James Bond Review – Goldfinger (dir. by Guy Hamilton)


The Shattered Lens continues the Bond Marathon leading up to the release of Skyfall with 1964’s Goldfinger. Normally, one would figure that the third film in a series is the one with the most danger of ruining everything. You’ve already had two successful stories and you’re asking audiences to come back for yet another round. Yet Goldfinger manages to be considered a favorite by many, and even managed to be the first 007 film to win an Academy Award (for Sound Effects). It does this by expanding on what was already done.

Building on the format that From Russia With Love started, Goldfinger opens with the gun barrel animation and Bond already on a mission. As he reaches what looks like an oil field under the cover of night, he manages to sabotage it (with a little help from C4 or possibly C3, given the time) and arrive back in a neighboring town before it explodes. Heading to his hotel room, he finds a young lady waiting for him who tries to capture his attentions before he catches sight of a thug in the reflection of her eyes. In the fight that ensues, Bond’s quick thinking and a bathtub full of water makes all of the difference. This prologue will become commonplace in all of the EON Production Bond films save for Dr. No (of course) and Quantum of Solace, which gives you the gun barrel at the end of that film.

Sean Connery reprises his role as MI6’s best agent, finding himself in Miami, where he interrupts the card game of one Auric Goldfinger (Gert Frobe), cheating with the help of Jill Masterson (Shirley Eaton). When Bond is caught off guard and knocked out, he wakes up to find Jill dead in her bed, covered in gold paint. The scene actually sparked a number of rumors that Eaton had died in the process of filming it, and as it was mentioned in the film, without leaving a free space near the base of the spine, the actress suffered “skin asphyxiation”. This was later tested on the Discovery Channel’s Mythbusters, and while skin doesn’t “breathe” the way Fleming wrote, your sweat can’t get out of clogged pores. You end up dying of heat stroke. Guess my science teachers were right there, to a degree. The image is so popular, it was even referenced by Quantum of Solace, though Oil was the substance of choice used there.

Bond is given the mission to track Goldfinger and figure out what he’s up, but not without a quick visit to Q Branch. It’s here where we find James’ new car, the Aston Martin DB5, and are introduced to one of longest professional relationships between an automotive company and a production one. Aston Martin would go on to cover nearly every Bond film save for a few (Goldeneye quickly comes to mind), but I’ll profile that relationship in a separate article. The car is outfitted with machine guns, oil slicks, smoke screens and even an ejector seat, believe it or not. Among the gadgets he’s given are two trackers (one large and one small). In terms of the overall series, this is the point where 007 seemingly becomes more of a gadget hound than relying on his actual abilities. I always felt that the ones in From Russia With Love supported him just when he needed it. In Goldfinger, they come across as utility belt like items, though functional all the same.

One of the other standouts in the film is Goldfinger’s henchman, OddJob (Harold Sakata). With a bowler hat that served as a razor disc, he’s one of the most iconic villains in the series, perhaps second only to Richard Kiel’s Jaws. Tomorrow Never Dies and even Goldeneye went on to use henchmen (or henchwomen in Famke Jassen’s case) to great effect.

In going after Goldfinger, Bond runs into Tilly Masterson (Tania Mallet), who mistakenly tries to kill him. They’re eventually caught an in classic 007 Fashion, Bond is placed in a situation that causes one to ask why no one has ever tried to kill him outright. The laser scene that has Bond tied to a table features one of the most famous lines in Goldfinger. When Bond asks Auric if he expects him to talk because of the laser that’s due to cut him in two, Goldfinger stops, turns to face him and exclaims, “No, Mister Bond! I expect you to die!” Needless to say, Goldfinger changes his mind after Bond mentions “Operation Grand Slam”, a plot to seemingly rob Fort Knox. It’s only later that we find that Goldfinger isn’t out to rob the reserve, he’s planning on detonating a nuclear weapon in it that would make all of the nation’s gold radioactive (and all of his gold worth billions, as a result). This is all showcased in a grand sequence involving Pussy Galore’s flight team and some knockout gas. As a kid, I loved it.

Finally, what Bond film would be complete without a Bond Girl? For Goldfinger, we have Honor Blackman’s Pussy Galore. In doing some research on this, I found that according to an article in Empire Magazine, in order to get the name by the American censors, the movie producers took them out to dinner. They decided to not interfere with the name, but it was never exactly listed in any of the US marketing promos. I’d always wondered about that, myself.

As a Bond Girl, Pussy was great in that she handled herself well with both weapons and hand to hand combat. Honor Blackman was well versed in Judo, so her action scenes with Sean Connery were easy to make. Cold and to the point, Pussy Galore wasn’t the “crying over a broken nail” type, but this being the 60’s, they still had the character succumb to Bond’s advances. Personally, I’m not exactly cool with that, but understand that given the time period and possibly the audience, it had to be written as such. Future Bond Girls would make up for it. At least it was good to see that there was a Bond Girl who could stand toe to toe with Bond.

