Evil Under the Sun

Tags

1980's, Agatha Christie, Colin Blakely, Denis Quilley, Diana Rigg, Emily Hone, Evil Under the Sun, Guy Hamilton, James Mason, Jane Birkin, Maggie Smith, Murder Mystery, Nicholas Clay, Peter Ustinov, Roddy McDowall, Sylvia Miles

Film Title

Evil Under the Sun

Director

Guy Hamilton

Starring

• Peter Ustinov as Hercule Poirot
• Jane Birkin as Christine Redfern
• Nicholas Clay as Patrick Redfern
• Maggie Smith as Daphne Castle
• Roddy McDowall as Rex Brewster
• James Mason as Odell Gardener
• Sylvia Miles as Myra Gardener
• Denis Quilley as Kenneth Marshall
• Colin Blakely as Sir Horace Blatt
• Diana Rigg as Arlena Marshall
• Emily Hone as Linda Marshall

Based on the 1941 book by Agatha Christie, Evil Under the Sun may not be up there with Murder on the Orient Express and Death on the Nile as a spectacular rendering of a classic murder mystery, but it does have its charms along the way thanks to a game cast.

The world-renowned Belgian sleuth Hercule Poirot is contacted by one Sir Horace Blatt, an industrialist in need of his expertise. He concludes that a diamond in the man’s possession is in fact a fake, Blatt believes that his one time mistress Arlena has the real one that could be worth a huge fortune. Poirot agrees to look into the case and travels to an exclusive island resort in the Adriatic, owned by the acerbic Daphne Castle. Arlena is staying at the resort along with her new husband Kenneth and stepdaughter Linda, who she constantly belittles and berates. Also present is Patrick Redfern, a dashing young man with a roving eye, his meek and mousy wife Christine, bickering theatre managers Odell and Myra Gardener, gossip hound Rex Brewster and eventually Sir Horace Blatt himself. Arlena is a stage actress who has a habit of rubbing people up the wrong way with her bitchy behaviour and diva antics. Although married to Kenneth, she rather publicly begins an affair with the handsome Patrick. Everyone at the resort has some bone to pick with the obnoxious Arlena in one way or another. It is no surprise then to the very observant Poirot that the much hated diva eventually turns up strangled to death on one of the island’s beaches. With an array of suspects who by their own admissions had every reason to kill her, Poirot must deduce who the murderer is among them in order to solve the crime.

If Murder on the Orient Express was the classy and stately affair, and Death on the Nile was the exotic murder mystery, that makes Evil Under the Sun the lighter souffle of the bunch. Whereas the other two Poirot movies succeeded with intrigue, this one sadly falls a little flat in the thrilling mystery department. That isn’t to say it’s bad in any way, just not as memorable as the ones that came before it. Guy Hamilton has a decent go at directing this and the picture does benefit from a certain humorous edge, but after a while it becomes a bit repetitive. The island location is beautifully rendered and bathed in sun-kissed glory. The costume design is absolutely outrageous, with colours here, there and everywhere. The Cole Porter influenced score adds that dash of excitement, but other ventures in the musical department overdo the tropical setting.

What doesn’t falter in Evil Under the Sun is most of the talented cast assembled for it. Peter Ustinov, returning to the role, brings wise and eccentric charm to the part of Poirot. He is clearly having fun with the part, but brings an amount of gravity to it so it doesn’t slip into ridiculousness. Jane Birkin exudes scared vulnerability and weak-willed manners as the wronged wife Christine, who watches as her husband openly has an affair with the bitchy Arlena. Nicholas Clay is excellently virile as the muscled Adonis, most of the time seen in the most revealing pair of speedos known to man, whose dalliance with Arlena may have led to her death. Maggie Smith is an utter delight as the cynical hotel owner Daphne, whose sarcastic barbs and witty tongue make her a joy to watch. Roddy McDowall is a hoot as the gossip hungry journalist trying to unearth scandal, while James Mason and Sylvia Miles are wonderful as the constantly arguing couple. Denis Quilley, while slightly underused on occasion, is good enough as Arlena’s put-upon husband. Meanwhile, Colin Blakely injects garrulous humour to the part of Sir Horace Blatt. As the diva who eventually turns up dead, Diana Rigg has an utter blast portraying the glamorous but shallow and cutting bitch. Emily Hone is suitably angry and increasingly resentful as her stepdaughter.

So all in all, Evil Under the Sun isn’t the best adaptation of an Agatha Christie novel to hit the screen. But it has its positives that make it good entertainment for a matinee screening.

