31 Saturday Oct 2020
Posted in 007 thoughts and reviews, Rest In Peace
I just read the news that the iconic Sean Connery has died aged 90. With his distinctive voice and magnetism, he was great to watch on screen. Obviously he originated the role of James Bond and remains my favourite, but he gave plenty of other excellent performances over his career. May he rest in peace.
20 Tuesday Sep 2016
Posted in Movie Reviews
Tags
1990's, Cary-Hiroyuki Tagawa, Crime, Harvey Keitel, Kevin Anderson, Philip Kaufman, Ray Wise, Rising Sun, Sean Connery, Thriller, Tia Carrere, Wesley Snipes
Film Title
Rising Sun
Director
Philip Kaufman
Starring
A compelling but provocative thriller, Rising Sun functions as something of a commentary on the corruption of big business and less than warm relations between East and West. It gets pretty confounding and confusing in stretches, but it retains interest thanks to visuals and good playing from leads Sean Connery and Wesley Snipes.
The setting is Los Angeles, primarily a large, sprawling building that is the place of business for a largely Japanese conglomerate. 
A party is underway as the company attempts to get a lucrative deal to go through, yet unexpected things will soon take precedence. A blonde escort by the name of Cheryl Austin is found strangled to death in the boardroom, which threatens to cause a scandal for the company. Assigned to the murder case is police detective Web Smith, who is a good enough guy with a few flaws in his past. Also assigned to assist is retired Captain John Connor, whose knowledge of all things Japanese will be beneficial when dealing with suspects within the company. Overseeing things is Smith’s former police partner Tom Graham, who has a vendetta against the Japanese and makes sure everyone knows it. Evidence seems to point towards Eddie Sakamura, a tempestuous playboy who Connor knows the businessman father of. But wise, old Connor suspects that there is a lot more complexity to the case than anyone expected and with his sharp and scrupulous mind, it’s not hard to see why. 
He is proven right as this turns out to be no open shut case. Both Connor and Smith, though completely opposite in approach, discover it may reach very high up the business ladder and threaten to expose people at the top. Yet just when they think they know what’s going on, something new puts a dangerous spin on things. Chief among these is a tape that could implicate the guilty party, if it wasn’t for tampering with the visuals that are discovered to be altered. The mismatched duo learns to work with each other and used their respective smarts to crack a most bewildering and twisting case.
Philip Kaufman, always a director with a keen eye for visuals, displays that here with stylish atmosphere apparent from the very beginning. He paints a world tinged with noir that is insidious and corrupt from almost every angle( complete with almost constant rain and darkness) One of the biggest criticisms aimed at both the film and the book on which it is based is that it bashes Japan and paints a harsh portrait of business. I can’t vouch for either of those accusations as my knowledge of both is pretty limited. But people who say that the Japanese are portrayed badly here, should look at some of the American characters too. Plenty of them are corrupt and nasty as some of those in the company so I can’t see much of a basis for negative slander here. I can see some parts that could be deemed offensive, but I think Kaufman manages to keep most of these at bay. 
There is a technological side to Rising Sun that looks a bit dated now, but is nonetheless quite intriguing to watch and observe. In this edgy take, images can be distorted and the blame game soon follows, much like old-fashioned movies with a contemporary twist. An atmospheric score provides the strange backdrop for the murder investigation that proves anything but straightforward due to the sense of culture clash at the heart of the matter. It is the attention to details, much like the character of Connor, that impressed me the most in Rising Sun. It does have moments of action, but like a good thriller the investigative parts are what holds the interest as layer upon layer of complexity builds higher. Now after some time Rising Sun does get just a little bit convoluted and confusing to follow, yet it doesn’t bore you as it keeps you watching despite the often overly complex plot. The relationship of Connor and Smith keeps you rooted in the film and is one of the best parts, thanks to the respect and level footing each find eventually with the other.
Sean Connery is one of Rising Sun’s biggest draws. 
Exuding an almost stately manner through the character’s knowledge of Japanese customs and a twinkling grin that suggest a wily personality, Connery imprints his stamp on the part of an intelligent man whose attention to detail is what drives the shocking case in front of him. He exudes an avuncular tendency towards his younger charge, close to that of master and apprentice. Connery shares a good working relationship with Wesley Snipes, with the two bouncing off each other with their differing approaches to the murder case. Wesley Snipes more than holds his own against the illustrious Connery; generating dedication and wise ass responses as he becomes more bewildered by the shifting investigation in front of him. Harvey Keitel is reliably on hand to play the vicious and intolerant detective who is more than willing to prosecute the wrong man purely out of hatred. A standout part comes courtesy of Cary-Hiroyuki Tagawa. Playing the dissolute playboy who may have been taken for a ride and framed, he shows off both a charisma and fear that grows as the case tangles. 
