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?

Man in a Suitcase: The Best Spy TV Series You May Have Never Heard Of

By 1968, the British spy craze in film and television was on a downward trajectory. Sean Connery had departed (temporarily) from the Bond films. Patrick McGoohan's long-running Danger Man (aka Secret Agent) TV series had ended. The Avengers had moved on without Diana Rigg. Still, ITC Entertainment, best known for producing Danger Man and The Saint, believed there was life remaining in the genre--especially if it came with a built-in appeal for American audiences. The result was Man in a Suitcase, a sharply-played, well-written series starring American actor Richard Bradford as a disgraced former espionage agent known only as McGill.

Branded a traitor by U.S. intelligence, McGill makes a living doing free-lance work in Europe and Africa--dealing with blackmailers, protecting stool pigeons, finding kidnapped victims, recovering lost art treasures, etc. He charges $300 to $500 a week, depending on the job, plus expenses. When a potential client gripes about the high fee for a "disgraced American agent with a gun for hire," McGill quips: "I'm expensive...I call it my self-respect bonus."

McGill's backstory is revealed in the series' sixth episode (originally intended as the first and best viewed that way). It explains that his government superiors framed him as a traitor to protect a mole behind the Iron Curtain. Proving his innocence is not an option--McGill recognizes that his false disgrace is a price that must be paid. These kinds of difficult decisions and realistic conclusions elevate Man in a Suitcase above its more conventional rivals. It's not unusual for clients being guarded by McGill to be murdered anyway. And in one episode, after McGill fails to secure blackmail evidence, the victim sacrifices his ethics to protect his reputation.

Much of the show's success, though, can be attributed to Bradford, a relative unknown when ITC signed him for Man in a Suitcase. A graduate of the Actors Studio, Bradford's previous biggest part was as a cheating husband and bigot in a small Southern town in Arthur Penn's The Chase (1966). The role provided Bradford the opportunity to play opposite one of his acting idols, Marlon Brando (in one scene, Bradford brutally beats up Brando).

McGill's Hillman Imp.

Bradford brings a quiet intensity to McGill, a complex character who is outwardly calm but prone to quick bursts of anger and whose cynical perspective is balanced by his innate desire to do the right thing. With his gray hair and a cigarette often dangling from his mouth, McGill even looks different from his contemporary TV rivals like John Steed and Simon Templar. In lieu of a distinctive car, he drives a Hillman Imp sedan. He carries a gun only if the situation requires; his only apparent possession is a beat-up brown leather suitcase. But the most remarkable aspect of the character is his consistency across the 30 episodes. After watching McGill for half a season, one can almost predict how he's going to act in specific situations.

In an interview in Acorn's second DVD boxed set, Bradford criticizes the quality of some of the scripts. There are a handful of weak episodes, such as the first one, which features a brainwashing plot that goes on too long. However, for the most part, the plots are inventive and the writing is very strong, as shown in this dialogue in which a politician's wife (Barbara Shelley) reveals to McGill that she has long been aware of her husband's illegitmate son:

Guest star Barbara Shelley in the
episode "All That Glitters."

"I know about Steve. I haven't been officially informed...but I knew when he was born, when his mother died. I knew when he was ill. I know from the expression on my husband's face whether his monthly visit with the boy has been satisfactory or not. Oh, yes, I know all about Steve."

The production values in Man in a Suitcase are higher than most ITC productions of the late 1960s. Exterior locations and stock footage are well integrated with the studio-shot scenes. Ron Grainer composed the incredibly catchy, jazz-infused title theme (hummed in my household for weeks). The Acorn DVDs look sharp and, surprisingly, the color shows little fading.

Checking for broken teeth after a fight.

Unfortunately, Man in a Suitcase lasted just one season. Still, one has to be thankful for the opportunity to watch such excellent episodes as:  "The Girl Who Never Was" (McGill tracks down a painting stolen during World War II); "Dead Man's Shoes" (a town protects a wounded spy returning to his home); "Burden of Proof" (a man of integrity mysteriously embezzles a fortune and hires McGill for protection);  and "The Whisper" (McGill learns a priest in a small African village was a ruthless mercenary). Stylish and well-acted, Man in a Suitcase is a must-see for conoisseurs of vintage television drama.