The Man with the Golden Gun

Tags

007, 1970's, Bernard Lee, Britt Ekland, Christopher Lee, Clifton James, Desmond Llewelyn, Guy Hamilton, Hervé Villechaize, James Bond, Lois Maxwell, Maud Adams, Roger Moore, Soon-Tek Oh, Spy, The Man with the Golden Gun

Film Title

The Man with the Golden Gun

Director

Guy Hamilton

Starring

• Roger Moore as James Bond
• Christopher Lee as Francisco Scaramanga
• Britt Ekland as Mary Goodnight
• Maud Adams as Andrea Anders
• Hervé Villechaize as Nick Nack
• Soon-Tek Oh as Lieutenant Hip
• Clifton James as Sheriff J.W. Pepper
• Bernard Lee as M
• Desmond Llewelyn as Q
• Lois Maxwell as Moneypenny

Roger Moore’s second tour of duty as James Bond comes by way of The Man with the Golden Gun. It doesn’t match the heights of Live and Let Die because of its reliance on too much comedy and uneven sense of pace, but it has its moments that are exciting and enjoyable nonetheless, as is to be expected of any Bond movie. It may not be the best that the franchise has to offer, but it does its job.

The energy crisis is at its height and agent 007 is sent by M to locate a Solex Agitator, a powerful device that uses the sun for energy. There is just one hitch in the mission, MI6 has received a golden bullet, engraved with 007 on it. The only known person to use such a bullet is Francisco Scaramanga, an assassin who charges a million for a kill and is largely unseen by many. M believes that the bullet is a warning that Bond is the next intended target for Scaramanga. Bond, although investigating the Solar crisis, decides to find Scaramanga before he becomes the next victim. Jetting from Macau to Hong Kong and eventually Thailand, Bond discovers that the Solex and Scaramanga are actually linked in an evil plot to harness the world’s solar energy. With the bumbling MI6 agent Mary Goodnight in tow and the help of Scaramanga’s terrified mistress Andrea Anders, Bond is sent into this dangerous game of cat and mouse with his eye on eliminating Scaramanga before it is too late.

As previously mentioned, The Man with the Golden Gun is not the finest Bond film out there. I feel that the writers went a bit overboard on the comedy and lost some of the essence of the previous movies. A good example of this is the car stunt over a rickety bridge that is quite amazing to watch, but marred by the presence of a slide whistle sound effect that detracts from the impact of the stunt. Guy Hamilton lays on the comedy a little too thick with his direction, but at least has some quality action moments and stunning locales to showcase in the typical Bond fashion. The pacing is quite indifferent as well and could have been trimmed a little in parts that drag on. Just as Live and Let Die had incorporated elements of the blaxploitation genre that was popular at the time, Golden Gun decides to get in on the act with countless references to the burgeoning Kung Fu genre. Some of the martial arts scenes are good and well staged, but they eventually become more than a little tiresome. With those negatives out of the way, the positives will now be discussed. The location work is beautiful and the choice of Thailand is a stroke of genius. Scaramanga’s lair is a definite highlight of this, with the island location and breathtaking views. It makes for an excellent scene in which Scaramanga challenges Bond to an old-fashioned gun duel. John Barry returns for musical duties and provides a lush score with Far Eastern allure and intrigue ever-present. The title song may not be the best, but with Lulu on vocal duties and singing with seductive fervor, it serves its purpose.

Roger Moore is once again on fine form as Bond, playing the role with a definite tongue in cheek quality and filled with some great one liners. He has the charm to burn and charisma a plenty and firmly establishes his idea of Bond. Christopher Lee, with his imposing stature and sinister presence is an ideal adversary for Bond. Playing Scaramanga as a ruthless but utterly charming villain, Lee relishes the part as he toys with Bond and questions his moral standing. Although a gorgeous presence and a stunner in a revealing bikini, Britt Ekland’s role as fellow MI6 agent Mary Goodnight is not the best. A bumbling and very clumsy helper to Bond, many of her antics act as more of a hindrance than anything else. I will give Britt Ekland some credit in that she does have her funny and charming moments, but the role of Goodnight just isn’t that good or interesting. Maud Adams gets the better Bond girl role in the form of the tragic and vulnerable Andrea and is very emotionally effective in the part. It is through her that Bond traces Scaramanga and we get the sense of loneliness and restriction that Andrea must endure under the influence of Scaramanga. Hervé Villechaize is a hoot as Scaramanga’s pint-sized sidekick Nick Nack who is prone to sly actions. Soon-Tek Oh is not very effective as an agent helping Bond on the mission. The same can be said about bringing back Clifton James as Sheriff Pepper. It is a misstep as he soon becomes a nuisance in the film. Bernard Lee is particularly gruff but witty this time around as Bond’s superior and Lois Maxwell equally charming as Moneypenny. And its good to see Desmond Llewelyn back as Q after his absence in the last movie.

