Sean, Gina, and $50 Million

Sean Connery as Tony.

Wheelchair-bound Charles Richmond mistreats his servants, bullies his adult nephew, and fosters tyranny wherever he goes. He is also worth $50 million.

With his inheritance limited to a mere $650,000, nephew Tony Richmond (Sean Connery) hatches a scheme to increase his share of the estate. He carefully selects a new nurse that will appeal to his uncle: an Italian beauty named Maria unwilling to tolerate Charles' cruelty. Her defiance and Tony's open criticism of her combine to peak Charles' interest. Tony is convinced that he can manipulate his uncle into marrying Maria (Gina Lollobrigida). She reluctantly agrees to Tony's plan--but who can trust whom?

Gina Lollobrigida as Maria.

Made in 1964, Woman of Straw is the kind of low-key thriller that Alfred Hitchcock might have made twenty years earlier. It's a tribute to the cast that they make the plot's double-crossing shenanigans interesting for most of the two-hour running time. Ralph Richardson is in top form as the despicable Charles, who shows no signs of humanity until he gradually develops feelings for Maria. Gina Lollobrigida is convincing, too, as the conflicted Maria who loses her taste for the scheme, but can't resist her attraction to Mark and his ambitions.

Ralph Richardson as Charles.

By today's standards, the biggest star in Woman of Straw is Sean Connery. But, in 1964, he was on the brink of international superstardom pending the release of Goldfinger later that year. He is adequate as the cold and calculating Mark, who somehow never elicits audience sympathy even after he reveals that Charles drove his father to suicide and then married his mother! It doesn't help that Connery's character fades to the background during the film's middle portion as the focus shifts to the Charles-Maria relationship.

Veteran director Basil Dearden takes advantage of the colorful locations shot in Majorca, Spain (though the use of rear screens in some scenes is distracting). However, he loses control of the film during its rambling final thirty minutes. There's really no reason for a movie like Woman of Straw to be two hours in length! One would think that Dearden, who directed such marvelous, efficient thrillers as Victim (1961), would know this. Additionally, it doesn't help that the climatic scene is a headscratcher that left my wife and me trying to figure out what happened.

The best reason to watch Woman of Straw is to see Gina Lollobrigida give one of her best English-language performances. Once dubbed "The Most Beautiful Woman in the World" (instead of Sophia Loren?), she had won several acting awards for her Italian films prior to Woman of Straw. It's unfortunate that she rarely got roles worthy of her talents in other English-language movies. She deserved better than being cast in light comedies opposite American stars like Rock Hudson and Bob Hope.

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!

Sean Connery Stages the Great Train Robbery

Sean Connery as Edward Pierce.

In addition to writing bestselling novels like Jurassic Park and The Andromeda Strain, Michael Crichton also found time to moonlight as a film director. One of his most successful efforts was The Great Train Robbery (1978), based on his own popular novel--which was inspired by a real crime.

The plot concerns the heist of a gold shipment being transported by train to pay British troops fighting in the Crimean War in 1855. The challenges are substantial. Not only must the gold be stolen while the train is moving, but it must be removed from two safes locked with four different keys. Two of the keys are stored in the railway offices in the train station and the other two keys are retained by company executives.

Sutherland as the pickpocket.

None of that is enough to sway Edward Pierce (Sean Connery) from tackling the crime of the century. With the aid of his mistress (Lesley-Anne Down), a pickpocket (Donald Sutherland), and a railway guard, he develops a complex scheme to steal the four keys and make wax impressions of them. His efforts, though, attract the attention of the police, which makes the actual robbery exceedingly more difficult than Pierce's original plan.

The Great Train Robbery is lighthearted escapist fare for most of its running time (thus, a scene where Pierce strangles a crony seems out of place). Sean Connery has a grand time as the heist's mastermind, never taking the plot too seriously but also refraining from winking figuratively at the audience. One of his most amusing scenes is a conversation with one of the executives' wives that's filled with enough double-entendres to make James Bond proud.

Lesley-Anne Down.