Acorn Media provided a review copy of Man in a Suitcase Set 2.

Tom Adams Goes to "Where the Bullets Fly"

At the height of the 1960s James Bond craze, several major studios tried to launch their own spy movie franchises with the Matt Helm series, the two Bulldog Drummond films, and Our Man Flint and its sequel. One of the most interesting misfires was the second outing of British secret agent Charles Vine.

As played by Tom Adams, the smooth, cold Vine is perhaps the most obvious of all the Bond imitations (the Connery 007, that is). Vine made his film debut in 1965's Licensed to Kill, which was released in the U.S. as The Second Best Secret Agent in the Whole Wide World. Many fans consider it an above-average Bond knock-off. I saw it on The ABC Sunday Night Movie circa 1969, although I remember little about it. However, I was able to recently view its 1967 sequel Where the Bullets Fly.

A faded lobby card showing secret agent
Charles Vine flanked by two baddies.

The straightforward premise has a villain named Angel (Michael Ripper) trying to steal a lightweight alloy called Spurium that provides atomic power for a prototype aircraft. To thwart Angel, Vine's boss Rockwell (John Arnatt) assigns his best agent--plus half the R.A.F. ("Only half?" quips Vine.)

With its modest budget, there is no globetrotting in Where the Bullets Fly. All the action takes place in England--but there is plenty of action. Indeed, it features more shoot-outs than in two or three Bond films combined (and yes, I'm including the big action scenes like at the climax of You Only Live Twice).

Like any decent Bond film imitation, there are gadgets galore: a long-range hypnosis device; shooting umbrellas; exploding cigarettes; a floor wired for electric shocks; and a rapier hidden in a belt (which is sadly never used). There are other obvious nods to the secret agent genre, from Rockwell's cat (which is black in contrast to Blofeld's white cat) to a henchman sporting a John Steed bowler. There's also a decent title song, sung Shirley Bassey-style by British pop star Susan Maughan.

Tom Adams as Charles Vine.

Charles Vine is clearly a copy of Sean Connery's James Bond. He dresses sharply, handles the fisticuffs well, attracts the ladies, and dryly delivers the wisecracks. Tom Adams does an admirable job in the role. It's a shame he wasn't cast as a more original spy in a more upscale series. Adams spent most of his career as a supporting actor in films like The Great Escape (1963). Where the Bullets Fly proves that he had star potential if given the right kinds of roles.

Another lobby card, this one with
Addams and Adams.

The supporting cast includes Dawn Addams as Felicity Moonlight, an attractive R.A.F. pilot, and the aforementioned Michael Ripper. To her credit, Addams brings more intelligence to her performance than most of the Bond actresses. Ripper hams its up as the villain, but it's nice to see Hammer Film's long-time character actor get a major role. It's also worthwhile to note that the film was directed by John Gilling, who also worked for Hammer (The Plague of the Zombies).

Where the Bullets Fly did not perform as well at the boxoffice as its predecessor. Still, a third film was produced in Spain in 1969 with Adams reprising his role in O.K. Yevtushenko (aka Somebody's Stolen Our Russian). Production difficulties kept it on the shelf for several years and, by then, the spy movie craze had run its course. Interestingly, writer-director Lindsay Shonteff, who was largely responsible for the first Charles Vine film, was not involved in either sequel. He did, however, later make three spy movies featuring a very similar hero named Charles Bind.

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).

James Coburn is Our Man Flint

It's somewhat of a backhanded compliment to call Our Man Flint the "best James Bond spoof." It is that, but it's also a very clever secret agent film in its own right. Unlike the broadly comedic Austin Powers films or Get Smart, Our Man Flint replicates the elements of a 007 outing and exaggerates them ever so slightly. Let's be honest, the majority of the Bond movies are far from serious dramas. So, it's impressive that Flint can negotiate that tight gap between James Bond and Austin Powers.

