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).

Michele Monro Talks with the Cafe about "The Singer's Singer: The Life and Music of Matt Monro"

Michele Monro, daughter of British singer Matt Monro, sat down recently to chat with the Cafe about her new biography of her father. Famous for 1960s hit records such as "Portrait of My Love" and "My Kind of Girl," Matt Monro was also widely known for singing on the soundtracks to films like Born Free, From Russia With Love, and The Quiller Memorandum.

Cafe:  Your father was born Terence Edward Parsons  How did Terry Parsons come to be known as Matt Monro?

Michele Monro:  Less than six weeks after signing his recording contract, Terry was booked in at the studios to cut his debut album Blue and Sentimental with The Malcolm Lockyer Orchestra.  Decca Records soon decided Terence Edward Parsons needed a different name for his recording career and it took a matter of minutes to choose. ‘Matt’, taken from Matt White, an Australian Fleet Street journalist who worked for the Daily Sketch at the time and had written a centre-page spread of adulation about the singing bus driver, and ‘Monro’, from pianist Winnie Atwell’s father, Monro Atwell. Matt Monro was born. In later years, Matt’s name was legally changed, but the constant misspelling came to irk him; it was either spelled Munro, Monroe or even Munrowe, sometimes as many as three different ways within the same article.

Cafe:  Most film fans remember Don Black as the lyricist of classic  movie songs like "Born Free" and "Diamonds Are Forever." What  different job did he perform for Matt Monro?

Michele:  Don Black met Matt Monro while working as a music plugger in Tin Pan Alley and they immediately became firm friends. Matt encouraged his friend to write at every opportunity and even recorded a plethora of the budding lyricist’s songs in order to give him a boost. When Matt hit it big with "Portrait of My Love," he asked Don to leave his job and come on board as his manager. It was a successful relationship and the job role gave Don ample opportunity to continue writing.

Cafe:  What role did Peter Sellers and producer George Martin (of  Beatles fame) play in Matt's career?

Matt Monro in concert.

Michele:  In autumn 1959, George Martin rang Matt’s wife  Mickie and told her about a small job he had which would require the singer to record a take-off of Frank Sinatra. A song had been written for the opening track on the second Peter Sellers album he was working on and the intention was that Sellers should sing it with a voice as near as possible to Sinatra’s. Although Peter couldn’t sing terribly well, it was thought he could use his great powers of mimicry so that it would actually sound like someone doing an impression of Sinatra, adding comic significance to the title of the LP, Songs for Swingin’ Sellers. However, Sellers was doubtful that he could pull off the task, admitting that he could manage ordinary impressions but not vocal ones. Although he wanted to phrase it like Sinatra would, he didn’t know how to achieve the effect. George’s solution was to look for someone who had a voice like Sinatra--he didn’t want an impression but to hear it sung the way that Sinatra might sing it.

Matt did the job and he did it well and upon hearing the recording, Sellers--a master of impersonation--admitted he could never approach Sinatra’s style so accurately or do such justice to the song. He thought the test number was great and suggested they use Matt’s version as the opening track on the album under the guise of a pseudonym – Fred Flange. Released at the end of 1959 with the memorable album cover featuring a body hanging from a tree, it caused something of a furor in professional circles. Parlophone Records was besieged with phone calls and letters, with record buyers and press wanting to know who the mystery singer was. Once the true identity of the impersonator got out, the industry tabloids were awash with admiration and offers to give Monro work flooded in.

Cafe:  Matt met a dozens of other big stars during his frequent television  appearances on television series like The Ed Sullivan Show. Who were some  of his favorite singers?

Tom Jones and Matt Monro.

Michele:  Matt adored working with his mentor Winnie Atwell. She had a certain  funk going on that he loved and of course Tony Bennett and Sammy Davis ranked highly on his list. He loved them as people and to him that was important because they gave their music heart and soul. He would have given his right arm towork with Sinatra, but something always conspired to get in the way. He actually had the opportunity of  signing with Reprise and he would have jumped at the chance had it not been for his advisors. They read more into it that just an innocent  offer--had my father signed with the company they could in fact have prevented him from recording at all. Some thought they wanted this so Sinatra had no competition--but like so many rumors--they were without substance.

Cafe:  The Oscar-winning song "Born Free"--written by John  Barry & Don Black and sung by Matt-- was cut from the movie at one point. What's the story behind that?

Michele:  Matt’s first single for Capitol was one of the songs he will forever be associated with. Producer Carl Foreman had partnered with Columbia to film Born Free, a simple tale about lions in captivity and John Barry and Don Black were chosen to compose the music

Foreman disliked the finished song immensely, feeling the lyrics should centre around and encompass the lions themselves. However, Barry somehow persuaded the producer to stick with his vision. It should have gone smoothly from then on, but Foreman kept changing his mind on whether the film should even have a title song and thought Don’s lyrics were too much of a social comment.  Barry and Black fought for their corner vigorously and thought they had won the battle with the producer, but they were in for an unpleasant surprise.

Matt attended the Royal première of Born Free at London’s Odeon Leicester Square and it wasn’t long before Don received an anguished call from the singer telling him they’d cut the song from the final cut of the movie.  Carl Foreman had approached Matt in the lobby after the film’s closing credits and apologised for the omission. He explained that they’d dropped the first reel of the movie and fractured the film so the soundtrack couldn't be used. But the truth was that he thought it was in the film’s best interest to drop the song and he’d gone back into the cutting room and re-edited the film, removing the song and replacing it with an orchestral version for the opening.

The trio were apoplectic, but Foreman was adamant that his decision wouldn’t be reversed. However, as it transpired "Born Free" had rocketed up the American charts and the Roger Williams orchestral version, complete with backing choir, was now sitting in the number one position. Carl Foreman couldn’t justify his decision any longer--he had to reverse it. For a song to be eligible for an Academy Award, it had to be featured in every print of the film. The heads of Columbia, the publishers, Screen Gems and the producers all clamoured to reclaim every piece of celluloid that had been distributed, so as to put the song back in, spending vast sums of money on an Oscar campaign to promote the new version. In 1966, both the song "Born Free" and John Barry’s score won Academy Awards.

Part 2 of this interview will be published on Wednesday.

Black & white photos are from The Singer’s Singer: The Life and Music of Matt Monro © 2012 Michele Monro. Titan Books provided a review copy to the Classic Film & TV Cafe.