Regarding the casting, one thing that’s also interesting to note that Gert Frobe, who played Goldfinger had a heavy German accent, so heavy in fact that his lines had to be dubbed by someone else. All of the Bond regulars from previous films make a return – Desmond Llewelyn as Q, Lois Maxwell as Miss Moneypenny, in particular. Felix Leiter would be played by a different actor (my favorite being David Hedison from License to Kill).

The impact of Goldfinger has been huge over the years. It’s one of the films everyone usually recalls, and even famed Video Game creator Hideo Kojima pays homage to the film by way of the theme song used in it’s game “Metal Gear Solid 3: Snake Eater”, as the game takes place in the same time period as Goldfinger.

Overall, Goldfinger remains one of the strongest parts of the 007 saga. Tomorrow, the Shattered Lens takes on Thunderball, the Fourth Connery film and the controversy surrounding it. I’ll leave you with Shirley Bassey’s iconic theme to the film.

Which Way Forward For The “Batman” Movie Franchise? Take Seventeen : Costume Survey


 

One of these days, I probably really should get around to playing the Batman : Arkham City video game. Of course that means buying a video game system of some sort and that will inevitably lead to getting more games and more games means less time for things like movies and comics. It could even mean less time with my wife, at which point I know I’d be well and truly beyond all help. So I think I’ll refrain.

But still — a fair amount of what we’ve been discussing in this little (okay, not so little) Bat-thread of mine seems to revolve around ideas presented in this Arkham City game, and it’s rather flabbergasting that I’m freely swiping so many concepts for my imaginary new Bat-movie-trilogy from something I really have no first-hand experience with — but hey, that’s the way it goes sometimes, I guess. All of which brings us to the above-reproduced CG menu from the game.

How does that follow, you ask? Well, we’re at the point in our first Bat-flick where, having hinted at aspects of the costume in silhouette-fashion, and having given the new Batmobile it’s so-called “full reveal,” it’s time for Batman to arrive at the Gotham City docks and crash the little party Lucchesi and his men are holding there, so now seems like as good a time as any to show the Bat-costume in all its glory, hence the picture at the top of the post — which also comes, no surprise, from Arkham City. Apparently you can actually pick which of the various Bat-suits used over the years you want your Batman character to wear in the game, and that pic represents the menu of options that you as a player have to choose from.

Let me start by saying that none of them are exactly perfect for what I have in mind for Batman’s look in this new trilogy, but one of them sure comes damn close, in my opinion. Keep in mind, we’ve already shown that this particular iteration of the Batman is wearing his Kevlar-armor bodysuit underneath his costume, so the suit serve as his armor in and of itself as it has in the Christopher Nolan and, to a lesser extent, Tim Burton Bat-films. So that rules out, going from left to right,  option three and six as pictured. So — it’s survey time! In the next, shall we say, 24 hours, should you feel so inclined, please chime in here and let me know the following :

*Which of the remaining options you  would choose for Batman to wear in the new hypothetical trilogy;

*And which one you think I have picked out.

If nobody responds — it is the weekend after all — I’ll just chime in tomorrow night with my own choice, as well as detailing the small change or two (or three) I’d make to get things exactly as I picture them. Any and all opinions are welcome, of course, but in the end, as they say, there can be only one, and being the dictator of this thread means I’ll have the final say, but if you can lay out a solid argument in favor of your selection, it may just be enough to get me to change my mind!

Until tomorrow night, then!

Horror Trailer: The Bay (by Barry Levinson)


Another found footage horror flick is on it’s way to the cinemas in less than a month. This one just happens to have some heavyweight pedigree behind it. While it has producers of the Paranormal Activity series and one of this year’s surprise horror entries with Insidious it’s who ended up directing this found footage horror film that has given the film buzz since it’s premiere at this year’s Toronto International Film Festival.

Barry Levinson, he of Academy Award-winning fame for Best Director for Rain Man, does directing duties for The Bay and from reaction since it premiered at this year’s TIFF he has made a found footage horror film that is worth seeing. The scenes and trailers shown tells the story of an incident a couple years back in a seaside Maryland town which becomes part of a wide-ranging government cover-up. A cover-up meant to hide hundreds of deaths and the cause of it.

I’m not a huge fan of found footage films, but I do enjoy those that are well-done and brings something fresh to the table. If The Bay is even half of what the buzz and hype is saying about it then I think it’s going to be one that I plan to check out when it comes out in the next couple weeks.

The Bay is set for a November 2, 2012 release date from Lionsgate.

