“THUNDERBALL” (1965) Review

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“THUNDERBALL” (1965) Review

I had just viewed the 1965 Bond movie, “THUNDERBALL” for the first time in several years. And I can see why this movie is considered to be one of my all time favorite Bond flicks. But I do not think I can state why in one or two sentences.

“THUNDERBALL” turned out to be director Terrence Young’s third and last Bond film. Most Bond fans consider it to be his least superior film, but I consider it to be his second best, following 1963’s “FROM RUSSIA WITH LOVE”. The story, based upon an unfinished script called “Warhead”, co-written by Ian Fleming, Kevin McClory and Jack Whittingham. The unfinished script eventually became Fleming’s 1961 novel, “Thunderball”. This resulted in a major lawsuit between McClory and Fleming and eventually, EON Productions became dragged into it. The story is about SPECTRE’s theft of NATO nuclear warheads and how they used it to blackmail the U.S. and British government for the sum of 100,000,000 pounds. Naturally, MI-6 sends all of their “00” agents to recover the warheads before SPECTRE can carry out its threat to detonate the weapons on U.S. and British soil. Many moviegoers found the movie’s plot a little hard to buy and viewed it as part of the realm of fantasy. But considering the current obsession of terrorism and the high illegal weapons market, “THUNDERBALL” is probably one of the more relevant plots of any Bond film.

Aside from the underwater sequences, “THUNDERBALL” turned out to be an elegant and exciting thriller with excellent drama, a solid plot that managed to avoid any major plotholes, a classy score by John Barry and a first-class cast. Sean Connery portrayed James Bond for the fourth time in this film. Thankfully, he seemed to be at his top game in this one. It is a vast improvement over his performance in 1964’s “GOLDFINGER”, in which he seemed to come off as an immature prat. And he is ably assisted by a first-class cast – Claudine Auger as Domino Duval, Adolfo Celi as villain Emile Largo (SPECTRE’s Number 2), Rik Van Nutter as CIA Agent Felix Leiter and especially Luciana Paluzzi as villainess Fiona Volpe.

Below is a list of positive and negative aspects of the film. I have decided to start with the negative, since there was little that I did not care about the movie:

Negative:

*Rik Van Nutter as Felix Leiter – Do not get me wrong. Van Nutter’s performance as Leiter was competent and very personable. My problem was that his role was written as a “less-than-bright” sidekick of Bond’s, instead of an ally. Bond has been assisted by Leiter in other movies, but they have never come off as some dumb sidekick . . . except for Cec Linder in “GOLDFINGER”.

*Theme Song – I will not deny that the movie’s theme song, performed by Tom Jones is slightly catchy. But I also found the lyrics to be slightly sexist and off-putting.

*Underwater Sequences – Yes, the underwater sequences had threatened to drag the movie a bit. Actually, I can point out two sequences that came close to boring me – the sequence that featured Largo’s acquisition of the warheads and the final battle between Largo’s men and U.S. Navy frogmen.

Blackmail of Patricia Fearing – James Bond’s attempt to seduce Shrublands Clinic nurse, Patricia Fearing, came off as disturbing and tacky. It was bad enough to watch him make attempts to kiss the very professional Ms. Fearing without her consent. But when he resorted to blackmail – willingness to conceal his near death experience with the physiotherapy machine aka “the rack” in exchange for sex – the whole situation became rather sordid.

Positive:

*Luciana Paluzzi – Let us be honest, folks. The red-haired Paluzzi came dangerously close to stealing the picture from Connery. Like Honor Blackman before her, she radiated sexiness and a strong on-screen presence. She seemed to be even more of a threat than Emile Largo and his men.

*Adolpo Celi – What I like about Celi’s performance is that he does not come off as an over-the-top villain. He was elegant, intelligent, ruthless and egotistical. Perfect villain.

*Nassau Setting – The setting in Nassau gave the movie an exotic, yet elegant feel that really added substance to the movie.

*Villain’s Goal – Many critics have claimed that the villain’s goal in the movie – nuclear blackmail for money – seemed unrealistic, due to a belief there was little chance that an organization like SPECTRE could get its hands on a nuclear bomb from a NATO strategic bomber. And yet, I have never considered such a scenario unrealistic. Especially in today’s world. In a way, this scenario seems much more possible than some of scenarios featured in other Bond movies from the same period.

