldfinger,” performed by Shirley Bassey. Written by John Barry (music) and Anthony Newley & Leslie Bricusse (lyrics). This was the film that perfected the 007 “formula.” Director Guy Hamilton was purported to have suggested the song “Mack the Knife” to John Barry, “a gritty and rough” song on which to model this film’s theme song. Shirley Bassey tops the list with her gutsy, machine gun delivery of the lyric, enunciating every word sharply. And what words would befit a villain’s theme better? For a golden girl knows when he's kissed her/ It's the kiss of death from Mister Goldfinger. At the 2013 Academy Awards, in tribute to 50 Years of James Bond Films, Dame Shirley Bassey performed the song to wide acclaim and a standing ovation.

Bond Is Forever... As Are “Diamonds”

MI6 agent James Bond (Sean Connery) tracks the diabolical Blofeld (Charles Gray) to Cairo, where the villain is producing duplicates of himself. A physical confrontation ends with Blofeld sliding into a pool of boiling mud. MI6 later assigns 007 to investigate the smuggling of African diamonds, which continues in spite of tight security measures. Bond poses as a smuggler, one of numerous people who pass misappropriated diamonds down an assembly line of smugglers, most of whom are killed upon completion of his/her task by Mr. Wint (Bruce Glover) and Mr. Kidd (Putter Smith). Bond finds an ally in Tiffany Case (Jill St. John), and the two follow the diamonds to Las Vegas and a man named Willard Whyte, a reclusive casino owner. Sneaking into Whyte’s high rise casino, The Whyte House, Bond exposes the true culprit as Blofeld -- posing as Whyte by electronically replicating his voice -- standing in an office with one of his doubles. Blofeld plans to use the pilfered diamonds in a weaponized form and hold the world hostage.


After Connery departed from the series following You Only Live Twice (1967) and George Lazenby made his sole effort as 007 in On Her Majesty’s Secret Service (1969), it seems that EON Productions wanted a return to form for Connery’s homecoming in 1971’s Diamonds Are Forever. Director Guy Hamilton had previously helmed the hugely successful Goldfinger (1964) with Connery, the film’s title song sung by Shirley Bassey, who also lent her voice for Diamonds Are Forever. Hamilton would additionally direct the subsequent two 007 movies, Live and Let Die (1973) and The Man with the Golden Gun (1974), and Bassey would sing a third theme with Moonraker in 1979. Even Charles Gray as Blofeld makes a return from his appearance in You Only Live Twice -- though, despite the 1967 movie featuring Blofeld, said villain is portrayed by Donald Pleasence while Gray plays an MI6 agent working in Japan.

Diamonds Are Forever was the final film in the cinematic Blofeld Trilogy and the final film for Sean Connery, who would reprise the role in an “unofficial” entry, Never Say Never Again (1983). Blofeld is a minor character in the pre-credits sequence of For Your Eyes Only (1981), but his face is never shown. Never Say Never Again is a second adaptation of Thunderball and was made after a lengthy legal squabble (see Thunderball for more on its bumpy road to the big screen).

Though not as remarkable as previous Connery/Bond films, Diamonds Are Forever is a worthy movie with strong qualities. Mr. Wint and Mr. Kidd are notable foes, very respectful and formal as they assassinate smugglers who are no longer necessary, and the men are made all the more intriguing by the implication that they’re lovers (an idea taken from Ian Fleming’s source text). Sprightly and physically adept Bambi (Lola Larson) and Thumper (Trina Parks) are irrefutably farcical, but they’re likewise memorable, if for no other reason than their monikers. And though some action scenes fall flat, such as 007 in a moon buggy pursued by men on minuscule ATVs and the concluding sequence atop an oil rig, they are overshadowed by superior moments, including Bond’s scuffle with the man he’s impersonating while crammed inside an elevator and a chase on the luminous streets of Vegas in Tiffany’s handsome Mustang Mach 1.

So while the villains are noteworthy, it’s disappointing that the Bond advocates are far less diverting. Tiffany Case is a mediocre Bond character. An introduction to Tiffany as a smuggler initially piques interest, but she loses credibility when learning that she was tricked into helping and is completely unaware as to what will happen to her when her employers feel she’s served her purpose. She even proves detrimental to the mission near the end of the film. Similarly, the genuine Willard Whyte (Jimmy Dean) is a superfluous addition to the story, Norman Burton is an unexceptional Felix Leiter, and Lana Wood as Plenty O’Toole has very little to do, other than latch onto Bond and remove her dress when they make it to his hotel room. The “good guys” are highlighted by appearances from Q (Desmond Llewelyn), who breaks the bank at the slot machines simply to test a new device, and Miss Moneypenny (Lois Maxwell), looking rather fetching in full uniform at the customs office.