Donald Sutherland, one of the busiest actors of the late 1970s and early 1980s, is well cast as Connery's partner-in-crime. However, the most surprising performance comes from Lesley-Anne Down, who spent much of her career stuck in superficial roles. In The Great Train Robbery, she gets to masquerade as an upper-class French prostitute and a cockney lass in addition to playing Connery's plucky mistress.

Naturally, the film's highlight is the robbery aboard the moving train. It requires Connery's character to run along the tops of the railcars, ducking periodically to avoid being decapitated by bridges and tunnels. Incredibly, Connery does most of his own stunts, which include jumping from the tops of the cars. He actually fell off the train doing one stunt. In The Films of Sean Connery, the actor mentions that his wife Micheline was furious when she saw The Great Train Robbery and learned the risks he had undertaken.

Yes, that's actually Sean Connery atop the moving train.

In case you're wondering, the real-life robbery did indeed involve stealing four safe keys and hijacking the gold from a speeding train. The similarities pretty much end there. Edward Agar, one of the thieves, was arrested after the robbery for passing a bad check. While in prison, he learned that one of his fellow criminals kept the portion of the gold intended for Agar's mistress and illegitimate son. Agar then cooperated with the police, provided all the details on the heist, and all the train robbers were eventually captured.

The Great Train Robbery was released as The First Great Train Robbery in Great Britain to avoid confusing it with the Great Train Robbery of 1963. There was an excellent 2013 miniseries made about that train robbery; you can read a review of it at our sister blog British TV Detectives.

The Five Biggest Movie Stars of the 1960s

We love making lists at the Cafe, so why not create one for the five biggest movie stars of the 1960s? I know...how does one define "biggest"? Is it based on boxoffice power, critical acclaim, or enduring popularity? The answer is all of the above, plus a large dose of subjectivity. But that's half the fun of making lists like this. We also enjoy reading contrasting opinions and I'm sure many of you may have different ideas about who belongs on this list.

1. Sidney Poitier - It's hard to think of an actor who had a better decade from start to finish. He earned critical raves for his powerful performances in films like A Raisin in the Sun (1961), A Patch of Blue (1965), and In the Heat of the Night (1968). He starred in two classic "feel good" movies which regularly pop up on television: To Sir With Love and Guess Who's Coming to Dinner (both 1967). Yet, his finest work may have been as a drifter who finds purpose in an unlikely place in Lilies of the Field (1963).

2. Paul Newman - The popularity of Newman's "H films" (The Hustler, Hud, Hombre, Harper) would have secured him a spot on this list. However, the 1960s also featured two of his most iconic roles as a nonconforming prisoner in Cool Hand Luke (1967) and as a charming, small-town outlaw in Butch Cassidy and the Sundance Kid (1969). 

3. Sean Connery - Prior to 1962, Sean Connery was a little-known Scottish actor. By the end of the decade, he was one of the biggest stars in the world. That will happen when you catapult to fame by playing the most famous secret agent in cinema history. In addition to his five James Bond films, Connery's 1960s lead roles included the well-reviewed POW drama The Hill (1965), cult favorite A Fine Madness with Joanne Woodward (1966), and Marnie (1964), perhaps Hitchcock's most underrated film (and a personal favorite).

4. Doris Day - The first half of the decade spotlighted five of of her best comedies: the superb Lover Come Back (1961) along with That Touch of Mink (1962), The Thrill of It All (1963), Move Over Darling (1963), and Send Me No Flowers (1964). Unfortunately, poor career choices (possibly attributed to her then-husband and business manager Martin Melcher) derailed her career. She even turned down the role of Mrs. Robinson in The Graduate (I love Doris, but Anne Bancroft was perfect).

5. Hayley Mills - It's easy to forget that Ms. Mills was a huge star in the 1960s, thanks to her sparkling performances in two Disney classics: Pollyanna (1960) and The Parent Trap (1961). The former earned her a special Oscar while the latter featured a Top Ten song sung by Hayley ("Let's Get Together"). She appeared in several other Disney hits while also starring in more prestigious films such as The Chalk Garden opposite Deborah Kerr and Whistle Down the Wind (which you should truly see if you haven't). Plus, she starred opposite her father John Mills in the winning sleeper The Truth About Spring (1964)--yes, another personal fave.

