Ranking All 25 James Bond Films from Best to Worst

Sean Connery as the movies' first 007.

I originally ranked the first 22 James Bond films back in 2008. After recently watching No Time to Die, I thought it'd be interesting to review my list and update it to include all 25 Bond movies. Surprisingly, my rankings stayed much pretty the same. The two biggest movers were License to Kill and Quantum of Solace, two offbeat series entries which have improved with age. In the list below, the hyperlinks lead to in-depth film reviews by former Café staff writer Sarkoffagus. His assessment of a movie may not always be consistent with mine.

1. Goldfinger (1964) – The ultimate 007 film: terrific pre-title sequence, memorable song, worthy adversaries (Goldfinger and Oddjob), strong women, fun gadgets, clever plot, right mix of humor and action, Shirley Bassey's booming vovals on the title track, and Connery in peak form. Need I say more?

Roger Moore in Spy.

2. The Spy Who Loved Me (1977) – As a fan of The Saint TV series, I thought Roger Moore would be an ideal Bond. But his first two entries had me re-evaluating that assessment; fortunately, this one restored my faith in Roger. He seems incredibly comfortable in the role for the first time. The film also benefits from lush scenery, the most famous henchman of the series, a great Carly Simon song, and Caroline Munro & Barbara Bach (did she ever make another decent film?). I only wish Stromberg was a more compelling villain.

3. From Russia With Love (1963) – Connery’s second-best entry features the meatiest plot of any Bond film. It introduces the trademark gadgets with 007’s versatile attaché case. Lotte Lenya and Robert Shaw (in freaky white hair) score as the villains. The close quarters fight on the train between Bond and Shaw’s henchman is one of the best in the series.

Lazenzy in his solo series entry.

4. On Her Majesty’s Secret Service (1969) – OK, so George Lazenby made a pretty bland Bond. The rest of the film more than compensates for the lack of a dynamic lead. We get Diana Rigg (truly worthy of being Mrs. Bond), a snowy mountaintop headquarters for Blofeld, and some of the most memorable action sequences in the whole series.  Director Peter Hunt, a former editor, was far ahead of his time with his quick-cutting fight scenes. I love the John Barry title theme, but am not a fan of the closing song warbled by Louis Armstrong. Composer John Barry loved it, though, and the song resurfaces in No Time to Die.

5. Casino Royale (2006) – Daniel Craig's first 007 outing remains his best. It’s a muscular Bond film in every way. I even think the poker game—often criticized as the lull point in the film—is exciting. The torture scene goes on too long, but that’s my only qualm. Eva Green easily convinces us why Bond is smitten with Vesper Lynd and Le Chiffre is a worthy 007 adversary. Craig brought an edge to 007 that had been missing since Goldfinger (except perhaps for a brief flare-up in Licence to Kill).

Dalton was growing in the role.

6. Licence to Kill (1989) – It took me several years to warm up to this one. It’s basically a revenge tale and that’s what disappointed me at first. But I later came to appreciate its uniqueness from other Bond films. It’s too bad Timothy Dalton didn’t appear as 007 again. Like Roger Moore before him, I think Dalton was growing into the role and might have had a breakout with his third film. The title song, sung by Gladys Knight, is an underrated gem.

7. The World Is Not Enough (1999) – All right, Denise Richards wasn’t convincing as a physicist and is saddled with the worst name of any Bond character (Christmas Jones, really?). However, we still get Pierce Brosnan in his best 007 outing, along with a great plot twist, a breathtaking pre-title sequence, and strong performances from everyone not named Denise.

Craig as the "blonde Bond."

8. Skyfall (2012) – Daniel Craig’s second Bond film delves deeply into the complex relationship between 007 and M (Judi Dench). That, along with a nail-biting chase through the London Underground, elevate Skyfall into the top third of the Bond filmography. It would rank even higher if it didn't dip into self-importance and borrow Bond’s last stand climax from The Bourne Identity (2002). Adele’s title song is one of the better later themes.