As one of the only women in the movie, Tia Carrere provides sexiness and smarts as the computer expert who deduces that the tape that could reveal the criminal has been tampered with. Slimy tactics are the name of the game for both Kevin Anderson and Ray Wise as two men caught up in the corruption.
It may boggle the mind on occasion and some of it can become rather in your face, yet due to the good direction of Kaufman and acting from the lead, Rising Sun has its values as a serpentine thriller that is pretty slick.
18 Friday Mar 2016
Posted in Movie Reviews
Tags
1990's, Angelina Jolie, Anthony Edwards, Comedy, Dennis Quaid, Drama, Ellen Burstyn, Gena Rowlands, Gillian Anderson, Jay Mohr, Jon Stewart, Madeleine Stowe, Playing by Heart, Ryan Phillippe, Sean Connery, Willard Carroll
Film Title
Playing by Heart
Director
Willard Carroll
Starring
A drama of relationships peppered with comedy, excellent writing and an all-star cast, Playing by Heart brims with emotional clarity, great dialogue and touching but witty insights into the various facets of love.
Playing by Heart focuses on the various kinds of loves, heart breaks and relationships of a seemingly disparate group of people living in Los Angeles. 
There is older married couple Paul and Hannah, who are approaching forty years of marriage and renewing their vows. There is the matter of Paul being diagnosed with a brain tumor, but this doesn’t dampen his spirit though it worries his wife. They must also deal with a present from the past as Hannah finds evidence that suggests that Paul may have been unfaithful during their marriage. Wildly dressed extrovert and wannabe actress Joan is found in the land of night clubs, living life to the absolute maximum. One night after dumping her boyfriend, she meets handsome but standoffish loner Keenan. Joan likes the guy, but he is cold and distant from her, which puzzles her. Sure enough, she begins to break through the barriers he has put up with her charisma and exuberance. 
Theatre director Meredith has all but given up on love after being hurt do many times and chooses to remain single. Yet this doesn’t stop affable architect Trent from pursuing her in a genuinely romantic way. Organised Mildred is forced to come to terms with the fact that her gay son Mark is dying of AIDS and attempts to mend their fractured relationship before it is too late by being honest with him for once in her life. Gracie, a married woman who is bored, is having an affair with Roger, who wants more out of the relationship than just sex. And finally there is the mournful Hugh, who travels from bar to bar, reeling off his tragic stories to women that will listen. Yet, his tales seem to change rapidly from night to night. Little by little, we begin to see the way that each seemingly separate story is connected in some way or another.
Writer/director Willard Carroll fashions a multi-stranded mosaic on the topic of love and the different ways it is expressed between people. Love is a subject that is more than well covered on films, but Carroll manages to give something to it with the multiple stories and characters. His script mixes tragedy, comic moments and blossoming romance with excellent results. 
It’s great to listen to his witty dialogue that captures the changing fortunes of the very different characters going through various kinds of love. Playing by Heart may not offer much in the way of being the most original movie, but that doesn’t make it any less good or accomplished. With a nice visual style of night-time Los Angeles, we feel the longings, passions and losses of these people. This is further given strength by a minimal but impactful score of trickling piano, tinged with jazz from the legendary John Barry. Playing by Heart is a well paced movie where something is always happening. Some of the middle half drags due to one uninvolving story thread, but the breadth of the other tales brings it back to greatness. There is something so natural about the way this movie explores relationships, I can’t explain it but it just feels so well done. I really liked watching how all the stories eventually connected, it was really orchestrated well through little things.
The marvellous ensemble cast is a real treat and adds significant amounts of talent to their respective parts. Sean Connery and Gena Rowlands have a winning chemistry as an older couple overcoming the hurdles that present themselves. These two actors are such pros and you see the twinkling in the eye of Connery and the warmth of Rowlands in every scene. 