Honorable Mentions:  Jack Lemmon, Steve McQueen, Elizabeth Taylor, John Wayne, and Elvis Presley.

An Interview with Lana Wood

Lana in Diamonds Are Forever.

I recently had the pleasure of meeting actress Lana Wood at the Williamsburg Film Festival. Although best known for playing Plenty O'Toole in Diamonds Are Forever, Ms. Wood has had a long movie and television career, both in front of and behind the camera. Her first credited role was as a young girl in John Ford's The Searchers. As an adult, she became a regular on the popular TV series Peyton Place and guest-starred in shows like The Wild, Wild West and Mission: Impossible. She later worked as a production executive and co-produced a miniseries about her sister, The Mystery of Natalie Wood. She also wrote the biography Natalie: A Memoir About Natalie Wood By Her Sister. In between signing autographs and chatting with fans at the film festival, Lana Wood graciously talked with me about her career.

Café:  In a 2007 interview, you discussed playing the character Debbie as a young girl in The Searchers. You noted Jeffrey Hunter's "incredible kindness." Did you have any interaction with John Wayne?

Lana in The Searchers.

Lana Wood:  John Wayne used to come to me every morning, stand next to me, and pull out a tin of Allenberry black current pastilles, which he doted upon. He'd open them up and I'd take one and he's say: "Take another one." It was an ongoing little jokey thing between us. He was a very sweet and kind man. He cared a great deal about everything.

Café:  How did John Ford treat you as a child actress?

LW:  I don't think John Ford liked me. He never really spoke to me. I think the only thing he ever said to me was in the scene where Chris (the dog) and I run up to the headstone. He said: "Can you bend at the waist?" I couldn't bend at the waist, though I tried very hard to do it.

Café:  Peyton Place was already an established hit when you joined the cast in 1966. What are some of your memories of working with Ryan O'Neal, Mia Farrow, and the other cast members?

A publicity shot from Peyton Place.

LW:  In Peyton Place, we were all very young--and very spirited. I think that's a good way of putting it. There was a great deal of flirtation at all times. Ryan was an adorable, sweet guy, but not the best to work with. Mia was very sweet. All she'd eat for lunch was cottage cheese and spinach. Barbara Parkins absolutely loathed me. She would not speak to me, ever. What I would do was I'd go into the makeup room in the morning and talk to her all the more because I knew she wouldn't answer me. I was kind of poking the bear a bit.

Café:  You made quite an impression as Plenty O'Toole in Diamonds Are Forever and she remains one of the best-remembered "Bond Girls." Why do you think Plenty has remained so popular over the years?

LW:  Hopefully because I wanted her to be very sweet. I didn't want to appear like a hooker. Shill is not really the top category when you list careers you would like to have had. And I was very worried about that. So, I made her very ingenuous and just very nice. That's what came across and I think that's what people identified with.

Café:  I've seen the two deleted scenes with Plenty: the dinner scene with Bond and when she discovers James and Tiffany Case together. Do you know why they were cut from the final film?

Lana and friend Sherry in Williamsburg.

LW:  They didn't help move along the plot. The studio wanted the film at a certain length back then so it could squeeze in another showing. So, unfortunately, it was Plenty who went.

Café:  You were friends with Sean Connery before Diamonds Are Forever. How did the two of you meet?

LW:  My boyfriend at the time was dear friends with Sean. We were invited to dinner at his house. So, I went to his house, we had dinner, and I got to know him.

Café:  What do you think of Daniel Craig as James Bond?

LW:  I adore him. I think, at last, other than Sean, he is James Bond.

Café:  What led you to take a break from acting from the mid-1980s until a few years ago?

LW:  Several things. My mother was diagnosed with Alzheimer's. I had gone behind the camera at that point as well, so I was producing. I was working at Universal Studios as director of development for television films. I moved my Mom in with me. Lots of things. It was just unfortunate.

Café:  What were some of the made-for-TV films that you were involved with from a production standpoint?