9. For Your Eyes Only (1981) – This was a pivotal entry because it righted the ship after Moonraker steered the series too far into comedy. It’s almost too low-key compared to others, but that works in its favor. Carole Bouquet, Topol, and Julian Glover boost this outing with convincing performances (although former ice-skater Lynn-Holly Johnson is a distraction).

10. Thunderball (1965) – It features most of the virtues of Goldfinger, but has too much of each of them. For me, it verges on being over-the-top, but that’s not to say it isn’t a lot of fun (especially Luciana Paluzzi who steals the film from pretty, but dull heroine Claudine Auger). The underwater climax should be exciting, but everyone moves slower in the water!

Ursula Andress in Dr. No.

11. Dr. No (1962) – The series’ first entry is enjoyable from a historical perspective. It takes awhile to really get going, but Joseph Wiseman sets the standard for Bond villains and Ursula Andress makes the most memorable entrance of any Bond heroine (so much so that Halle Berry pays homage to it in Die Another Day).

12. Octopussy (1983) – This solid outing benefits from Maud Adams in the title role (in her second 007 film) and more screen time for Q. The circus setting near the climax is certainly unusual, but who wants to see James Bond in clown make-up? John Barry’s “All Time High” is easiest his weakest title song.

Pierce Brosnan.

13. Tomorrow Never Dies (1997) – It initially works in fits and starts, but finally gains momentum once Michelle Yeoh’s character gets paired with Bond. Their action scenes are dynamite and their chemistry keeps the plot perking along.

14. The Man With the Golden Gun (1974) – This entry is a hodgepodge that balances Britt Ekland’s bubble-headed heroine and the unnecessary return of Clifton James’ J.W. Pepper with Christopher Lee’s delightful turn as the high-paid assassin Scaramanga and Lulu's blistering version of the title song. I probably rate it higher than most people—but the bottom line, for me, is that it’s consistently entertaining.

Charles Gray as Blofeld.

15. Diamonds Are Forever (1971) – Connery’s much-publicized return after a one-film absence results in a lightweight affair where everyone seems to be having a grand time. Charles Gray steals the film as Blofeld, but, in all honesty, the supporting characters are the attraction here. Who can forget Bond fighting Bambi and Thumper and the amusing dialogue exchanges between henchmen Mr. Wint and Mr. Kidd?

16. Quantum of Solace (2008) – It’s a grim, violent revenge picture from start to finish. It’s imperative that you watch it immediately after Casino Royale, because that film establishes the motivations for Bond’s actions. The first time I saw it, I was unimpressed. However, it has improved with subsequent viewings, likely because I watched it and Casino Royale back-to-back. I also like that it’s an efficient action film (the shortest running time in the series) and Bond’s relationship with the heroine is all business. 

17. No Time to Die (2021) – This fitting conclusion to Daniel Craig’s five Bond pictures starts off promisingly with two gripping pre-title sequences. Once the dust settles, it focuses on Bond trying to find his place in the world as he comes out of retirement to help CIA friend Felix Leiter. Much time is spent on the relationship between Bond and his one-time love Madeleine—who harbors two big secrets. There are some fine set pieces and several delightful homages to previous 007 films. However, Craig and lead actress Léa Seydoux lack chemistry and Rami Malek’s weak villain seems to be channeling Peter Lorre…in a bad way.

Donald Pleasance as the best Blofeld.

18. You Only Live Twice (1967) – Donald Pleasance gets high marks as the series’ best Blofeld and his volcano headquarters (courtesy of set designer Ken Adam) is ingenious. On the downside, Connery looks tired and the climax is a letdown.

19. GoldenEye (1995) – This lackluster debut for Pierce Brosnan has its fans and was a big hit.  However, it feels like a mash-up of previous Bond films. Its highlights are Brosnan, who brought some panache in his 007 interpretation, and Sean Bean as the villain, a former MI6 agent bent on revenge. Incidentally, the GoldenEye video game is famous in its own right and is a personal favorite.