In 2009-10, following MGM’s financial turmoil and the threat of bankruptcy, the James Bond series was in danger of expiring. But MGM recovered, and production for a new Bond film recommenced. Daniel Craig will return for a tentative release date of 2012. It will be the 23rd movie of the EON Productions series.

Diamonds Are Forever has its faults, but I cannot rightly disapprove of a movie that maintains tradition and keeps its feet in familiar terrain. Here’s a Bond who first appears with his celebrated introduction to a woman but who actually speaks it to the camera and the audience; a Bond whose assignment takes him to Las Vegas for a reasonably good excuse to gamble and wear a tuxedo; a Bond who, when asked if the man he’s just fought is dead, answers slyly, “I sincerely hope so.” The film does occasionally slip into camp, but it’s undeniably grounded in the world of James Bond, a world which I’ll happily visit time and time again.

This is the final Bond Is Forever entry, as I have now covered every 007 film with the exception of the latest in the series, Quantum of Solace (2008). But since James Bond will be returning to theatres, I’ll end this with an optimistic disclaimer: Bond Is Forever will return.

Bond Is Forever: “A View to a Kill”

Having recovered a microchip in a snowy mountainous region of Siberia, MI6 agent James Bond (Roger Moore) is briefed by Q (Desmond Llewelyn) of the circuit’s likeness to another manufactured by Zorin Industries. The microchip apparently on the open market is suspect, as it has been expressly designed to withstand an electromagnetic pulse. Bond and another agent, Sir Godfrey Tibbett (Patrick Macnee), infiltrate a thoroughbred sale conducted by Max Zorin (Christopher Walken), and learn that he is drugging steeds to fix horse races. When 007’s identity is exposed, he must evade the murderous clutches of Zorin and his partner, May Day (Grace Jones). Bond’s investigation leads him to Stacey Sutton (Tanya Roberts), granddaughter of an oil mogul, who becomes a target for Zorin when a payoff is not as expeditious as the industrialist desires. Zorin’s ultimate goal is Project Main Strike, which would involve flooding Silicon Valley in San Francisco and shifting all the power in the production of microchips to Max Zorin.

A View to a Kill (1985) was the seventh and final film for British actor Moore, who celebrated his 57th birthday during the film’s production. It is undoubtedly one of the least popular films of the series, and the main criticism seems to be the casting of Moore, whose age shows throughout (even the actor himself publicly stated as much). Moore’s charm, however, is as strong as ever. This was also the last movie for the delightful Lois Maxwell as Miss Moneypenny. Including A View to a Kill, Maxwell had appeared in all 14 Bond movies, the only actor to do so. Caroline Bliss took over the role in the subsequent film, The Living Daylights (1987).


Though flawed, A View to a Kill is an underrated entry among the Bond movies. There is depth to the plot, which bounces 007 around to distinctive locales without the impression of a lengthy pursuit, a common complaint for films such as Live and Let Die (1973). A notable factor in the solid story is the inclusion of the KGB. There’s a suggestion that Zorin was trained by the KGB but has since abandoned the agency. When Bond is believed to have been killed, the KGB confronts Zorin and condemns him for authorizing the deed without its permission. The organization becomes a neutral presence, as Bond must intercept a KGB agent (Fiona Fullerton) to stop her from obtaining incriminating evidence against Zorin, evidence that Bond needs for himself. The movie also includes a scene in which M (Robert Brown), Q, and Moneypenny are in the field with Bond, at the racecourse for surveillance, and it’s especially fun to watch Moneypenny cheer for her horse.