LW:  Mickey Spillane's Mike Hammer mystery Murder Me, Murder You. Lynda Carter in Born to Be Sold, which was, at that time, the highest-rated television film. Hotline (also with Lynda Carter) and two Lynda Carter specials. I rewrote six episodes of Bring 'Em Back Alive, a TV series with Bruce Boxleitner. And I produced The Mystery of Natalie Wood, which was an ABC miniseries.

Café:  Of all your films, which one was your personal favorite and why?

LW:  I like different ones for different reasons. I'm so thrilled to have been part of The Searchers. That's something that will go on forever. It meant the world to me to be in a film like that, which is so iconic--with John Wayne, Ken Curtis, Jeffrey Hunter, and Harry Carey. It's a beautiful film that holds up to this day. I'm very proud of it.

Café:  You show a number of adorable dogs and cats on your FB page. Are they all yours?

LW:  (laughs) Oh, yes! I haven't even put the half of them up. I can't get them to sit still.

Café:  Do you have any upcoming films or appearances that you'd like to share with our readers?

LW:  I have two films coming out. One is called Killing Poe, which is a black comedy. Then, I have a thriller coming out called Bestseller.


You can "like" Lana Wood on Facebook and follow her on Twitter.

Celebrate St. Patrick's Day with "Darby O'Gill and the Little People"

In the picturesque Irish village of Rathcullen, old codger Darby O'Gill (Albert Sharpe) spends more time in the pub talking about leprechauns than tending to the estate of Lord Fitzpatrick. So, it's no surprise when the landowner decides it's time to replace Darby with the younger Michael McBride (Sean Connery). Darby's retirement benefits are generous: half-pay, a house with no rent, and a two-week notice for moving from his current abode. The hardest part for Darby will be breaking the news to his spunky, hard-working daughter Katie (Janet Munro), who has already caught Michael's eye.

As he ponders how to tell Katie, Darby falls down a well on Fairy Mountain and awakes in the home of the leprechauns. It's not his first encounter with King Brian (Jimmy O'Dea), the little people's leader. Several years earlier, the crafty Brian outfoxed Darby by granting a fourth wish that then negated the first three. This time around, Darby turns the tables. He manages to escape from Fairy Mountain, capture King Brian, and earn three wishes. But what to wish for?

A little Disney humor: Walt thanks the
leprechauns in the opening credits.

Made in 1959, this colorful Disney fantasy has aged as well as a 5,000-year-old leprechaun (like King Brian). The film has charm to spare, thanks largely to veteran performers Sharpe and O'Dea. Walt Disney handpicked Sharpe for the lead role after watching the actor in a stage version of Finian's Rainbow a decade earlier. Sharpe only made a handful of films, though his resume included two other engaging fantasies: Brigadoon and You Never Can Tell with Dick Powell. His co-star, Jimmy O'Dea, was an unknown in Hollywood, having spent most of his acting career in the Irish theater where he was known for playing the working-class Mrs. Biddy Mulligan.

Sean Connery as Michael McBride.

The scenes between Sharpe and O'Dea dominate the first hour of Darby O'Gill, with Cleopatra the horse being the only other character to garner significant screen time. As a result, the final half-hour has too much plot: a romance blossoming between Michael and Katie; a lug named Pony causing trouble; and a banshee almost killing Katie. Still, the loose ends are wrapped up nicely; this is a family film after all.

Janet Munro as Katie.

Sean Connery, still three years before his Bond debut, has little to do. He does get to sing a duet with Janet Munro (in a DVD featurette, Connery calls his singing debut "an earth-shattering experience"). Darby O'Gill was the first of three Disney pictures for Munro, the other two being Swiss Family Robinson and Third Man on the Mountain. She oozes sweetness and tones down the sex appeal displayed in her finest film, the first-rate The Day the Earth Caught Fire (1961). Munro's film career was sadly short-lived and she died in 1972 at age 38 of a heart attack. Her career highlight was a 1963 BAFTA (the "British Oscar") Best Actress nomination for Walk in the Shadow, co-starring Patrick McGoohan (another Disney veteran).

The buildings and mountain in the distance were painted on a matte.