Judi Dench as M.

20. Spectre (2015) – Its first half is full of promise as a posthumous message from M sends James on a mission to expose a mysterious criminal organization. Unfortunately, the second half collapses under its own weight with the revelation that Bond’s evil foster brother is behind every bad thing in 007’s life. It’s a shame because Christoph Waltz is an excellent modern-day Blofeld and the story didn’t need to connect him to Bond.

21. Live and Let Die (1973) – I remember Roger Moore being interviewed when this came out and commenting that Bond films consisted solely of connected chase scenes. Well, the best ones do have a plot! But Live and Let Die has minimal plot and indeed features a ton of chase scenes, most of which are silly (Sheriff J.W. Pepper did not belong in a 007 film!). Yaphet Kotto makes a memorable villain, but needs more to do.

Richard Kiel as Jaws.

22. Moonraker (1979) – I first saw this film at wonderful time in my life and that probably shades my assessment (otherwise, it might be ranked lower). There’s little to recommend it: it’s too spoofy (e.g., the silly use of The Magnificent Seven theme) and it transforms Jaws from bad guy to good guy…with a love interest no less.

23. The Living Daylights (1987) – One of my nephews likes this one and says I need to see it again. I recall it being an uninspired affair except for Dalton, who brought some energy back to the role.

24. A View to a Kill (1985) – It’s hard to decide what’s worse: Christopher Walken’s incredibly campy villain, Tanya Roberts’ non-performance as the heroine, or the fact that Roger Moore seems to be walking through his role. On the plus side, John Barry and Duran Duran collaborated to compose one of the best James Bond title songs--and the only one to hit #1 on the Billboard Hot 100 chart.

25. Die Another Day (2002) – An invisible car? A female spy that’s the equal of Bond? Madonna as a fencing master? These are indications that the producers and writers had run out of ideas and ingenuity. The decision to reboot the franchise with Craig? Excellent!

Five Movie Props I'd Like to Own (Volume I)

1. Larry Talbot's Cane from The Wolf Man. My interest in this prop isn't because I'm a huge fan of the movie. Don't get me wrong...I like The Wolf Man, but it wouldn't rank among my top 5 Universal horror classics. However, Larry's wolf-head silver cane--which ultimately becomes the weapon used to kill him--is just so cool. The actual prop was made of cast rubber and painted silver. Bob Burns, who has amassed a treasure trove of movie props, owns the original. Universal make-up artist and prop master Ellis Berman gave him the cane in 1948 when Bob was 13. You can buy replicas of it now.

2. Charles Foster Kane's Snow Globe from Citizen Kane. Yes, the Rosebud sled is the most famous prop from the movie, but let's be honest, I don't know where I'd store a sled. The globe, with its little snow-covered house, figures into one of the film's most iconic scenes as it falls from Kane's hand to the floor and smashes. You can buy a replica of it, too, for under $40.

3. The Portrait from Laura. Who wouldn't want the famous painting of Gene Tierney hanging over their fireplace? Actually, it's not technically a painting. Director Otto Preminger didn't think portraits photographed well, so he had a photo of Gene Tierney "smeared with oil paint to soften the outlines." The "portrait" was used in two other films as well: On the Riviera (1951) (in which you can see it in color) and Woman's World (1954)--which doesn't even star Gene Tierney.

4. The Maltese Falcon sculpture. It may be the second most famous prop in movie history (topped only by the ruby slippers). A Las Vegas hotel magnate bought the original Falcon at auction in 2013 for $4.1 million. That put it way out of my price range! However, Vanity Fair later published an interesting article about other supposedly real Falcons used in the movie, too. It's all very mysterious. I'd like one, but, heck, even a solid resin knockoff on Amazon runs around $119. That's not what my dreams are made of.