A View to a Kill (or at least its title) was adapted from Ian Fleming’s short story, “From a View to a Kill”, which appeared in the collection, For Your Eyes Only. Interestingly, some of the plot owes more to Goldfinger (1964). Zorin’s plan to render Silicon Valley worthless is similar to Goldfinger’s radiation attack on Fort Knox. Likewise, Zorin gathers men to explain the corporation overthrow, and anyone not interested in the endeavor is dropped from his airship. In the same manner, Goldfinger assembled members of the mob to invest in his scheme, and the man who says no thanks is given a ride to the junkyard (though those who invested were not necessarily safe). On the same point, a couple of key criticisms of A View to a Kill involve scenes which share similarities to Goldfinger, elements in the latter film that are generally not denounced. While a villain in A View to a Kill “turns good” near the end, that is essentially what Pussy Galore does (and she is always listed as a Bond Girl, never a villain). And Zorin’s oft-criticized act of gunning down men in cold blood with an uzi can be equated with Goldfinger’s original intention of dropping nerve gas and killing all military personnel at Fort Knox.

But while A View to a Kill maintains a respectable pace and entertains with worthy action sequences, it does have lesser attributes. Yet another disapproval is Tanya Roberts, who is admittedly weak as Stacey. In the same regard, the character of Stacey is nearly insignificant, as she proves helpless in combat or with information. Roberts is undeniably stunning, but Stacey is without substance, and the actress is one of the worst female co-stars in the series. Fortunately, Stacey is hardly in the first half of the film, but, not surprisingly, when she is full engaged in the storyline, the movie decelerates considerably (it’s equally frustrating to watch Stacey wear a hardhat like a baseball cap). An incursion into a mine shaft, for the final action scene, begins leisurely but picks up and concludes explosively.

The disclaimer at the end of the previous Bond outing, Octopussy (1983), teased the film as From a View to a Kill, though the “from” would be dropped before the 1985 release. From this film on, the disclaimer in the closing credits states, “James Bond will return,” but does not specify a title.

The title song was performed by pop band, Duran Duran, who also co-wrote with Bond composer John Barry, whose incorporation of the title song into the score is beautifully done. The single reached #1 on the U.S. Billboard charts (the only Bond theme song to ever do so), but with Duran Duran at the height of its popularity, the song’s success was foreseeable. Barry and the band were nominated for a Golden Globe for Best Original Song.

Macnee’s appearance makes yet another connection to the British TV series, The Avengers. He co-starred with Honor Blackman and Diana Rigg and with Joanna Lumley in The New Avengers. Blackman starred in Goldfinger and Rigg and Lumley (the latter in a small, blink-and-you’ll-miss-her part) were in 1969’s On Her Majesty’s Secret Service.

B-movie action star Dolph Lundgren, who was dating Grace Jones in 1985, has a tiny, nonspeaking role as a KGB henchman for General Gogol (Walter Gotell) and is clearly seen for only a couple of brief moments. This cameo, however, marked his film debut, and he received much more screen time and corresponding acclaim later the same year as Russian boxer, Ivan Drago, in Rocky IV.

It’s certainly not a fan favorite and is frequently placed near the bottom of Bond lists (if not the very bottom), but I enjoy watching A View to a Kill. The action is tight and energetic, Moore’s charisma shines through, and Walken is a riveting foe (I find his discernible voice oddly comforting, an intriguing antithesis to his villainous roles). The film isn’t the best of the series, but it’s also not the worst, and I prefer it over other Bond movies. It’s an admirable farewell to Moore and Maxwell.

Bond Is Forever will return for its final installment next month with Diamonds Are Forever (1971).

Bond Is Forever: “Die Another Day”

On assignment in North Korea, British agent James Bond’s (Pierce Brosnan) identity is exposed. Bond attempts an escape, as Colonel Moon (Will Yun Lee) apparently falls to his death, but 007 is ensnared and tortured extensively. Fourteen months later, Bond is released, as MI6 trades him for Zao (Rick Yune), who’s been disfigured with diamonds embedded into the right side of his face, the result of a rigged case from Bond’s previous mission. M (Judi Dench) explains to 007 that MI6 believed that he was leaking information while in captivity, but Bond attributes MI6’s presumption, as well as his blown cover, to an informer working in the West, as suggested by the colonel’s father, General Moon (Kenneth Tsang). Secured by MI6, Bond evades the agency and tracks Zao from Hong Kong to Havana, Cuba, encountering NSA agent Jinx (Halle Berry) along the way. Bond is ultimately led to his home turf of London, where a pompous British entrepreneur, Gustav Graves (Toby Stephens), has ties to Zao and another MI6 agent, Miranda Frost (Rosamund Pike), who’s deep undercover. Graves, expediting a project known as the Icarus Space Program, has much more in mind than obtaining diamonds.