The film opens with a series of natural disasters that aren't natural at all--they are being caused by a weather-control device. A peace-loving organization called GALAXY claims responsibility and threatens more disasters if its demands are not met. When world leaders converge, they universally agree that there is only one man for the job: Derek Flint (James Coburn). This comes as bad news to Cramden (Lee J. Cobb), the head of the Zonal Organization World Intelligence Espionage (Z.O.W.I.E.), who dislikes Flint for his refusal to follow orders.

Cramden on the Z.O.W.I.E. phone.

Thus, Cramden is initially relieved when Flint refuses to help. However, when a curvaceous enemy operative tries to assassinate Flint, the super secret agent accepts the mission. He has one stipulation, though: He works alone.

Much of the film's humor derives from Flint's mastery of...well... everything. He can fence with two opponents simultaneously. He practices martial arts one on five. He dances with the Russian ballet. He can trace bouillabaisse on scent alone to the only restaurant in the world with that unique recipe. And he lives with four women that attend to his every need (e.g., shaving him, picking out his clothes, managing his business affairs, etc.). At one point, a frustrated Cramden explains: "Damn it, man, is there anything you don't know?"

Based on his earlier performances in The Magnificent Seven (1960), The Great Escape (1963), and Charade (1963), I never would have cast James Coburn as a suave secret agent. That's one of the many reasons I'm not a casting agent. Although Coburn was fine in those aforementioned films, he didn't seem like star material. Yet, Our Man Flint capitalizes on the "Coburn cool" and the actor dominates the screen physically and with his laid-back personality. Coburn also looks impressive in the fight scenes and that's not surprising since he learned martial arts from Bruce Lee.

An impressive Coburn kick!

Gila Golan.

The only other actors with significant roles are Lee J. Cobb as Cramden and Gila Golan as a GALAXY agent. Cobb, a very fine actor, gives an exaggerated performance as Cramden and, for the most  part, it's an effective contrast to Coburn. Golan, an attractive actress with an inexplicably short resume, creates a worthy adversary for Flint. (Of course, it's inevitable that she will succumb to his charm.)

The homages to the James Bond films are both obvious and subtle. There's a quick reference to SPECTRE and the availability of 0008. In lieu of Bond's attache case or gimmicky Aston Martin, Flint only has a lighter--however, it has "82 different functions--83 if you wish to light a cigar." Composer Jerry Goldsmith contributes an excellent title theme which is cleverly employed throughout the film.

Flint with two of his ladies.

I suppose there are some viewers who may bristle at the film's sexist attitude. Yes, Flint essentially has a harem and refers its occupants as his "girls." Also, some of the women on Galaxy Island--especially the feisty ones--are reprogrammed as "pleasure units." However, these elements are exaggerated to the extent that Our Man Flint film becomes a satire of the more offending sexist films of the 1960s (to include the Bond pictures).

One can also gripe that Flint loses steam in the last half-hour after the hero reaches Galaxy Island and the villains are revealed as misguided peace lovers. It's interesting to note the similarities in the climaxes between Our Man Flint and the later 007 entry You Only Live Twice (1967).

Our Man Flint was a resounding success with moviegoers and critics. A sequel, In Like Flint, followed in 1967 with Coburn and Cobb reprising their roles. It's sillier, but still very entertaining with another memorable Goldsmith theme. According to some sources, there were discussions about a third film to be called F for Flint (which became an alternate title for In Like Flint). I suspect that Coburn had no interest in being typecast and that nixed future theatrical installments. In 1976, ABC tried to a launch a TV series with the telefilm Our Man Flint: Dead on Target. It transformed Derek Flint into a private eye and featured a miscast Ray Danton in the title role.

Lastly, here are two famous bits of Our Man Flint trivia--you know, in case these topics pop up during a trivia tournament. The names of Flint's female companions are: Sakito, Gina, Anna, and Leslie. Flint's personal code book is based on a mathematical progression of 40-26-36.