5. The Hourglass from The Wizard of Oz. Naturally, I thought about the ruby slippers and I even considered the big crystal globe in which the Witch spies on Dorothy. In the end, though, I opted for the hourglass because it scared the crap out of me as a kid when the Witch turned it over and told Dorothy: "Do you see that? That's how much longer you've got to be alive. And it isn't long, my pretty. It isn't long."

The Liquidator: "Life is not all sex and sun lamps"

One of the first spy spoofs in the wake of Goldfinger (1964), The Liquidator stars Rod Taylor as Boysie Oakes, a reluctant secret agent--or assassin, to be more precise. Boysie enjoys the swinging bachelor pad, the expensive sports car, and the ladies that come with the job. He just doesn't like the killing. So, he sub-contracts out his targets to Mr. Griffen, an efficient blue-collar contract killer. This arrangement works out well until a weekend vacation in Monte Carlo reveals that someone is using Boysie as a pawn in an espionage plot to steal an experimental aircraft.

The Liquidator is an amusing film that borders on satire, a contrast to later (and more financially successful) spoofs like Our Man Flint (1966) and the Matt Helm movies. British intelligence head Wilfrid Hyde-White creates Boysie's job because red tape is preventing his department from catching enemy spies legally. Wouldn't it just be easier to have them killed? His second-in-charge, Mostyn (Trevor Howard), has understandable reservations:

Mostyn:  Chief, this is tantamount to murder.

Chief: Then go find a murderer.

Trevor Howard as Mostyn.

Mostyn remembers Boysie from a World War II incident in which the latter saved the former's life by shooting two spies. What Mostyn doesn't know is that Boysie's gun fired when he tripped on some rubble. He finds Boysie in a rural cafe called the Bird Cage (a probable pun since Taylor had appeared in Hitchcock's The Birds two years earlier). The diner actually features colorful birds in a cage, setting up the film's best double entendre involving a buxom young woman and another word for "bird." Boysie is reluctant to leave his current situation, but once he sees his pad--and the pretty interior decorators--he signs all the government documents without reading them.

Rod Taylor and Jill St. John.

Rod Taylor is the perfect choice for the capable, but not always intelligent, Boysie. Indeed, one of my few qualms with The Liquidator is that I wish the hero had been given a few more heroic things to do. I was surprised to learn that MGM considered making a series of Liquidator films. Unless Boysie evolved into a more realistic spy, I couldn't imagine his character sustaining additional installments.

Of course, there were eight Boysie Oakes novels written by John Gardner between 1964 and 1975. Gardner portrayed Oakes as a cowardly anti-Bond who succeeded as a spy in spite of himself. That may have worked on the printed page (and Gardner is a good writer), but I doubt if movie audiences of the 1960s would have embraced the literary Boysie in a film series.

Jill St. John as Iris.

Speaking of 007, The Liquidator shares some interesting connections with the Bond films. Rod Taylor's co-star Jill St. John would portray Tiffany Case in Diamonds Are Forever in 1971. Lalo Schifrin's theme song to The Liquidator is sung by Shirley Bassey, who recorded the Bond title tunes for Goldfinger, Diamonds Are Forever, and Moonraker. Finally, Ian Fleming's publisher selected author John Gardner to write new 007 novels, starting with 1981's Licence Renewed. Gardner went on to write 13 additional Bond books.

The Liquidator lacks the style and wit of my favorite spy spoof--Our Man Flint--but it's a colorful diversion with a good cast and a decidedly different hero. If you're a fan of 1960s cinema (as I am), then you will likely enjoy it. Plus, you can't dislike a movie in which Trevor Howard wisely notes: "Life is not all sex and sun lamps."

The Big Bond (James Bond) Quiz

This should be a pretty easy quiz for 007 fans, but it might be more challenging for others. Since we specialize in pre-1985 films at the Cafe, you won't find many questions about the Dalton, Brosnan, and Craig movies. As always, please don't answer more than 3-4 questions daily, so others can play, too.