Die Another Day (2002), the sole Bond film from director Lee Tamahori, is a largely underrated entry in the series. Most criticisms of the film cite Bond’s reliance on gadgets and the abundance of CGI. The complaint of 007’s gadgets, which has been voiced of a great number of the series’ movies, tends to negate the first half of Die Another Day. Upon evading MI6, Bond is rogue, and he travels from Hong Kong to Cuba to England without the benefit of gadgets and having to make do with standard binoculars and a revolver. Only when he connects with Q (John Cleese) does he have the opportunity to utilize MI6’s specialized weaponry. The CGI in Die Another Day is admittedly overwhelming at times, particularly in a sequence near the end which almost resembles a computer game in play. This, however, is really a technical issue, perhaps the filmmakers overextending themselves. One might as well complain about the pronounced rear projection in more popular films such as Roger Moore skiing in The Spy Who Loved Me (1977) or Sean Connery driving a car in Goldfinger (1964) or Thunderball (1965).

In addition to a distinctively convoluted plot that bounces Bond to beautiful locations around the world, Die Another Day is bolstered by expressive characters and zealous performances. Halle Berry, fresh from her award-winning turn in the previous year’s Monster’s Ball (including an Oscar), displays panache as Jinx. The agent’s initial scene with Bond is memorable, as 007’s typical seduction is counterbalanced by Jinx’ alluring mannerism; in other words, it’s difficult to tell who’s seducing whom. Viewers may favor Jinx in that regard, as it is Bond who wakes up to an empty bed. Stephens as Graves is a sour note, and it’s especially discouraging that he essentially takes over for Will Yun Lee as the lead villain, when Lee is far more energetic. Nevertheless, Pike as Miranda Frost and Yune as Zao more than compensate for Stephens’ shortcomings. Pike makes Miranda an appropriately cryptic character, her bitter demeanor towards 007 a sign of either distrust or secrecy. The tall, handsome Yune spends much of the film with his sparkling blemish to accommodate his pale skin, icy blue eyes and lack of eyebrows (the aftereffect of undergoing gene therapy). He’s a formidable opponent worthy of Bond.


There are numerous references to other films in the Bond series, the most notable being previously used gadgets clearly visible when Bond is with Q (e.g., the bladed shoe from 1963’s From Russia with Love, the crocodile sub in 1983’s Octopussy, and the breathing apparatus from Thunderball, the latter which 007 uses in Die Another Day), Jinx’ emergence from the ocean echoing Honey Rider (Ursula Andress) in Dr. No (1962), and the NSA agent also bound and threatened with a laser, much like 007 in Goldfinger. In the script, elements of Ian Fleming’s novel, Moonraker, were incorporated, mostly pertaining to the villains. Additionally, Colonel Tan-Sun Moon’s name was likely inspired by the titular character in 1968’s Colonel Sun, written by Kingsley Amis (under the pseudonym of Robert Markham), the first Bond novel published after Fleming’s death, and the only one, discounting novelizations, until John Gardner continued the series in 1981.

Q supplies Bond with a sublime Aston Martin Vanquish, and 007 is eventually pursued by Zao in a Jaguar XKR. Both cars are, of course, outfitted excessively with munitions. Not to be outdone, Jinx drives a 2003 Ford Thunderbird, an elegant beauty on four wheels which is either unarmed or simply not given a chance to blow anything up. Ford released a limited edition 007 Thunderbird similar to Jinx’ car but with a slight difference: Her car was coral throughout (the color as described by the manufacturer, though it looks burgundy to match her attire), while the limited edition T-Bird had a white hardtop.

The film’s title song was performed by Madonna, who has a cameo as a fencing instructor. The opening credits differ from other Bond movies, as the focus is less on the sensuality of the series, and more on 007’s 14-month interrogation, consisting of regular beatings courtesy of the North Korean soldiers. Furthermore, the only soldier shown in clear detail is a beautiful female whom Bond sees when first taken into the room that will be his prison. She’s seen again during the credits, a reversal of sorts, as she seems to represent the lovely ladies typically the target of the spy’s philandering ways and at whose hands Bond is now suffering.

This was the second Bond film for John Cleese and the first movie without Desmond Llewelyn as Q since he debuted in the second of the series, From Russia with Love (with the exception of 1973’s Live and Let Die, in which Q does not appear). Though Cleese is credited in Die Another Day as Q (since it merely signifies his position), Bond never refers to him as such, only calling him Quartermaster. To date, the character of Q has not appeared in the Bond films with Daniel Craig.