Stealing the show throughout the movie is Angelina Jolie as the energetic and wild Joan. Imbuing the character with chatty verve, unusual dress sense and a quick, over the top humour, she is utterly delightful in the part that could have become annoying, but becomes instead lovable due to the presence of Jolie. Ryan Phillippe contributes some of his best work as the emotionally shut off Keenan, who gradually comes out of his shell because his attracted to Joan. There is Gillian Anderson who marvellously conveys the feelings of distrust in relationship that begin to wither when someone genuine takes an interest. Jon Stewart is that someone and he has a real madcap sense of humour to add to the mix. 
The always talented Ellen Burstyn is an emotional marvel as the mother trying to reconnect with her son and her scenes with Jay Mohr are really emotional highlights of the film as they are both able to be frank with one another. The one story that I didn’t find that involving was the one featuring Madeleine Stowe and Anthony Edwards having an affair. This isn’t the fault of the actors who are both well cast, it’s just that their story is a bit stale. Thankfully, Dennis Quaid makes up for that with his strange turn as the drunken Hugh, who switches his stories every night. It is a great showcase for Dennis Quaid as an actor.
Warm-hearted, funny and moving at many times, Playing by Heart brings a talented cast, colorfully drawn characters and exceptional dialogue together with care and sense of depth.
22 Thursday Jan 2015
Posted in 007 thoughts and reviews, Movie Reviews
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
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.
15 Thursday Jan 2015
Posted in 007 thoughts and reviews, Movie Reviews
Tags
007, 1960's, Akiko Wakabayashi, Bernard Lee, Desmond Llewelyn, Donald Pleasence, James Bond, Karin Dor, Lewis Gilbert, Lois Maxwell, Mie Hama, Sean Connery, Spy, Teru Shimada, Tetsurō Tamba, You Only Live Twice
Film Title
You Only Live Twice
Director
Lewis Gilbert
Starring
The fifth film in the James Bond canon, You Only Live Twice is also one of the most well-known. With the iconic villain of Blofeld, stunning locations and action, it is a great addition to the franchise. Some of it may become a little ridiculous but overall You Only Live Twice is a strong, entertaining and memorable spy movie.
In the opening scenes, James Bond fakes his death while in Hong Kong so that his enemies are less suspecting. After a mock funeral at sea, Bond is informed of his next mission. The mission in question centres around American and Soviet spacecrafts that have disappeared in orbit under mysterious circumstances. 
With each nation blaming the other and tensions mounting, M dispatches Bond to Tokyo to find the cause of this potentially fatal situation. 007 soon uncovers that SPECTRE is behind this, with the nefarious head Blofeld at the heart of it. He plans to instigate a war between the countries and wreak havoc in the process, all from the security of his lair which is situated under a dormant volcano. Helped by the charming head of Japanese Secret Service Tiger Tanaka, female agent Aki and eventually a student of Tanaka’s Kissy, Bond dives into the sinister plan and hopes to stop nations coming to the brink of war.
You Only Live Twice features some of the best set design in the Bond movies. Under the skilful eye of Ken Adam, the volcano lair that houses Blofeld is amazing to look at and ingenious in its execution, with it still holding up even in today’s age of blockbusters. The same can be said about the beautiful Japanese locations, that paint a thrilling and adventurous picture of the Orient as Bond comes up against his many enemies amongst the blazing sun, mountains and rivers. Lewis Gilbert directs with finesse and makes the film memorable all round with its cocktail of action, scenery and intrigue. The final attack on the volcano lair is exciting and generates thrills and explosions a plenty. It’s also great to finally see Blofeld in person. 
In other films, he was just a voice, a pair of hands and a purring Persian cat. But in You Only Live Twice, we get a look at the evil mastermind for the very first time and it immediately becomes an iconic scene. Where You Only Live Twice stumbles is in the moments when it falls into the realms of ridiculousness. The main example is Bond being made to look Japanese as part of his cover. The whole idea is needless and doesn’t do anything for the plot as well as being supremely unconvincing. John Barry contributes one of his best scores to the series with a lush and romantic sound featuring prominently as well some suspenseful pieces of composition. Nancy Sinatra’s haunting title song perfectly compliments the beautiful title sequence of Maurice Binder, which incorporates spinning parasols, melancholy geishas and lava flowing.
Despite being disillusioned with the role at the time of filming, Sean Connery is still charming, virile and convincing as James Bond on yet another mission to stop worldwide war. Tetsurō Tamba is charismatic as Tiger Tanaka, Bond’s valuable ally in Japan. The scenes between Connery and Tamba are great as we see that both men are very similar in that they are there to do a dangerous job, but are not above refusing the advances of beautiful women.