1. What's the connection between the Bond songs "The Look of Love" (from 1967's Casino Royale) and "The Spy Who Loved Me"?

2. What TV series had three regular cast members appear in Bond films? Name the performers!

3. What's the connection between the Bond pics and a well-known vegetable?

4. What was the first James Bond title song to hit #1 on Billboard's Hot 100 chart?

5. What Ian Fleming novel has been adapted three times?

6. According to the title song, how much does The Man With the Golden Gun charge for an assassination?

7. What Bond movie was known during its production history as James Bond of the Secret Service and Warhead?

8. Who was the first actress to star in a Hammer movie and appear in a Bond film?

Blofeld (Donald Pleasance) and kitty.

9. What is the breed of Blofeld's cat?

10. What movie featured two Bond girls who were sisters?

11. What was the first Bond film not originally based on an Ian Fleming novel?

12. Name the 007 movies in which James gets married (for real or not).

Lana Wood as Plenty O'Toole.

13. When Plenty O'Toole introduces herself as: "I'm Plenty." in Diamonds Are Forever, what is Bond's response?

14. What was Blofeld's first appearance in the Bond film series?

15. What British actor played a good guy in one Bond film and then a 007 arch-nemesis two films later?

16. Which title songs were warbled by Shirley Bassey?

17. Who was the first singer to appear in the opening credits of a Bond film?

18. In what film is a snippet of the The Magnificent Seven theme played?

He's wearing a hat here.

19. Who was the first actor not to wear a hat during the "gun barrel sequence" that opens every Bond movie?

20. What Bond movie actress is mentioned by name into a famous song popularized in the late 1950s by Bobby Darin?

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: "Live and Let Die"

In the 1960s, Roger Moore was the star of the popular UK series, The Saint. The actor had reportedly been offered the role of James Bond but had to decline. Following On Her Majesty's Secret Service (1969), after George Lazenby assumed that one Bond film would be enough to secure a successful film career (it wasn't), and Sean Connery left the series, believing that 1971's Diamonds Are Forever would be the final time he was to portray 007 (it wasn't), Moore made his Bond debut in 1973 with Live and Let Die.

After three British agents, stationed in New York, New Orleans, and San Monique (an island in the Caribbeans), are murdered, James Bond is sent to investigate. The agent in New York had been keeping an eye on Dr. Kananga (Yaphet Kotto), nefarious dictator of San Monique. Bond is eventually led to the Fillet of Soul restaurant, run by a mysterious man known as Mr. Big, who has at least one additional Fillet of Soul in New Orleans (which, as it happens, was being monitored by one of the deceased agents). Bond gets help from Solitaire (Jane Seymour), a psychic who specializes in Tarot cards and whose gift is often utilized by Kananga. The agent must elude henchmen with metal claws, voodoo rituals, snakes, crocodiles, and an exceptionally annoying Louisiana sheriff.

Live and Let Die was released during the run of blaxploitation films -- movies featuring a predominantly black cast aimed at black audiences. The majority of these films highlighted an urban setting, such as Shaft (1971) with Richard Roundtree, Black Caesar with Fred Williamson and Coffy with Pam Grier (both 1973). Julius Harris, who plays Tee Hee (the aforementioned clawed bad guy), starred in a number of movies of this genre, including Black Caesar, Hell Up in Harlem (1973), and Friday Foster (1975), with Grier and Harris' Live and Let Die co-star, Kotto. Live and Let Die is sometimes criticized for exploiting either the black actors or the genre itself. Such an argument, however, overlooks the strong showings from the supporting cast, particularly Kotto, Harris, and even Earl Jolly Brown as Whisper, who earns his nickname by only speaking in a whispering voice.