James Bond Film Review: From Russia With Love (dir. by Terrence Young)


Hi there!  The name’s Bowman, Lisa Marie Bowman.  And tonight, I’m continuing the Shattered Lens’ look at the James Bond film franchise by reviewing 1963’s From Russia With Love.

The 2nd film in the Bond film series, From Russia With Love is considered by many to be one of the best entries in the franchise.  I happen to agree with them.  There’s a lot of talk right now that Skyfall could be the first James Bond film to receive an Oscar nomination for best picture.  Personally, I think From Russia With Love (and not Tom Jones) should have been named the best picture of 1963,  (Seriously, has anyone actually tried to watch Tom Jones recently?)

From Russia With Love opens with a tuxedo-clad James Bond sneaking around outside the type of opulent estate that every Bond villain seems to own.  Suddenly, Bond is attacked by a hulking assassin named Red Grant (played by a pre-Jaws Robert Shaw) and, as the audience watches shocked, Bond is apparently killed.  It’s only after Bond’s dead and on the ground that we learn the truth.  The man in the tuxedo wasn’t James Bond at all — instead, he was just some random henchman in a James Bond mask!  It turns out that Grant works for the villainous organization SPECTRE and this is all part of his training routine.  Now, you would be justified in wondering why SPECTRE would go through the trouble to make a next-to-perfect James Bond mask for a simple training routine but. ultimately, it doesn’t matter.  It’s a great sequence, that manages to be both fun and suspenseful at the same time.  It’s also a great set-up for the rest of the film.

SPECTRE and its mysterious leader (and this is the first time in which we get to see that iconic image of a hand stroking a white cat while a disembodied voice says evil things) want Bond dead.  The job of arranging Bond’s assassination is given to Kronsteen (played by Vladek Sheybal, who has a truly fascinating skeletal face).  When he’s not off being evil, Kronsteen is a chess grandmaster and, not surprisingly, he views his assignment as if it’s just one big chess game.  In order to kill Bond, he knows that he’s going to need a pawn.

That’s where Tatiana Romanova (played by Daniela Bianchi) comes in.  Tatiana is a cipher clerk at the Russian Embassy in Istanbul.  She is approached and given an assignment by Rosa Klebb (Lotte Lenya), a Russian intelligence agent who, unknown to Tatiana, is also working for SPECTRE.  Tatiana contacts MI6 and tells them that she’s willing to defect but only to James Bond.  Tatiana explains that she came across Bond’s picture in a Soviet Intelligence file and the insinuation is that she fell in love (or, at the very least, lust) with that picture.

(Interestingly enough, this parallels the fact that audiences had previously seen Sean Connery in Dr. No and, like Tatiana, spent the year between the two films fantasizing about James Bond themselves.  In that way, Tatiana is the perfect audience surrogate.)

James Bond is sent to Istanbul by M (Bernard Lee) but before he goes, he meets with the head of Q branch.  Desmond Llewelyn makes his first appearance in the Bond franchise here.  In a historic moment of film history, he gives Bond his first booby-trapped briefcase.

When Bond arrives in Istanbul, he meets with station head Kerim Bey (played by Pedro Armanderiz, who tragically committed suicide before From Russia With Love was released).  With the help of Kerim Bey and Tatiana (who Bond first meets with she turns up, naked, in his bed), Bond steals the Lektor decoder device from the Russian consulate.  Though Bond doesn’t realize this, he’s aided in this task by none other than Red Grant.  Grant has been following Bond and perversely, he’s been protecting Bond from KGB assassins so that he might have the chance to kill Bond himself.

Bringing the Lektor device with them, Bond, Tatiana, and Kerim Bey board the Orient Express.  It’s on the train that they meet Nash, a British agent who says that he’s been sent by MI6 to help make sure that Bond and Tatiana safely make it back to England.  Of course, what the audience knows, is that the somewhat smug Nash is none other then … Red Grant!

I love From Russia With Love.  Everything that makes the James Bond series so special — romance, memorable villains, spectacular locations, exciting action, and a rather sardonic sense of humor — is present in From Russia With Love.  Playing Bond for the second time, Connery is more confident with the role here than he was in Dr. No and, as opposed to some of his later appearances in the series, Connery appears to be enjoying bringing this iconic character to life.  There’s none of the boredom that marred some of Connery’s later performances.  Instead, Connery is exciting to watch and it helps that he and Bianchi have a very real chemistry in this film.  As opposed to some Bond girls, Tatiana is a believable, multi-layered character and you actually care what happens to her.  The relationship between Tatiana and Bond feels real and, therefore, the film has a surprising emotional resonance to it.