As the two Bond girls, Akiko Wakabayashi and Mie Hama are beautiful and charming, even though neither is given much in the way of character development. Despite this, both girls are good as willing agents aiding Bond on his mission. Donald Pleasence is creepy and effective as the mastermind Blofeld, his scarred face and Persian cat becoming staples of evil and leading to many imitators. Teru Shimada and Karin Dor are used well enough as enemy agents, scared to fail their menacing boss for fear of a painful death. The MI6 regulars( Bernard Lee, Lois Maxwell and Desmond Llewelyn) are all fine, with Llewelyn especially humorous as Q.
Despite the odd trip into ridiculous and needless strands that don’t make sense, You Only Live Twice is another exciting yarn in the James Bond universe.
14 Wednesday Jan 2015
Posted in 007 thoughts and reviews, Movie Reviews
Tags
007, 1960's, Adolfo Celi, Bernard Lee, Claudine Auger, Desmond Llewelyn, James Bond, Lois Maxwell, Luciana Paluzzi, Martine Beswick, Rik Van Nutter, Sean Connery, Spy, Terence Young, Thunderball
Film Title
Thunderball
Director
Terence Young
Starring
After the success of Goldfinger, the Bond series went well and truly gadget laden with Thunderball, the fourth instalment. While not as thrilling or as effective as its predecessor, Thunderball is enjoyable enough and still a fun Bond movie with a good amount of action.
Thunderball begins with a thrilling pre-title sequence in which Bond grapples with an enemy who has faked his death. The ever so suave 007 escapes due to a nifty jetpack and his loyal Aston Martin. 
We then move onto Bond’s latest mission, which has him searching for two NATO atomic bombs stolen by the criminal organisation SPECTRE. The evil group plans to hold the world to ransom for £100 million or else they destroy a prominent city in the United States or United Kingdom. M sends Bond to the Bahamas to investigate this plan and comes across Emilio Largo, the eye-patch sporting SPECTRE agent who is the brains behind the fiendish plot. 
Bond manages to get to the heart of Largo’s plot by becoming acquainted with his mistress Domino Derval, who is more like his kept woman than a loved girlfriend who is watched constantly by Largo’s men. Aided by CIA contact Felix Leiter, fellow MI6 beauty Paula and eventually the caged Domino, Bond attempts to avert a full-scale nuclear war and thwart the insidious plan of SPECTRE.
Although it doesn’t reach the heights of Goldfinger, Thunderball has enough charm and action to keep you watching. The gorgeous location of the Bahamas is captured in all its sun dappled glory and really does feature some breathtaking shots. Terence Young, who helmed Dr.No and From Russia with Love, brings his talents to the screen and spins this yarn well with his assured direction. Out of all the Bond movies, Thunderball is the most aquatic. From the title sequences of silhouetted water girls swimming to the underwater climactic battle, the movie definitely has a marine feel to it. Many of the underwater scenes are excellently handled, yet there are some that do seem to last for ages and drags the length of the film. All in all, the action is handled very well and there are some exciting sequences. But there are times when Thunderball veers towards comic strip rather than spy movie, especially with its occasional overuse of technology. Thankfully, these moments are only few and far between in what is still a great movie. John Barry’s excellent score gives Thunderball a sense of pace and some excellent musical cues; the title song by Tom Jones has a bombast that is infectious and the power with which he sings is extraordinary.
Sean Connery is once again excellent as Bond, exuding masculinity, charm and ruthlessness as he tangles with the villains in his way and romances any woman he wants. 
Adolfo Celi makes for an interesting adversary for 007 in the form of Emilio Largo; cruel, arrogant and menacing with his eye-patch, sly shark like smile and white hair perfectly complimenting his evil, corrupt nature and possessive streak over Domino. The stunning Claudine Auger manages to inject sympathy and pain into her character of Domino, who is morose from the confined treatment that Largo has inflicted upon her for years. Luciana Paluzzi sizzles across the screen as Fiona Volpe, a siren who is bad to bone but sexy as hell and capable of trapping any man in her web of death. Unfortunately the other girl in Thunderball, Martine Beswick is underused as Bond’s fellow MI6 agent and the same can be said about Rik Van Nutter as another incarnation of Felix Leiter. The series regulars are at least on hand to add magic to their brief scenes; with Bernard Lee strict and taciturn as boss M, Lois Maxwell a delight as the flirtatious Moneypenny always chasing Bond and loyal gadget man Q, played with humour and wisdom by Desmond Llewelyn.