The Man with the Golden Gun is not 007’s finest hour, but it has its moments that can be enjoyed throughout.

 

 

 

Live and Let Die

Tags

007, 1970's, Bernard Lee, Clifton James, David Hedison, Geoffrey Holder, Gloria Hendry, Guy Hamilton, James Bond, Jane Seymour, Julius Harris, Live and Let Die, Lois Maxwell, Roger Moore, Spy, Yaphet Kotto

Film Title

Live and Let Die

Director

Guy Hamilton

Starring

• Roger Moore as James Bond
• Yaphet Kotto as Dr. Kananga/Mr. Big
• Jane Seymour as Solitaire
• David Hedison as Felix Leiter
• Julius Harris as Tee Hee
• Geoffrey Holder as Baron Samedi
• Gloria Hendry as Rosie Carver
• Clifton James as Sheriff J.W. Pepper
• Bernard Lee as M
• Lois Maxwell as Moneypenny

After Sean Connery signed off once again from the role of 007 in Diamonds Are Forever, the role was subsequently recast. The part was filled by Roger Moore, who brought a more debonair and charming air to the role of 007. Live and Let Die is his first outing as Bond and a successful one at that, a breath of fresh air after the underwhelming previous movie. With Moore now in role, the world of Bond is still as exciting and thrilling as it always has been with a few tricks along the way.

This time we have Bond investigating the deaths of three of his fellow agents. All three where looking into the affairs of political president of a small Caribbean island,Dr. Kananga and a known drugs lord named Mr. Big. Bond is sent to New York, where he encounters Mr. Big as well as Kananga. Piecing the plan together, Bond deduces that they are one in the same. Kananga plans to flood the American market with two tons of heroin and earn millions in the process, he hides his fields of opium on his island and has it heavily guarded under the guise of voodoo master Baron Samedi. Kananga also uses the virginal fortune-teller Solitaire to his advantage. As long as she remains a virgin, she will have the power of foresight. But after a night of passion with Bond, Solitaire finds her life in danger. Bond’s attempts to stop Kananga’s plan send him from the slums of New York to the bayous of New Orleans as he comes up against the crime lord and the powers of voodoo in an exciting eighth entry into the Bond series.

What is interesting upon viewing Live and Let Die is the influences of other genres that it has. It takes many cues from the blaxploitation genre that was popular in the 70’s and many a gangster film. This gives Live and Let Die more of an edge, rather than having a world domination plot it settles for a thrilling and somewhat gritty plot of drug smuggling with the nefarious Kananga at the centre of the scheme. Elements of the horror genre abound in Live and Let Die, primarily in the form of Baron Samedi and the use of voodoo as a backdrop, with tarot cards, human sacrifices and creepy symbolism a plenty. Guy Hamilton regains his confidence again and after the misstep of Diamonds, delivers a more assured and action-packed outing for 007. The action is the main highlight of the film, with a chase on speedboats through the bayou a compelling example of this. For the first time in the Bond series history, John Barry does not provide a score. This task falls to George Martin, who does a commendable job of balancing the sounds of exciting action with the dark undercurrent of the mystical. The amazing title songs, performed by Paul McCartney and Wings, is one of the best songs for a Bond movie with its shifts in tempo, devilish drums and rocking guitars. The song compliments the dark title sequence of gorgeous girls covered in tribal paint, skulls on fire and clawing hands.

Filling the shoes of 007 for the first time is Roger Moore. He brings more charm to the role, but also a certain ruthlessness as well. Moore’s incarnation is very much the more humorous Bond than Connery(especially with that one eyebrow raise and razor-sharp wit), yet he does have serious moments in which he also excels.Moore certainly makes an impression on his Bond debut. Yaphet Kotto makes for an excellent villain in the form of the two-faced Kananga, his sinister smile and outbursts of anger are particularly effective. The beautiful Jane Seymour inhabits the role of Solitaire with a guarded and naive sensitivity, as we watch her gradually slip from under the domineering influence of Kananga into the willing arms of Bond. David Hedison portrays the most charismatic Felix Leiter in the series, and Julius Harris as the hook handed Tee Hee and Geoffrey Holder as Baron Samedi are fine as two of Kananga’s many henchman. Gloria Hendry is saddled with an uninteresting role as a rogue CIA agent employed by Kananga, whilst Clifton James has a laugh as the redneck sheriff caught up in the speedboat chase. Once again Bernard Lee and Lois Maxwell are given scant material as M and Moneypenny. And it is really annoying that Desmond Llewelyn is absent as Q.