Jane Seymour is one of my favorite Bond girls. Solitaire is a dynamic, multi-dimensional character, able to play both sides and keep herself moderately safe. And since Kunanga fully believes in her psychic abilities and Bond needs her assistance in locating Kunanga, Solitaire is a woman on whom both the good guy and the bad guy must rely. Seymour is also incredibly beautiful, and Solitaire seems just a bit out of Bond's league, an idea which is strengthened by the fact that 007 has to employ Tarot-card trickery to get the lady to sleep with him.

In addition to Bond's deception of Solitaire, Live and Let Die does have its flaws. Clifton James stars as J.W. Pepper, the Louisiana sheriff who tries to stop 007 as the agent is chased by Kunanga's men. Pepper was possibly included to add comic relief, but the comedy falls flat, and the sheriff just proves superfluous to a chase sequence that is already overlong. Likewise, the manner in which Bond disposes of the villain is preposterous.
By Live and Let Die, the Bond formula had been solidified. A pre-credit sequence, followed by a title song performed by a popular artist, in this case Paul McCartney and Wings with a wonderfully memorable tune. A beautiful Bond girl, a wealthy, powerful Bond villain, and baddies with colorful names such as Mr. Big and Whisper. And, unlike Dr. No (last month's Bond Is Forever selection), Bond is equipped with gadgets (although Q (Desmond Llewelyn) does not appear in Live and Let Die, he is mentioned by name as M hands 007 a watch loaded with goodies).

There are many familiar faces in this Bond outing. In addition to others mentioned, some viewers may recognize Geoffrey Holder from the 1982 adaptation of Annie. Holder had also starred in commercials for the soft drink, 7-Up, in the 1970s, and was brought back in the '80s after the success of Annie. Fans of the British film studio, Hammer Film Productions, might notice Hammer regular Madeline Smith, who shares Bond's bed at the film's beginning. Smith had significant roles in Taste the Blood of Dracula, The Vampire Lovers (both 1970), and Frankenstein and the Monster from Hell (1974). And perhaps actor Roy Stewart is not well known to Bond fans, but, in Live and Let Die, he is playing Quarrel, Jr., the son of Bond's partner in Dr. No (1962).
George Martin, who produced nearly everything The Beatles recorded, also produced the title song and handled the film's score (which may explain why McCartney's song is incorporated throughout the film). This was the first Bond film not scored by John Barry, who would return the following year for The Man with the Golden Gun. The song, "Live and Let Die", was covered by rock band, Guns n' Roses, for Use Your Illusion I in 1991. The single was a hit, although not as much as the original.

By 1973, David Hedison was the fifth actor to portray CIA agent and Bond friend, Felix Leiter. However, Hedison reprised the role in Licence to Kill in 1989 and, aside from actor Jeffrey Wright (who has starred in 2006's Casino Royale and 2008's Quantum of Solace with Daniel Craig), is the only actor to play Felix more than once.

I would love to hear other people's thoughts on Live and Let Die. Any Solitaire fans? And how about Connery vs. Moore as 007?

Bond Is Forever will return next month with From Russia with Love (1963).

Bond Is Forever: "Dr. No"

Welcome to the first installment of our new Café feature, Bond Is Forever, where the martinis are always shaken, not stirred. I decided to begin with the very first cinematic adaptation of Ian Fleming's superspy, Dr. No (1962).

When a British agent stationed in Jamaica disappears, MI6 agent James Bond (Sean Connery), codename 007, is sent to investigate. Bond learns that the missing agent was collecting mineral samples from Crab Key, a mysterious island from where most people don't seem to return. The spy sneaks onto the island under the cover of darkness to put a stop to Crab Key's inhabitant, the secretive and nefarious Dr. No (Joseph Wiseman).