Despite its shortcomings and occasional lag in pace, Thunderball is still a great movie and interesting addition to the Bond canon.
13 Tuesday Jan 2015
Posted in 007 thoughts and reviews, Movie Reviews
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
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.
18 Monday Nov 2013
Posted in 007 thoughts and reviews, Movie Reviews
Tags
007, 1960's, Bernard Lee, Daniela Bianchi, Desmond Llewelyn, From Russia with Love, James Bond, Lois Maxwell, Lotte Lenya, Pedro Armendáriz, Robert Shaw, Sean Connery, Spy, Terence Young
Film Title
From Russia with Love
Director
Terence Young
Starring
Following on from the groundwork of Dr. No and armed with twice the budget, Terence Young crafts From Russia with Love; a quintessential entry into the Bond series that is also a classy, exotic and exciting thriller in its own right. Featuring eccentric villains, a stunning Bond girl, likeable allies and an absolutely riveting story of international espionage, From Russia with Love ranks as one of my favourite movies in the James Bond franchise.
This time Bond is summoned to M to investigate a very mysterious and twisted case. A beautiful cipher clerk in Istanbul named Tatiana Romanova has contacted MI6 saying she wants to defect with information regarding a Lektor device. M thinks it is a trap but sends Bond anyway to see what he can find out. It transpires that the crime syndicate SPECTRE has devised a cunning and seemingly ingenious plan to steal the Lektor from the Soviet’s, whilst getting revenge on Bond for the killing of Dr. No. Tatiana Romanova, unbeknownst to her, is in fact an unwitting pawn in SPECTRE’s twisted plan, she believes she is doing this mission for the good of her country. Bond heads to Istanbul to investigate and is aided greatly by Kerim Bey, the charismatic British Intelligence Chief stationed in Istanbul. Meeting with the gorgeous Tatiana, he begins to unravel the case. From here it is a cat and mouse game of espionage as Bond tackles villains left, right and centre, including the sadistic Rosa Klebb and the psychopathic Red Grant. With exotic foes, nefarious schemes and Sean Connery back as James Bond, From Russia with Love is classic Bond.
From the get go, From Russia with Love emerges as an excellent spy thriller. Terence Young directs with flair and allows the humour and suspense to be supplied in equally 
effective quantities. Visually, the film is stunning to watch as we see Istanbul in all its beauty. The title sequences that would populate later ventures are used for the first time here, the title seductively projected over the undulating hips of a belly dancer. Peter Hunt, the editor is at his best here, with many of the action and fight scenes being a significant highlight. These range from a jaw-dropping and savage fight between two women at a gypsy camp in order to settle a love triangle, Tatiana exchanging information with Bond in the Hagia Sophia and not forgetting Bond’s brutal fight to the death aboard the Orient Express with the assassin Red Grant. John Barry’s score is suitably amazing and perfectly compliments the exciting yet dangerous atmosphere of foreign intrigue. Matt Monro croons the title song that features at various important times in the narrative. He would be the first high-profile singer to sing the title song in a Bond movie and since then many illustrious stars have followed.
The cast itself is reason enough to catch this marvellous entry in the series. Sean Connery is back as the debonair, womanizing Bond and this time gets some great one liners to compliment the ruthless side of his character. Daniela Bianchi, whilst being a stunning girl, embodies the naive charm of Tatiana as she begins to realise the trickery that has befallen her. Pedro Armendáriz turns in a highly charismatic performance as Kerim Bey; he has a humour, charm and intelligence that make him one of the best allies in
the Bond movies. Lotte Lenya is unforgettable as the twisted and sadistic Rosa Klebb, her poison tipped shoe making her a dangerous and highly original villainess. And adding to the excellent villains of the piece is Robert Shaw, who is outstanding as the homicidal paranoiac Red Grant, who is charged with killing Bond. His violent and well-executed fight with Bond on the Orient Express is an excellent scene of hand to hand 
combat and danger. In the supporting roles, Bernard Lee and Lois Maxwell are as always a welcome presence as the crusty M and the keen Miss Moneypenny. For the first time, we get a glimpse of Desmond Llewelyn as the much-loved gadget master Q. He supplies Bond with a nifty attaché case, armed with a throwing knife and tear gas, that comes in very useful later on in the movie.