On the plane ride to London, Bond is served a martini by a flight attendant played by Deborah Moore, daughter of previous 007 Roger Moore. The same year as Die Another Day, Hong Kong star Kenneth Tsang appeared in The Touch with Bond Girl, Michelle Yeoh, the two actors also sharing scenes with Jackie Chan in Police Story III: Supercop (1992).

This was the final film for Pierce Brosnan. Following Die Another Day, most presumed that the actor would be appearing in a fifth film, as audiences remained responsive to his portrayal of 007. However, amidst rumors of the studio prospecting for a young actor in the role (though Brosnan was only 49 in 2002, compared to Roger Moore, who announced his retirement at the age of 58), Brosnan left the series, or at least publicly stated that he was doing so. In the press, the actor cordially supported Daniel Craig’s casting. Brosnan will be remembered as a dashing, incomparable spy, and a distinguished actor whose portrayal of 007 will be forever ingrained in viewers’ hearts and minds.

My wife and I are fans of Die Another Day: the consistently impressive Brosnan, Berry as the resilient and self-assured Jinx, an imposing and vicious scoundrel in the form of Zao, and the reliable M, Q, Miss Moneypenny (Samantha Bond), and action set pieces. It is unquestionably flawed, and some critics boil grievances down to a singular component: the optional cloaking device for the Aston Martin Vanquish, allowing the vehicle to disappear. But if I have the choice between watching the Vanquish vanish, watching 007 float aimlessly in outer space (1979’s Moonraker) or watching the pale British agent pass for a Japanese man with bushy eyebrows (1967’s You Only Live Twice), I’ll take the invisible car.

Bond Is Forever will return next month with A View to a Kill (1985).

Bond Is Forever: “Octopussy”

MI6 agent 009 is killed in the course of an assignment, but manages to reach friendly territory before collapsing, where a Fabergé egg is found on his person. The egg is a “near perfect forgery,” while the genuine item is scheduled to be auctioned. James Bond (Roger Moore) and an art expert attend the auction with the hopes of locating the seller. Their intrigue is piqued, however, by Kamal Khan (Louis Jourdan), a notoriously shady seller, who is overbidding for the item in question. Bond bids against him before eventually succumbing and, for good measure, swaps the real egg with the forgery. The agent follows Kamal to Delhi, India, where Bond initiates contact and flaunts that he possesses the real Fabergé egg at a backgammon table. Not surprisingly, Bond incurs Kamal’s wrath and sidesteps bullets, throwing knives and the occasional scimitar. With the belief that the forgeries are funding the Russians, 007 ultimately finds his way to an island of exclusively women, part of a “cult” with members signified by a blue-ringed octopus tattoo and ruled by an enigmatic jewel smuggler known as Octopussy (Maud Adams).

Octopussy (1983) was the second film of the series for director John Glen and also the second appearance for actress Adams, who first starred in 1974’s The Man with the Golden Gun. Octopussy is best remembered -- aside from a title that makes most people blush -- for its release in the same year as an “unofficial” Bond film, Never Say Never Again, starring Sean Connery as 007. The latter film was brought to the screen by producer Kevin McClory, who had worked with Bond creator Ian Fleming and Jack Whittingham on an original story for 007’s cinematic debut. The project was abandoned, resulting in Fleming’s Thunderball, which, in turn, resulted in seemingly endless legal disputes. McClory and Whittingham received credit for additional printings of the novel, as well as the 1965 Broccoli/Saltzman adaptation, and McClory was allowed to make his own version of the movie. The year of 1983 became known as the “Battle of the Bonds.” Both movies performed well, although Octopussy ended with a slight lead, making it into the Top 10 films that year in the U.S. Never Say Never Again performed well and reached the Top 20. (For more on the Thunderball legal wrangling, read about the 1965 film.)


A substantial entry in the series, Octopussy retains a energetic style throughout, and Moore, in his sixth turn as the beloved spy, is just as diverting as when he first stepped into the role. Following the previous Bond film, For Your Eyes Only, in 1981, Moore had technically fulfilled his contract, and EON Productions searched for an actor to portray 007. American actor James Brolin filmed screen tests, including one with Maud Adams (in a scene from 1963’s From Russia with Love) and another with Vijay Amritraj, who stars in Octopussy as Bond’s ally in India. Moore, however, was reportedly asked to return to battle any competition from Never Say Never Again and Connery, the cinematic Bond original. Like the solid For Your Eyes Only, Octopussy keeps the gadgets to a minimum -- the highlight of Q’s (Desmond Llewelyn) anticipated “presentation” of gadgetry is a simple tracking device. In a particularly entertaining sequence, Bond manages to board a speeding train, conceal himself inside a compartment to attain details of a criminal plot, and combat a henchman atop the train still in motion, with nothing more than his expertise and a little savoir-faire.