*Dialogue – The dialogue in this movie was unusually sharp and witty. But what really appealed to me was that Connery’s puns did not come out of his mouth every other minute, as it did in his previous two movies. In fact, the movie featured what I consider to be one of Connery’s best lines during his tenure with the franchise.</i>

Speaking of dialogue, below is what I consider to be some of my favorite lines:

* Moneypenny: In the conference room. Something pretty big. Every double-o man in Europe has been rushed in. And the home secretary too!
Bond: His wife probably lost her dog.

*Bond: My dear, uncooperative Domino.
Domino: How do you know that? How do you know my friends call me Domino?
Bond: It’s on the bracelet on your ankle.
Domino: So… what sharp little eyes you’ve got.
Bond: Wait ’til you get to my teeth.

*Do you mind if my friend sits this one out? She’s just dead.

*M: I’ve assigned you to Station “C” Canada.
Bond: Sir, I’d respectfully request that you change my assignment to Nassau.
M:Is there any other reason, besides your enthusiasm for water sports?

*Pat Fearing: James, where are you going?
Bond: Oh, nowhere. I just thought I’d take a little, uh… exercise.
Pat Fearing: You must be joking.

*But of course, I forgot your ego, Mr. Bond. James Bond, the one where he has to make love to a woman, and she starts to hear heavenly choirs singing. She repents, and turns to the side of right and virtue…[she steps on Bond’s foot]… but not this one.

I would like to conclude with this little note. In 1983, Kevin McClory – one of the original authors of “Warhead” – produced his own movie version of the story, which starred Connery as Bond. The movie, “NEVER SAY NEVER AGAIN” was not exactly terrible, but it almost seemed like an overblown version of the 1965 movie.

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“GOLDFINGER” (1964) Review

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“GOLDFINGER” (1964) Review”

Ever since its release in 1964, the James Bond movie, “GOLDFINGER” has been regarded as one of the best ever in the franchise. In fact, it is considered by many Bond fans as the franchise’s definitive film, considering that it more or less created what is known as “the Bond formula”.

The 1959 Ian Fleming novel, upon which the movie is based, is also highly regarded by some fans. However, others believe that the movie is an improvement on the literary version. While I agree that the movie, “GOLDFINGER” is an improvement over the novel, I have a rather low opinion of both the novel and the cinematic adaptation. However, I am here to comment on the movie and not the novel.

The plot for “GOLDFINGER” begins with MI-6 agent James Bond sabotaging a Latin American drug laboratory. Following this assignment, Bond rests at an exclusive Miami Beach hotel, where he receives instructions from his superior “M” – via C.I.A. operative Felix Leiter – to observe a bullion dealer name Auric Goldfinger. Bond discovers that Goldfinger is cheating at gin rummy with the help of employee Jill Masterson. Bond distracts Jill and blackmails Goldfinger into losing the game. While enjoying sex with Jill inside his hotel room, Goldfinger’s Korean (or Japanese) manservant Oddjob knocks Bond unconscious. The agent regains consciousness and finds Jill’s dead body covered in gold paint.

After “M” censures Bond for screwing up his assignment in Miami Beach, he orders the agent to discover how Goldfinger is smuggling gold out of Europe. Bond engages in a golf match with the villain, before following him to Switzerland. There, the agent meets Jill’s sister, Tilly, who seeks revenge against Goldfinger for her sister’s death. Eventually, Bond and Tilly form a short-lived alliance before the latter is killed by Oddjob and the former becomes Goldfinger’s prisoner. Fearful that the British agent might know the details of his new operation in the United States, Goldfinger keeps Bond a prisoner, instead of killing him.

As I had earlier stated, “GOLDFINGER” is without a doubt one of my least favorite Bond movies of all time. And there are many reasons why I harbor such a low opinion of it. Some of the the film’s problems stemmed from some poor characterizations. James Bond spent most of the movie either behaving like an oversexed adolescent or an idiot schoolboy. This characterization merely hampered Sean Connery’s performance in the movie and led me to consider it one of his worst. The movie also featured one-dimensional portrayals in characters such as Auric Goldfinger’s henchman, Oddjob, which allowed actor Harold Sakata spend most of the movie wearing a menacing smile; the thuggish Mafia bosses who visit Goldfinger’s Kentucky farm; and a very weak Felix Leiter, as portrayed by Canadian actor Cec Linder, who spent most of the movie behaving like a sidekick, instead of an ally from the C.I.A.