So all I have left to say is that From Russia with Love is a thrilling, gripping and exciting high point of the James Bond franchise.
17 Sunday Nov 2013
Posted in 007 thoughts and reviews, Movie Reviews
Tags
007, 1960's, Anthony Dawson, Bernard Lee, Dr. No, Jack Lord, James Bond, John Kitzmiller, Joseph Wiseman, Lois Maxwell, Sean Connery, Spy, Terence Young, Ursula Andress
Film Title
Dr. No
Director
Terence Young
Starring
In 1962, one film started one of the most successful franchises in movie history. That movie was Dr. No and the series was of course the James Bond movies. A sleek, action-packed and influential film, Dr. No ushered audiences into the exciting world of one of cinema’s most enduring icons, the one and only Bond…..James Bond.Making a star out of Sean Connery as the suave and sophisticated spy and boasting a multitude of iconic images, Dr. No is a spy movie that still holds up as a great way to start the long-running series.
James Bond, also known as 007, is sent by MI6 to Jamaica in order to investigate the disappearance of Strangways, another agent who was looking into a CIA claim that something in the area is disrupting the launching of rockets. Bond teams up with CIA agent Felix Leiter and a local boatman Quarrel, in order to unravel the mysterious disappearance of Strangways. It seems that the evidence points to the reclusive Dr. No, a scientist who owns the nearby island of Crab Key, which many people are scared to enter because of alleged superstitions involving a dragon. Whilst tangling with deadly tarantulas, shifting loyalties and assassins, Bond begins to unearth the sinister plans of the Doctor. Also aiding him in this is Honey Ryder, a beautiful diving girl with her own agenda for taking part in bringing down Dr. No. Prepare for exciting, action and the introduction to James Bond as Dr. No delivers an amazing spy film that is still as watchable as it has ever been.
Director Terence Young brings the action filled world of 007 to excellent life with amazing vigour with car chases, a maniacal villain and a gorgeous Bond Girl. As I mentioned earlier, it is a film with no shortage of iconic moments; the opening gun barrel sequence, the famous main theme tune, Honey Ryder’s sexy emergence from the 
surf and many others.Although not as gadget laden as many of his later adventures, we still see Bond as a suave agent with a ruthless streak that can survive on his own wits. As the first man to essay the role, Sean Connery is nothing short of amazing. He embodies the sophisticated edge to Bond but imbues him with a humour and serious side that make him one of the most iconic to play the role. The moment he utters the immortal lines “Bond…..James Bond” is still an excellent introduction to this enduring character. Ursula Andress as Honey Ryder is suitably sexy and appealing, her famous entrance in which she rises Venus like from the ocean clad in a white bikini has lost none of its erotic impact and still ranks as one of the sexiest moments in the series. Joseph Wiseman is a creepy presence as the eponymous villain, hell-bent on revenge against those who have doubted him. In supporting roles, Jack Lord and John Kitzmiller make for likable allies in this Bond adventure. As the villain’s 
henchman, Anthony Dawson is excellently menacing and his scene when Bond questions him whilst calmly playing cards is a thrilling and suspenseful moment. Bernard Lee is the stern M, head of MI6 and Lois Maxwell is the pining secretary Miss Moneypenny. Both would become staples of the films and Lee and Maxwell acquit themselves admirably.
Making stunning use of the Jamaican location, boasting an excellent score and many other positives, it is hard to fault Dr. No. Yes some of it may look a bit dated now, but without this we wouldn’t have the Bond series. An influential and iconic movie that deserves every ounce of credit thrown its way.
25 Thursday Jul 2013
Posted in Movie Reviews
Tags
1970's, Agatha Christie, Albert Finney, Anthony Perkins, Colin Blakely, Denis Quilley, Ingrid Bergman, Jacqueline Bisset, Jean-Pierre Cassel, John Gielgud, Lauren Bacall, Martin Balsam, Michael York, Murder Mystery, Murder on the Orient Express, Rachel Roberts, Richard Widmark, Sean Connery, Sidney Lumet, Vanessa Redgrave, Wendy Hiller
Film Title
Murder on the Orient Express
Director
Sidney Lumet
Cast
Surely one of the best adaptations of an Agatha Christie novel, Murder on the Orient Express is a splendid, stylish and sensational murder mystery boasting what has to be one of the most star-studded casts ever assembled on film. Elegantly directed by Sidney Lumet and with a sumptuous recreation of the elite of the 30’s in costume and decor, Murder on the Orient Express is not to be missed for fans of movies that are often referred to as ‘films they just don’t just make like this anymore’.