Louis Jourdan is a charming villain as Kamal, a ferocity teeming just below his handsome exterior. His casual discussion of the manner in which he would torture Bond for information, all while Kamal enjoys a souffle, is both alluring and darkly humorous. Bond’s initial contact in India is Vijay, who’s posing as a snake charmer and plays the Bond theme on the recorder to catch the agent’s attention. Vijay is a delightful supporting character, adept and, like 007, not unaccustomed to fashionable attire. Actor Amritraj was a professional tennis player (as were his brothers, Anand and Ashok), and, in one of the film’s better scenes, he drives an auto rickshaw (with Bond as his passenger) in a high-speed pursuit down Indian streets while simultaneously keeping villains at bay with a tennis racket. Actor Llewelyn is, as per usual, irresistible as Q and has one of the film’s best lines, spoken to Bond after the MI6 agent asks Q to repair a hole in his jacket: “They missed you. What a pity!”

In spite of its ingenuity, Octopussy does stumble before making it to the closing credits. The most significant drawback of the film is its length. It might have benefited from an abridgement, especially considering that the basic plot is finished with approximately 40 minutes remaining, almost giving the impression that the filmmakers were biding their time until they made it to an excess of two hours. There is additionally a rather asinine sequence of Bond being hunted in the jungle, facing such perils as spiders, a snake and a tiger, and all of it culminating in 007 swinging on vines with the Tarzan cry.

Bernard Lee, who had played M in the first 11 movies of the Bond series, died while For Your Eyes Only was being made. M was written out of that film, and Octopussy marks the debut for Robert Brown in the role. Michaela Clavell plays Penelope Smallbone, apparently intended to succeed Miss Moneypenny. However, Lois Maxwell, who’d played Moneypenny in all Bond films up to and including Octopussy, would reprise her role (with no Penelope in sight) for the 14th and final time in A View to a Kill (1985), retiring from the series along with Roger Moore. (Clavell was the daughter of author and filmmaker James Clavell, whose work included writing, directing and producing 1966’s To Sir, With Love.)

The song that opens the film is “All Time High”, sung by Rita Coolidge and written by composer John Barry and award-winning lyricist Tim Rice, who is a frequent collaborator with Andrew Lloyd Weber. It’s a lovely number, reinforced by Coolidge’s warm and resonant voice. At the film’s end, a disclaimer insists that “James Bond Will Return in ‘From a View to a Kill.’” He did indeed, but with a minor title revision.

The title of the movie was taken from a Fleming short story, appearing in the collection, Octopussy and the Living Daylights (sometimes published with a condensed title of Octopussy). In the film, Octopussy reminds Bond of a previous mission involving a Major Smythe (her father), and the assignment to which she’s referring is the plot of Fleming’s short story. The film’s dramatic jumping board -- villains securing funds during auctions -- was taken from another short story, “The Property of a Lady”, which is included in the same collection (although not in the original 1966 edition). The title of said story is referenced in the film as the anonymous seller of the Fabergé egg. Additionally, Bond exposes Kamal’s loaded dice at backgammon and uses them to win a hand, to which Kamal responds by suggesting that he spend his winnings quickly. A similar scene and similar warning occur in the novel, Moonraker, when Bond swindles the cheating Hugo Drax at a card game.

Certainly not as strong as other Bond outings with Moore, such as The Spy Who Loved Me (1977) and For Your Eyes Only, Octopussy will nonetheless quench a 007 thirst. Along the way, fans will find accomplished stars and noteworthy action scenes. And most viewers will welcome the opportunity to watch Octopussy’s girls employ their skills as circus performers or a villain treat a circular saw like a yo-yo.

Bond Is Forever will return next month with Die Another Day (2002).