Live and Let Die is an exciting and intriguing Bond movie with loads of action, adventure and enjoyment that is the perfect way to introduce Roger Moore as the new James Bond.

Diamonds Are Forever

Tags

007, 1970's, Bernard Lee, Bruce Glover, Charles Gray, Desmond Llewelyn, Diamonds Are Forever, Guy Hamilton, James Bond, Jill St. John, Jimmy Dean, Lana Wood, Lois Maxwell, Putter Smith, Sean Connery, Spy

Film Title

Diamonds Are Forever

Director

Guy Hamilton

Starring

• Sean Connery as James Bond
• Jill St. John as Tiffany Case
• Charles Gray as Blofeld
• Jimmy Dean as Willard Whyte
• Bruce Glover as Mr Wint
• Putter Smith as Mr Kidd
• Lana Wood as Plenty O’Toole
• Desmond Llewelyn as Q
• Bernard Lee as M
• Lois Maxwell as Moneypenny

After critics sniffed at On Her Majesty’s Secret Service, the Bond producers managed to persuade Sean Connery to come back for one more performance as 007. The result is Diamonds Are Forever, one of the weaker entries in the series. But as with all of the Bond movies there are at least things of merit to praise. I mean any Bond is better than no Bond at all, isn’t it?

Diamonds begins with Bond tracking Blofeld for the murder of his wife Tracy. Blofeld has skilfully managed to have people made to resemble him, so it is harder to track the evil mastermind. After duelling with 007, it appears the Bond kills him. After the credits, Bond is given his new mission by M. Bond is to impersonate a diamond smuggler and infiltrate a smuggling ring with mysterious motives. Along the path of this trail he meets the ravishing Tiffany Case, a smuggler not realising what she’s let herself in for. It soon transpires that Blofeld is in fact alive and well. He is armed with a plan to use the smuggled diamonds to construct a satellite that will destroy nuclear power. Coming up against his old nemesis and leading him to Amsterdam and Las Vegas in the process, Bond must also contend with the ruthless killers of Mr Wint and Mr Kidd, who appear to be unlikely killers, but who delight in the art of murder.

I think I’ll get the negatives out of the way first when reviewing Diamonds Are Forever. For starters, the fact that the opening scene has Bond searching for Blofeld after the murder of Tracy is skated over and never mentioned again. In the last film, there was an effort to give Bond heart with him falling for Tracy, but Diamonds Are Forever seems to forget this and proceeds without any thought. Also, the over the top humour that worked in many of the earlier Bond adventures, grows rather tiresome here and becomes more than a little unconvincing. Guy Hamilton, who directed the iconic Goldfinger, doesn’t quite know which direction to go in with Diamonds and this does make it one the weaker movies in the canon. With those negative thoughts out of the way, onto the positives in the picture. The locations are amazing to behold, especially Las Vegas decked out in all its neon glory. Many of the sets are also excellently mounted, including a hotel floor that doubles as an aquarium in which Bond and Tiffany have an amorous encounter while suggestively wrapped in mink. John Barry contributes a lively score of excitement and danger. The highlight has to be the classic title song, sung with seductive prowess by Shirley Bassey. The sensual atmosphere of the song adds to the sexy title sequence of girls draped in shimmering diamonds.

It is good to see Sean Connery give the role of Bond one last go. Diamonds doesn’t feature his best performance as Bond, but Connery has more than enough charm, wit and danger to paper over the cracks. Jill St. John is sexy and flinty as the diamond smuggler Tiffany Case. It is unfortunate that she starts out as independent and hard-edged but then falls into damsel territory. None of this is the fault of St. John who is charming and fetching, but more the writer’s fault. Charles Grey makes for a more funny Blofeld that the incarnations portrayed by Donald Pleasence and Telly Savalas. Yet he still has an air of menace about him as he puts forward his scheme. Jimmy Dean is a hoot as the billionaire kept captive by Blofeld, while Bruce Glover and Putter Smith make for an interestingly morbid duo as Wint and Kidd. Lana Wood, though appealing, is wasted as a gold digger who ends up in the wrong place at the wrong time. Desmond Llewelyn has his moments as gadget guy Q, particularly funny with his device that allows him to win a lot at the slot machines of a casino. Unfortunately, series regulars Bernard Lee and Lois Maxwell are underused as M and Moneypenny.