“GOLDFINGER” also featured some incredibly bad plotholes that make me wonder why this film is so highly regarded. For instance, I understood why Goldfinger had ordered Oddjob to kill Jill Masterson for her betrayal. Why did he not order Oddjob to kill Bond, who had compromised Jill and caused him to lose the card game? Goldfinger decides to keep Bond a prisoner, instead of making more of an effort to learn what Bond knew about his current scheme, “Operation Grand Slam”. I think drugs would have been a good deal more helpful than a gold laser threatening the agent’s nether regions. The method Bond used to convince Pussy Galore, Goldfinger’s personal pilot, to betray her boss disgusted me. It disgusted me that screenwriters Richard Maibaum and Paul Dehn allowed Bond wrestle Pussy to the barn floor and use sex to get her to betray Goldfinger. It disgusted me that the entire scene reeked of attempted rape. Why not have Bond convince her that Golfinger was simply a nutcase? I guess Maibaum and Dehn, or the producers, wanted an excuse for Bond to use his “magic penis” on the leading lady.

The movie’s most perplexing plot line involved the Mafia bosses’ visit to Goldfinger’s farm. It featured one of the most ridiculous and unnecessary plot turns in the movie franchise’s history. The sequence began with the gangsters’ arrival and demand for Goldfinger’s presence and the money he owed them. And while Bond eavesdropped on the conversation, Golfinger revealed his Fort Knox plan. Then he murdered them. Many Bond fans have claimed that the reason Goldfinger revealed his plan to the Mafia bosses before murdering them, was because he wanted bask in the enjoyment of letting someone know about his plans. If that was the case, why not have Goldfinger tell Bond earlier in the film before before attempting to kill the agent or leave him for dead? Why save this moment for a bunch of one-dimensional gangsters in the first place? What makes this scenario even more ridiculous is that when one of the gangsters, Mr. Solo, decided that he wants nothing of the Fort Knox plan, Goldfinger sent him on his way with a gold bar . . . before Oddjob killed the man and crushed him inside a car. Goldfinger could have simply killed Solo and the other gangsters at the same time . . . without this ludicrous revelation of his Fort Knox plan?

Were there any positive aspects about “GOLDFINGER”? Well . . . yes, or else I would consider this entry in the franchise to be the worst. Thankfully, the movie’s cast included Gert Fröbe as Auric Goldfinger. Although my opinion of Goldfinger’s intelligence has diminished over the years, I remain impressed by Frobe’s commanding presence and excellent performance. The movie also featured the talented and classy Honor Blackman (who was already famous in Great Britain for her role in the TV series, “THE AVENGERS”), playing the tough and intelligent Pussy Galore. I enjoyed Ms. Blackman’s performance so much that it seemed a shame that her character was ruined in that Galore/Bond wrestling match inside the barn at Goldfinger’s Kentucky farm. Shirley Easton made the most of her brief appearance as one of the doomed Masterson sisters, Jill. And one might as well face it, I doubt no one will ever forget that last image of her gold-painted body spread out upon the bed inside Bond’s Miami hotel room:

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“GOLDFINGER” also benefited from Ted Moore’s photography of Britain, Switzerland and Kentucky; which featured beautiful and sharp color. I was also impressed by Peter R. Hunt’s editing, which seemed most effective in the car chase around Goldfinger’s Switzerland plant, the showdown at Fort Knox and the fight aboard Goldfinger’s plane. Last by not least, I have to mention the music featured in the film. Between John Barry’s score and theme song performed by the talented Shirley Bassey, I must admit that the film’s music is one thing in “GOLDFINGER” that rose above everything else. After all, the move’s theme song is considered one of the best in the Bond movie franchise. And that is an opinion I do share.

Despite some of the movie’s positive aspects – some of the performances, the photography and the music – I have always harbored ambiguous feelings about “GOLDFINGER” for years. In the past, I tried to accept the prevalent feeling that it was probably one of the best Bond movies. But after watching it the last time . . . well let me put it this way, whether or not it was responsible for creating the Bond formula, I finally realized how much I truly dislike it.