While Sharpe and the rest of the cast breathe life into the characters, it's Disney special effects wizard Peter Ellenshaw that makes Darby O'Gill and the Little People a magical visual experience. Ellenshaw gained fame as a matte artist working as an assistant on films such as Black Narcissus and A Matter of Life and Death. A matte is a partially-painted piece of glass placed in front of a motion picture camera that inserts new "objects" in the frame. Most of the town of Rathcullen is a painting done by Ellenshaw that blends into the sets built in the backlot of Disney's Hollywood studio (it's so convincing I thought the movie was filmed in Ireland).

To "create" the leprechauns, Ellenshaw used forced perspective, a technique in which two objects--which appear to be adjacent to one another--are actually separated by a significant distance. They are carefully aligned so that when filmed, the near object looks much larger than the far object. The trick is making the different sets, color, and lighting match seamlessly. Special effects master Ray Harryhausen used this same technique in his fantasy The Three Worlds of Gulliver. More recently, forced perspective was used to make the hobbits look smaller in Peter Jackson's films.

Benefiting from a couple of charismatic veteran actors and Peter Ellenshaw's movie magic, Darby O'Gill and the Little People makes for a diverting viewing experience for any occasion. That said, it seems like like a perfect pick for St. Paddy's Day, don't you think?


This post part of The Luck of the Irish Blog o'thon hosted by our good friends at Silver Scenes. Click here to check out the rest of the posts.

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).

Shirley Eaton Talks with the Café about James Bond, Mickey Spillane, and Her New Book

Think of Goldfinger and the first image that comes to mind is Shirley Eaton--covered in gold paint. If the stunning, talented British actress had appeared in no other films, she would still be famous today. However, prior to her appearance in Goldfinger, Ms. Eaton had established an impressive acting career. In the 1950s, she appeared in two of the Doctor films with Dirk Bogarde and James Robertson Justice. She was the female lead in Carry On, Sergeant, the first of the long-running comedy series, and appeared in two sequels. In the 1960s, she starred in musicals (Life Is a Circus), adventure films (Rhino!), comedies (Eight on the Lam with Bob Hope), and mysteries (Ten Little Indians, my favorite version of Agatha Christie's novel). She retired from acting in 1969 to raise her family. That hasn't kept Ms. Eaton from becoming a sculptor and photographer, penning an autobiography (1999's Golden Girl), publishing a book on poetry, and appearing at film conventions.

Café:  How did you come to be cast as Jill Masterson in Goldfinger?

Shirley Eaton: I had made twenty-one films before Goldfinger and the producers just called my agent to have an interview with me, asking me if I minded being naked and painted gold, to which I replied, with a smile: "Fine, if it is done tastefully."

Café:  You co-starred with Sean Connery in Goldfinger and with Roger Moore on The Saint TV series. How well did you get along with them? And, in your opinion, which was the better Bond?

Shirley Eaton & Sean Connery in Goldfinger.

SE:  Sean was very easy to get on with. He will always be the favourite Bond with older and devoted Ian Fleming fans, so that includes me. Roger made his Bond so different, with more twinkle in his eyes and perhaps we could say a lighter touch than Sean, but millions of fans love him too as I do. He directed one of The Saint episodes I was in and was very understanding "being an actor" and he was a very good director.We have been close family friends ever since The Saint series.

Café:  What do you think of the latest James Bond films with Daniel Craig?

SE:  Daniel Craig is a very good actor and the recent Bond films are great action movies. Inevitably, as time has moved on and fast editing seems a must in most films now, something is lost in essence from the early Bond movies in my opinion.

With Mickey Spillane in The Girl Hunters.

Café:  You starred in The Girl Hunters with Mickey Spillane, who played tough private eye Mike Hammer--his own literary creation--and wrote the screenplay. What was it like acting opposite the film's screenwriter?

SE: I loved working with Mickey Spillane even though he was a better writer than actor. He was a fascinating man, down to earth one minute then away with his imagination the next. His life outside writing was full of adventure and especially courage in the last World War, a man of many talents, he and I made a good combination in the film and he was no mean actor after all!!!

Café:  You appeared in multiple Carry On and Doctor films. Both of these film series were huge favorites with British movie-goers for decades. What was the secret to their enduring popularity?