Bond Is Forever: “Licence to Kill”

When a rare opportunity to ensnare drug lord Sanchez (Robert Davi) is presented, CIA agent Felix Leiter (David Hedison) is called away on his wedding day, with his best man, MI6 operative James Bond (Timothy Dalton), in tow as an “observer.” Sanchez is captured, and the two men make it to the chapel in time by parachuting. Good cheer, however, is short lived, as the criminal circumvents his route to prison and retaliates by murdering Leiter’s bride and leaving the agent critically injured. An enraged 007 initiates a personal investigation, and when MI6 head M recognizes some of Bond’s handiwork, he demands that Bond handle his officially sanctioned assignment in Istanbul. When Bond threatens to resign, M revokes his licence to kill, but rather than surrendering his Walther PPK, 007 goes rogue. Bond’s legwork leads him to a CIA agent and former Army pilot, Pam Bouvier (Carey Lowell), who had been working with Leiter. Targeting Sanchez, Bond and Bouvier receive help from unlikely allies, including Sanchez’ captive but defiant girlfriend, Lupe Lamora (Talisa Soto), and weapons expert Q (Desmond Llewelyn), whose recruitment into 007’s unauthorized mission allows him to work in the field.

Licence to Kill (1989) was director John Glen’s final Bond film. He had directed five consecutive films and also worked in the capacity of editor in the 007 series. Likewise, Licence to Kill was the second and last film for Timothy Dalton as the cinematic spy. Dalton was contracted for a third movie but relinquished the role after a lengthy delay in the series (see GoldenEye for additional information). Others not returning to the 007 series were Robert Brown as M, Caroline Bliss as Miss Moneypenny, title designer Maurice Binder, director of photography Alec Mills, and screenwriter Richard Maibaum, all of whom had worked on previous movies. Binder had died before the subsequent Bond film went into production. Though credited in Licence to Kill, Maibaum left the writing process early due to a WGA (Writers Guild of America) strike.

Licence to Kill was well received critically but performed poorly at the U.S. box office. As of 2011, it remains the weakest of the Bond series in terms of theatrical revenue in the States, though it was successful in other countries. The lackluster audience response is attributed to the break in the discernible Bond format, as 007 becomes a rogue agent and is engaged in what M rightly calls a “personal vendetta.” Without MI6 regulations, Bond will occasionally act on impulse, such as singling out a specific villain directly responsible for a friend’s death and flagrantly shooting a harpoon into his chest.

A closer examination, however, will bring to light familiar Bond terrain, as well as tying together elements of Licence to Kill with the remainder of the series. Though Dalton’s Bond is slightly more unrefined than other interpretations, he retains an elegant quality. In this film, he still wears a tuxedo, masters a casino blackjack table, and orders his martini shaken, not stirred. Comparatively, his female equivalent, Pam Bouvier, deftly infuses style and violence, sitting in a bar with a shotgun under the table and adorned in a shimmering gown with a Beretta strapped to her thigh. Q’s involvement may be off the books (stating he was enlisted to help by a worried Moneypenny), but he arrives with a case of gadgets with which to outfit the agent. Bond additionally focuses on the investigatory aspects of the case, more in tune with Fleming’s novels and films such as Dr. No (1962) and For Your Eyes Only (1981). He studies Sanchez and his men, cautiously impregnates Sanchez’ organization, and tactfully sows the seeds of distrust among the villains.

In the same manner, Bond working on his own does not stray far from the previous Bond movies. At no point in the series is Bond ever made to look like a scrupulous agent. The agent’s persona is based on his penchant for a playboy lifestyle, enjoying the wealth and women associated with his career. This is sometimes at the expense of his assignment, such as his baseless seduction of Solitaire in Live and Let Die (1973). In other movies, 007 is working without MI6’s consent, like in Thunderball (1965), when a simple retreat to a health clinic melds into Bond nosing around the building -- he has to make a request before he is part of the mission. Despite his rank as a Commander of the Royal Navy and his double-0 status, Bond has always given the impression of being a sole agent. When he has found a stable partner, Tracy, in On Her Majesty’s Secret Service (1969), he leaves MI6, an act which he had also contemplated -- for the same reason -- in his novel debut, Ian Fleming’s Casino Royale (which likewise carried over to the 2006 adaptation). This reaffirms a carefree existence, that he will remain an agent insofar as it does not affect his personal life.