Hercule Poirot, the famous Belgian detective is travelling aboard the eponymous train from Istanbul to Paris, then he will travel to England to attend important business. The train is unusually crowded but the eccentric Poirot has managed to find a cabin by way of his friend Bianchi, who is also travelling on the same journey. Poirot is approached by a secretive businessman named Ratchett, who offers him a large sum of money if he can find out who has been sending him threatening letters. The detective has no interest in the case and turns it down. The next morning, Ratchett is found dead, stabbed a dozen times in his bed. It is then up to Poirot to investigate the case as the train has been caught in a snow drift somewhere in the Balkan Regions on the night of the murder. He is surrounded by a rich array of suspects including; the loquacious and obnoxious Mrs. Hubbard, the simple-minded Swedish missionary Greta Ohlsson, the icy and glamorous Count and Countess Andrenyi, the quiet conductor on the train Pierre Michel, Colonel Arbuthnott, an officer in the British Indian Army, the buttoned up valet of t
he deceased, Beddoes, the ageing Russian royal Princess Dragomiroff, Hildegarde Schmidt, her personal maid, Hector McQueen, the secretary to the deceased, Mary Debenham, a teacher and paramour of Colonel Arbuthnott, Foscarelli, an Italian-American car salesman and Hardman, a secretive agent for a detective service. As he investigates, Poirot deduces that Ratchett was really a gangster, who played his part in the notorious kidnapping and murder of Daisy Armstrong, a prominent aviator’s daughter, many years before. Through interrogation and the exercise of his ‘little grey cells’ Poirot tries to figure out this bizarre case filled with secrecy and enshrouded with shocks and red herrings. So sit back and enjoy as the detective makes his way through the case in which nothing is as it seems.
Sidney Lumet keeps the atmosphere of the time and gradual deducing of the crime through employing a brisk pace to the film and making exceptional use of the camera. Nowhere is this more apparent than in Poirot’s excellent denouement in which he paces up and down the carriage and recounts his findings. The way the camera captures the faces of the guests, filled with anxiety, astonishment and shock as they silently listen, is quite masterful as the complex case is laid bare in front of them. The opening sequence in which the history of the Armstrong Case is shown whilst intercut with new
spapers clippings, is another highlight of lighting and atmosphere, getting the film off to a suspenseful and haunting start. The magnificent score exudes suspense and glamour and is a great attribute to the film.
The star-studded cast is almost certainly the biggest draw in the film, even if some actors are underused in the process. Albert Finney is particularly eccentric and witty as Poirot, stealing the show as he delves into one of the most complex cases in his illustrious career. Lauren Bacall is acerbically funny as the chatty Mrs. Hubbard, her fussy outbursts masking her quiet intelligence. Martin Balsam has some great scenes with Albert Finney as the panicking Bianchi, who is the one who entrusts the case with Poirot. 
In a small but well-played part that won her an Oscar, Ingrid Bergman is luminous and touching as the missionary with poor command of English. Jacqueline Bisset and Michael York are icily impressive as the wealthy count and his beautiful bride. Jean-Pierre Cassel exudes a quiet intensity and shyness as the conductor Pierre, who is still a suspect despite helping out in the case. John Gielgud relishes the witty lines as the buttoned-up and knowledgable butler Beddoes. Wendy Hiller shines as the evasive member Russian royalty, along with Rachel Roberts as the terse German maid. Vanessa Redgrave glows in her role of the English teacher who doesn’t take kindly to Poirot’s questioning about her relationship with the colonel. In the brief but important role of Ratchett, Richard Widmark is sly and disagreeable even though he knows it’s only a matter of time before something happens to him. On the underused side, unfortunately is Sean Connery who has nothing much to do in the film except vehemently disagree with Poirot. Anthony Perkins could have been used better, instead of him turning in another variation on Norman Bates. Denis Quilley and Colin Blakely are also not used to any real effect.
Despite the wasting of certain actors talents and the pace lulling at various points, Murder on the Orient is none the less a distinguished and thrilling adaptation of Agatha Christie’s murder mystery, presided over by the excellent direction of Sidney Lumet.
vinnieh 