SE:  Their post card humour, which the English love--not to mention an army of talented actors!

The villainous Su-Muru.

Café:  You made a great (dark-haired) villain in The Million Eyes of Su-Muru and its sequel Rio 70 (aka The Girl from Rio) produced by Harry Alan Towers. Was there any discussion of continuing that film series, as Towers did with the five Christopher Lee Fu Manchu films?

SE:  I had retired by then and wanted to live a normal life again. After I finished The Million Eyes of Su-Muru and The Girl from Rio and was coming home in the plane was when I made the decision to quit. I hated being away from my baby Jason and his brother Grant! However, I did enjoy being the wicked lady Su-muru in two rather bad films, which I had not had the chance to be before. I do believe they have become cult films now :)

(Courtesy of Shirley Eaton)

Café:  After you retired from acting in 1969 to raise your family, were there any roles that tempted you to return to the screen? If so, what were they?

SE:  Absolutely not. I was enjoying life to the fullest just being Shirley Mother and a wife.

Café:  How did you become interested in photography and sculpture? And what can you tell us about your upcoming art/autobiography book Under My Skin?

(Courtesy of Shirley Eaton)

SE:  I went to art school in London for over two years pretty soon after I stopped acting and took painting and sculpture classes. I have always been an extremely creative person and I like artistic challenges, hence you will see in my new book. It is an up-to-date autobiography mostly in a picture form: the first part covering my career and life then and now, with another section on my art then and now, too.

"Sophisticated Me" (courtesy of Shirley Eaton).

You can learn more about Shirley Eaton by visiting her web site www.shirleyeaton.net.

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: “You Only Live Twice”

A U.S. space shuttle is in orbit when a carrier of unknown origin skyjacks the shuttle and communication is lost. The American government believes that, at the height of the Cold War, the Soviet Union is responsible, but the UK has received intelligence which suggests that the culprit is Japan. MI6 turns to its best agent, James Bond (Sean Connery), who has recently manufactured his own death while on assignment in Hong Kong. With the help of Tiger Tanaka (Tetsuro Tamba) and Japanese SIS (Secret Intelligence Service) agent Aki (Akiko Wakabayashi), 007 infiltrates the offices of Osato (Teru Shimada), who is most likely compiling the ingredients for rocket fuel. Bond and another agent, Kissy (Mie Hama), track the villains’ possible rocket launch to a small island and soon learn that the person behind the conspiracy is SPECTRE head, Ernst Stavro Blofeld (Donald Pleasence), with aspirations to incite a war between the U.S. and Russia and to establish a new world power.


You Only Live Twice (1967) was the first 007 movie directed by Lewis Gilbert, who would direct later films in the series, The Spy Who Loved Me (1977) and Moonraker (1979). It was partly filmed on location in Japan, with the famed Toho Company, Ltd., supplying sound stages and cast/crew. Ian Fleming’s novel of the same name, the final Bond novel published in the author’s lifetime, shares few similarities with the film version (character names and the Japan setting two minor components that survived the transfer to screen).

You Only Live Twice can be split into two distinctive parts (which seems appropriate, considering the title). The movie begins with 007’s mock murder in Hong Kong, followed by his burial at sea. His “body” is taken aboard a submarine, where he is greeted by Miss Moneypenny (the always engaging Lois Maxwell) and meets with M (Bernard Lee) in an office that looks much like MI6 headquarters. This breezy, vivacious approach is a welcome trek through coventional 007 terrain and is even maintained during Bond’s time in Japan as he works with Aki and Tanaka. Upon Q’s (Desmond Llewelyn) arrival, Bond receives one of the few gadgets of the film, “Little Nellie” (an autogyro), and flies over an island associated with a cargo ship, the Ning-Po, and, by extension, Osato.