Licence to Kill is bolstered by a strong cast. Lowell is a phenomenal Bond Girl as Pam Bouvier. She’s vigorous, intelligent and capable, and undeniably beguiling, expertly reciting the provocative line, “Sweet dreams, Mr. Bond,” denying him a second night with her by shutting her bedroom doors. Lowell displays solid chemistry with Dalton, and Pam’s scenes with 007 almost play like romantic interludes. The actress would garner further attention with her role as the Assistant DA for two seasons of the long-running TV series, Law & Order. Davi excels at playing villains and/or tough guy roles. His characters often come across as seasoned and hardhearted, so that the villains are defined by story and not by a shallow performance, and such is the case with his compelling portrayal of Sanchez. Desmond Llewelyn gets more screen time in Licence to Kill than other movies, and it’s a welcome extension. Benicio del Toro has an early role as Dario, a Sanchez henchman, and del Toro makes his mark with an impeccable presence. He had debuted just the year before in Big Top Pee-wee, and he would follow Licence to Kill with award-winning performances in films such as The Usual Suspects (1995), Traffic (2000) and 21 Grams (2003). The only drawback to the otherwise notable performances is Talisa Soto, who is unfortunately squandered in the static role of Lupe.

Licence to Kill was plagued with production problems. It was originally set in China, but having to film in Mexico to save money forced the narrative to shift to South America. While filming in Mexico, the crew endured what they described as a “haunted” stretch of road, burdened by numerous accidents (though one of them, in which a semi-truck slammed into another, looked good enough to work into the storyline). There was also the aforementioned WGA strike that took place while scripting the film, and producer Albert “Cubby” Broccoli became ill while visiting the set in Mexico and had to return to the U.S.

David Hedison was the first actor in the Bond series to reprise his role of Felix Leiter. He had initially portrayed the character in Live and Let Die with Roger Moore. Interestingly, the manner in which Leiter is injured in Licence to Kill was taken from Fleming’s novel, Live and Let Die, a scene that was dropped from the 1973 adaptation. Though Licence to Kill was the first Bond film to not use an Ian Fleming title, it continued using the author’s work as a source. In addition to the Live and Let Die plot device, the 1989 movie features the villain, Milton Krest (Anthony Zerbe), who, along with his yacht, Wavekrest, appeared in Fleming’s short story, “The Hildebrand Rarity”, from the collection, For Your Eyes Only. In the same story, Krest punishes his wife by whipping her, similar to Sanchez’ punishment of Lupe in Licence to Kill.

The original title of Licence to Kill was Licence Revoked. According to the director, MGM requested the change, fearing that U.S. audiences would not comprehend the meaning of “revoked.” On the other hand, some have suggested that viewers in the U.S. would associate a revoked license with loss of driving privileges.


The title song was reportedly based in part on “Goldfinger” and consequently sounds derivative and a little bland. Gladys Knight’s vocals, on the contrary, are superb and enhance the opening credits sequence. The song was a Top Ten hit single in the UK and Germany.

In the film, Bond meets M at the Hemingway House in Key West, leading to a joke from 007 when he is told to hand over his weapon (“A farewell to arms,” he says with a smirk). In the same scene, M is introduced without his face shown and surrounded by cats, a knowing allusion to Bond’s multi-movie nemesis, Blofeld.

Davi and Grand L. Bush, who plays a DEA agent in Licence to Kill, had appeared together the previous year in John McTiernan’s popular Die Hard, as Special Agent Johnson and Agent Johnson (“No relation”). Composer Michael Kamen, who worked on Licence to Kill, also wrote the score for Die Hard.

Director Glen has stated that he wanted to implement a “harder edge” in Licence to Kill. He more than accomplished his goal, with a somewhat bloodthirsty 007 more inclined to destroying evidence out of spite than collecting it to warrant a conviction. Some have questioned the MI6 agent’s motivation in Licence to Kill with a lack of an established relationship between Bond and the man on whose behalf he is seeking vengeance. Such a criticism not only neglects the two characters’ close ties originated in Fleming’s novels, but also overlooks what the film is addressing: Bond’s apathy in dealing with deaths in previous films. It’s refreshing to see 007 take something personally, to react violently and only consider the consequences afterward. Most importantly is the correlation between Leiter’s marriage and Bond’s own to Tracy, directly (and subtly) acknowledged in Licence to Kill. All of it instills within the spy a human quality with which to garner viewers’ sympathy.

After repeated viewings, Licence to Kill has become one of my favorite Bond films. I urge others to watch it even if they have already done so, as it is an exceptional entry in the 007 series.

Bond Is Forever will return next month with Octopussy (1983).