Certainly one of the weaker Bond movies, Diamonds Are Forever is still enjoyable at times, just not the sum of its parts.

 

Goldfinger

Tags

007, 1960's, Bernard Lee, Desmond Llewelyn, Gert Frobe, Goldfinger, Guy Hamilton, Harold Sakata, Honor Blackman, James Bond, Lois Maxwell, Sean Connery, Shirley Eaton, Spy

Film Title

Goldfinger

Director

Guy Hamilton

Starring

• Sean Connery as James Bond
• Gert Frobe as Auric Goldfinger
• Honor Blackman as Pussy Galore
• Harold Sakata as Oddjob
• Shirley Eaton as Jill Masterson
• Bernard Lee as M
• Lois Maxwell as Miss Moneypenny
• Desmond Llewelyn as Q

Goldfinger is the third film in the Bond series and the one that represents the iconic formula for enjoyment within the series that has lasted for over 50 years now. With outlandish villains, suggestively named girls, tongue in cheek one-liners and an eccentric plot not to mention some outrageous gadgets that would later become a staple of the movies, Goldfinger still ranks as one of Bond’s best adventures and a quintessential movie in general.

Goldfinger starts with 007 destroying a drugs lab in Latin America, before dispatching of a would be assassin by electrocuting him (leading to the classic line “Shocking, positively shocking”). Vacationing in Miami, Bond is tasked by M with investigating gold magnate Auric Goldfinger, who is suspected of smuggling gold in various countries and has a deep obsession with gold. Bond attempts to infiltrate Goldfinger’s plans and this sends him from Geneva to America. Standing in his way is Goldfinger’s manservant Oddjob, who kills those in his master’s way by throwing his steel-rimmed bowler hat at their neck and the suggestively named Pussy Galore, a stunning woman with shifting loyalties and impressive judo skills. Bond soon uncovers the maniacal plot of the nefarious Goldfinger, which involves an attack on Fort Knox with evil intentions. It is up to Bond to stop Goldfinger from completing his elaborate scheme and an exciting spy romp follows with all the right ingredients for the Bond franchise.

As mentioned earlier, Goldfinger has a whole load of iconic moments that helped define the Bond franchise. From the henchman Oddjob, the first use of the now classic Aston Martin, Bond tied up and nearly killed by a deadly laser and a young woman’s death by being painted head to toe in gold after betraying the main villain, Goldfinger has it all. Guy Hamilton directs with sharp efficiency, carefully balancing the thrilling plot with a more tongue in cheek approach than Dr. No and From Russia With Love. The storyline and nefarious plot of the eponymous villain are gripping and bizarre in equal measure, with each complimenting the other interestingly. What gives Goldfinger that extra oomph is the gadgets that the lovable Q equips Bond with, the ejector seat in his car a humorous and very nifty gadget on Bond’s dangerous ventures. John Barry contributes an entertaining and bombastic score, heavy with the brass section that gives Goldfinger that iconic edge. And not forgetting the title song, sung with gusto and power by Shirley Bassey, with its slinking rhythms and trumpet riff that really adds to the excitement of the piece and compliments the sensual title sequence of lovelies lathered in gold and posing seductively.

Sean Connery turns in what is possibly his best performance as 007, perfectly suave, adroit with the cheeky one-liners and tough he finds the right mix to cement himself as the favourite actor of many to play the spy during its tenure. Gert Frobe makes an impression as the obsessed and unusual villain of the title, whose plan is one that will quench his greedy desire. Honor Blackman is excellent as the seductive Pussy Galore who is tangled up in Goldfinger’s plot, but whose shifting loyalties make an impression on Bond. With her raunchy name and iconic entrance, Honor Blackman’s incarnation of Pussy Galore ranks her highly on my list of favourite Bond girls. Harold Sakata exudes menace as the henchman Oddjob, who is an incredibly strong adversary for Bond and loyal servant to Goldfinger. Shirley Eaton, although only on the screen for a short time playing Goldfinger’s aide who betrays him for Bond, enters the realms of iconic Bond moments with her gold painted death. The usual supporting players are excellent; Bernard Lee as the gruff M, Lois Maxwell as Miss Moneypenny and Desmond Llewelyn as gadget master Q, who supplies Bond with the souped up Aston Martin and wants it back in pristine condition(which of course he doesn’t get).

Effortlessly entertaining, exciting and endlessly thrilling from start to finish, Goldfinger is iconic James Bond at its golden and durable best.