Unfortunately, the second half of the film is little more than 007 training, in preparation of traveling to the island and locating Blofeld and the probable spacecraft. Bond “poses” as a Japanese man, with his hair dyed black and his eyebrows teased. (Despite telling Moneypenny that he’s studied “Oriental” language, the extent of 007’s knowledge of Japanese discourse seems limited to thanking people -- though to be fair, English is the movie’s primary language, even in Japan.) As Bond hones his skills in the Japanese martial arts, there are a couple of assassination attempts, one of which results in an agent being killed. Frustratingly, 007 expresses fleeting concern over the deceased person (who is, essentially, dead because of an affiliation with Bond) and focuses most of his energy ensuring that the woman pretending to be his wife is particularly attractive. Kissy is to the agent’s liking, based on his visible reaction, and it comes to no surprise that he tries to seduce her almost as soon as they reach the island.

A Bond with minimal gadgetry is not a flaw. Such an approach works to great effect in films like Dr. No (1962), For Your Eyes Only (1981) and Casino Royale (2006). However, these movies contained additional attributes, such as suspenseful scenes of investigation (Dr. No and Casino Royale) or action (For Your Eyes Only). Regrettably, Bond sans gadgets has nothing to lend support in You Only Live Twice. By the film’s second half, all Bond truly has left to accomplish is to unearth Blofeld’s base of operations, and, sadly, it takes an inordinate amount of time for the agent to make it there. Once inside, the movie still plods along until finally reaching an explosive action sequence, which is admittedly quite sensational, even if it arrives a bit late.

Wakabayashi and Hama appeared in a series of Japanese spy films in the 60s, Kokusai himitsu keisatsu (aka International Secret Police). The fourth in the series, Kagi no kagi (1965/aka Key of Keys), which starred both actresses, was reedited, redubbed and re-scored, forming the bulk of Woody Allen’s 1966 What’s Up, Tiger Lily? (some of the third entry, 1964’s Kayaku no taru -- which translates to “a keg of powder” -- was also edited into Allen’s movie). The character of Aki was originally named Suki, but, purportedly at Wakabayashi’s recommendation, it was changed, as the actress’ name in What’s Up, Tiger Lily? was Suki Yaki.

Screenwriter Roald Dahl is perhaps better known for his children’s stories, including James and the Giant Peach, Charlie and the Chocolate Factory and Matilda. You Only Live Twice was Dahl’s first produced screenplay. He co-wrote another adaptation of an Ian Fleming novel, Chitty Chitty Bang Bang, in 1968. The film was produced by Albert “Cubby” Broccoli and featured the celebrated villain, the Child Catcher (portrayed by Robert Helpmann), a Roald Dahl creation.

The title song was written by composer John Barry and lyricist Leslie Bricusse and sung by Nancy Sinatra. “You Only Live Twice” is one of my favorite Bond songs, a beautiful, moody piece with haunting vocals from Sinatra, and Barry retains the title’s elegance throughout the film’s score. Popular British singer Robbie Williams sampled “You Only Live Twice” for his 1998 hit “Millennium.” His song helped him achieve some success in the States, and his James Bond-inspired music video garnered an MTV Music Video Award nomination for “Best Male Video.”

During filming of You Only Live Twice, Sean Connery announced that he would be leaving the role of 007. George Lazenby took over the lead in the subsequent Bond film, On Her Majesty’s Secret Service (1969), but Connery returned for 1971’s Diamonds are Forever. Though Blofeld was a character in previous Bond outings, You Only Live Twice was the first time that his face is shown. The film is also the first of the “Blofeld Trilogy,” and the last of the novels’ Trilogy, following Thunderball and On Her Majesty’s Secret Service (and discounting The Spy Who Loved Me between those two). Interestingly, Charles Gray, who plays Henderson, Bond’s contact in Japan in You Only Live Twice, would portray Blofeld in Diamonds are Forever.

As was typical for Bond films, You Only Live Twice was one of the top ten grossing U.S. films in 1967. While it’s not my least favorite of the series, I place it at the bottom of my list for the 007 movies starring Sean Connery. It has its moments, but there simply are not enough for the near two-hour duration, and much of the film is lethargically paced. But with capable allies (Aki in particular), Pleasence as a first-rate Blofeld (he’s my personal favorite of the actors who portray the villain), and a wonderful title song, there is always something to relish.

Bond Is Forever will return next month with Licence to Kill (1989).