Dr. No was actually not the first Bond adaptation. For the 1950s TV anthology series, Climax!, Fleming's first 007 novel, Casino Royale, was brought to the little screen. It starred Barry Nelson as American agent, Jimmy Bond. In 1961, Harry Saltzman bought the rights to the James Bond character, with the exception, of course, of Casino Royale, since the rights to the novel had already been sold. The initial concept for Bond's first movie was an original screenplay, not an adaptation. Fleming collaborated with screenwriters, Kevin McClory and Jack Whittingham, but the project was eventually abandoned. The novelist took the story and turned it into a book, Thunderball, which subsequently became the fourth Bond film. This all led to a prolonged legal dispute between the film's producers and the two screenwriters involved. But we can discuss that when we get to Thunderball (1965).

Dr. No is an interesting movie to view retrospectively and compare to later films, especially in light of what would become standard elements of the series. In Bond's first scene, he is gambling, one of his favorite hobbies in the book which carried over to the movies (although he utilized this "hobby" in his work, too). He also introduces himself as, "Bond. James Bond." (Ask any Bond fan to say this line, and they will more than likely speak it with a Connery accent.) When 007 is given his assignment, M has Bond turn over his much-loved Beretta for a Walther PPK (pictured), a gun that would make an appearance in nearly every Bond film. By Tomorrow Never Dies (1997), Bond would stick with a Walther but switch to a newer model, the P99. However, in Quantum of Solace (2008), he reverted back to the classic PPK. While Bond does not specifically order a shaken-not-stirred vodka martini, it is clear that he prefers the drink mixed this way.

Dr. No has neither a pre-credit sequence nor a theme song performed by a notable singer. On the other hand, the music which plays over the majority of the opening credits becomes the Bond theme for the series, and the infamous gun barrel sequence opens the film. Audiences were not treated to the Aston Martin, which will not be inaugurated until Goldfinger two years later. But there are two more things which would become recognizable in the Bond series: the Bond girl, Honey Ryder (Ursula Andress); and the Bond villain, the titular baddie. In this particular film, neither character does very much. Honey spends most of the movie cowering behind Bond, but Dr. No displayed characteristics which would become all too familiar: he was independently wealthy, concocted diabolical plots to take over the world, and had a God complex to boot. Dr. No was also the introduction to SPECTRE, an organization for which Dr. No says he works. SPECTRE would play a prominent role in most of the Connery films, as well as the Bond movie with that one guy.

While many recurring Bond characters would generally be portrayed by the same actors (Bernard Lee was M for quite some time, and Lois Maxwell was Moneypenny for even longer), CIA agent and Bond pal, Felix Leiter, was a revolving door of performers. In Dr. No, Felix is played by Jack Lord, perhaps better known from the TV series, Hawaii Five-O. Lord, like most Felix Leiters, would not reprise the role.

Sean Connery is, simply put, an outstanding 007. He's suave, sophisticated, and, best of all, completely believable as a spy. I think the Bond series has been blessed with great actors to portray the British secret agent, but Connery originated the cinematic character and is consequently the most discernible. Watch a parody of James Bond, and you won't see a comedian poking fun at Bond, per se; you'll see someone imitating Sean Connery. I mean no offense to the men who would take over the role in future films. It's just that, when people think of 007, they typically think of Connery, much like Bela Lugosi being most often associated with Dracula (and fans speaking with that well known Hungarian accent).

Dr. No has never been one of my favorite Bond films. I think it's enjoyable, with exciting action sequences and a fun plot. But I am not a fan of Andress, who was dubbed for the movie (one lady for her speaking voice, another for singing). Her performance is a bit boring, although she admittedly has little to do, other than be the damsel in distress. Likewise, Dr. No doesn't appear in the film until it is very nearly over. He has only one significant scene, in which he dines with 007 at his lair. It would have been preferable to have seen more of Wiseman (who died in October last year; click here to read more about the actor, courtesy of sazball). Additionally, the ending seems rushed. By the time Bond discovers Dr. No's plan and goes about saving the day, there is only about ten minutes remaining. The inevitable showdown between superspy and villain is somewhat anti-climatic.

I would love to hear what everyone else thinks of Dr. No, Connery, and Bond... James Bond.

Bond Is Forever will return next month with Live and Let Die (1973).