“DR. NO” (1962) Review

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“DR. NO” (1962) Review

This 1962 movie marked the cinematic debut of EON Production’s James Bond franchise, created by Cubby Broccoli and Harry Saltzman. Sean Connery also made his debut in this film as the MI-6 agent, James Bond. Although many critics and fans consider film as one of the more impressive in the franchise, I honestly cannot say that I share their opinion.

Based on Ian Fleming’s 1958 novel, “DR. NO” begins with the murder of MI-6 agent Strangeways and his secretary by a trio of assassins in Jamaica. Fellow MI-6 agent James Bond is ordered by his superior, “M”, to investigate the agent’s death and eventually stumbles upon a plot by Dr. Julius No, an agent of the criminal organization SPECTRE, to disrupt the U.S. space program for the Chinese Republic.

As I had stated earlier, I have never considered “DR. NO” as one of the more impressive entries of the Bond franchise. In fact, it is one of my least favorite Bond movies of all time. The main problem I had with “DR. NO” was the schizophrenic script written by Richard Maibaum, Johanna Harwood, and Berkely Mather that featured an unbalanced mixture of genres. I suppose they had no choice. After all, they simply wrote a close adaptation of Fleming’s novel. And Fleming never struck me as the world’s greatest novelist. The story began as a mystery thriller, as Bond tried to figure out who was behind Strangeways’ death. Unfortunately, the movie transformed into a fantasy-style adventure when Bond and one of his CIA contacts, Quarrel made their way to Dr. No’s Crab Key Island in order to disrupt the villain’s plot. A part of me wish that Young and the screenwriters had made changes in Fleming’s story.

The stilted dialogue peppered throughout the movie only made matters even worse for me. The worst line came out of the mouth of former beauty pageant winner, Marguerite LeWars, who portrayed a photographer working for SPECTRE. It is so bad that I will not even repeat it. Even Connery was guilty of spewing some wooden dialogue. In fact, his performance seemed as uneven as the movie’s story and production style. In many scenes, he seemed to be the epitome of the smooth British agent. And in other scenes – especially with Jack Lord, who was the first actor to portray CIA agent Felix Leiter – he came off as gauche and wooden. Mr. Lord, on the other hand, gave a consistently polished and performance as the sardonic Agent Leiter. Much has been made of Ursula Andress’ performance as “Bond Girl No.1” Honey Ryder – especially her famous first appearance when her character emerges upon a beach. Frankly, I have never been able to sense the magic of that moment. Nor did I find Andress’ presence in the movie particularly impressive. Not only was her character irrelevant to the story, she did not really aid Bond’s attempts to defeat Dr. No.

I first became a fan of Joseph Wiseman ever since I noticed his sly and subtle performance as a 1960s gangster in the Michael Mann TV series, “CRIME STORY”. But I was not that impressed by his Dr. Julius No, a character that simply bored me to tears. I might as well say the same about Anthony Dawson’s performance as SPECTRE agent, Professor Dent. Many fans have been waxing lyrical over a scene featuring his death at Bond’s hand. Personally, I found Bond’s actions unprofessional. The MI-6 could have easily drugged the SPECTRE agent, remove any inconvenient cyanide pills and have the authorities “question” him. Instead, Bond killed him in cold blood . . . and lost any chance to get more information from Dent. Moron. “DR. NO” can boast first-class performances by American-born John Kitzmiller as the exuberant Jamaican CIA contact, Quarrel. And Zena Marshall gave a solid, yet subtle performance as Professor Dent’s Eurasian secretary and SPECTRE agent, Miss Taro. It is only too bad that the producers and Terence Young could not find genuine Eurasians for both the Dr. No and Miss Taro roles. But I guess that would not have been possible in 1962.

“DR. NO” featured some beautiful photography of Jamaica from cinematographer Ted Moore. Monty Norman not only provided a first-rate musical score, he also delivered the original “James Bond” theme. However, some of the movie’s flaws – namely the uneven script and direction by Terence Young, along with the wooden dialogue, makes “DR. NO” vastly overrated in my eyes. But what can I expect from a movie that consistently threatens to put me to sleep two-thirds into the story?