As opposed to Dr. No, with its somewhat bland title character, the villains in From Russia With Love are a fascinating quartet of rogues.  Lotte Lenya brings an unexpected amount of depth to the role of Rosa and her final battle with Bond is one of the best in the history of the franchise.  Even more exciting than Bond’s fight with Rosa is his final fight with Red Grant.  As played by Robert Shaw, Grant comes across as if he’s the literal personification of Bond’s dark side.  Both men are killers and both are rather smug about it but the difference is that Bond is capable of caring about Tatiana whereas Grant has surrendered whatever emotions he may have once had.  Shaw’s performance so dominates the film that, when I rewatched the film, I was surprised to discover that Grant is only in a handful of scenes.

If Dr. No was an enjoyable B-movie, then From Russia With Love was a cinematic masterpiece that transcended the limitations of genre.  If Dr. No established the basic conventions of James Bond, From Russia With Love showed that those conventions could be used to make a great film.

Tomorrow, we’ll be taking a look at the third film in the Bond franchise, Goldfinger.

And like that, Oscar season begins: The Gotham Independent Film Awards Nominations


As I’ve said many times in the past, I am an Oscar fanatic and Oscar season is my favorite time of the year.  Well, I’m happy to say that the 2012 Oscar season has now officially began.  The Gotham Independent Film Spirit Awards have been announced.

“The what?” you my be asking.

Well, okay, it’s true that the Gothams aren’t as influential as the Golden Globes or the National Board of Review.  But, still, for independent filmmakers who are hoping not to be forgotten in the rush to embrace mainstream films like Lincoln, The Great Gatsby, and Zero Dark Thirty, every little bit of publicity helps.

The nominations appear to be dominated by Bernie, Moonrise Kingdom, and The Master.  That’s not a bad thing because I consider each one of those films to be one of the best of the year.

Here’s the nominations.  I’m going to hold off on offering up any commentary, beyond saying that I’m glad to see that Bernie is being remembered.

Best Feature:

Bernie

The Loneliest Planet

The Master

Middle of Nowhere

Moonrise Kingdom

Best Documentary:

Detropia

How To Survie a Plague

Marina Abramowtiz: The Artist Is Present

Room 327

The Waiting Room

Best Ensemble Performance:

Bernie

Moonrise Kingdom

Safety Not Guaranteed

Silver Linings Playbook

Your Sister’s Sister

Breakthrough Director

Zal Batmanglij for “Sound of My Voice
Brian M. Cassidy and Melanie Shatzky for “Francine”

Jason Cortlund and Julia Halperin for “Now, Forager”
Antonio Mendez Esparza for “Aqui­ y Alli¡ (Here and There)”
Benh Zeitlin for “Beasts of the Southern Wild

Breakthrough Actor
Mike Birbiglia in “Sleepwalk with Me
Emayatzy Corinealdi in “Middle of Nowhere
Thure Lindhardt in “Keep the Lights On
Melanie Lynskey in “Hello, I Must Be Going
Quvenzhane Wallis in “Beasts of the Southern Wild
Best Film Not Playing at a Theater Near You
“Kid-Thing”
“An Oversimplification of Her Beauty”
“Red Flag”
“Sun Don’t Shine”
“Tiger Tail in Blue”

Which Way Forward For The “Batman” Movie Franchise ? Take Sixteen : The Batmobile!


This actually isn’t a diversion from where we were in the plot of our hypothetical Batman I  film. Well, okay, not too much of a diversion.

If you’ll recall, when we last left things the other day, Vincent Lucchesi, Gotham City crime “boss of all bosses,” was headed out to oversee an important shipment coming into town that his guys had neglected to find replacement “security” for once the cop-on-the-take they’d hired to fill that role, the always-crooked Lieutenant Flass, had been sent upriver by Harvey Dent and Jim Gordon. All of which means it’s time to cut to some semi-momentous shit that we’ve all been waiting for (assuming there’s a “we” out there still reading this interminably long series), namely our first scene of the Batman in costume, followed in short order by the debut of this new bat-trilogy’s version of the Batmobile.

So shouldn’t I be doing a post on the Bat-costume first, and then get to the car? Yeah, I suppose that would make sense, but bear with me while I explain how this whole little scene plays out in my mind —

We’ll cut from Lucchesi storming out of his plush penthouse office to Bruce Wayne attentively analyzing a series of shipping manifest numbers on the giant screen of his Bat-computer deep in his cave. Alfred is standing by, attentive as ever, while Bruce says something along the lines of “so if the pattern of Lucchesi’s shipments holds, his next one should be coming in tonight.”

“You intend to be there to meet it, sir?”

“That’s the plan, Alfred. Getting an entire crate of whatever it is he’s shipping in is out of the question, but if I can just get enough to fill up this vial, I’ll transmit an image through to you for analysis.”

“I shall be at the ready then, sir.”

“And speaking of ready — it’s time I got that way myself.”

At this point Wayne will press a button on a keypad control and a plexiglass case containing a Batsuit will rise up from the floor, but I’m thinking for now we should see it only from behind, and that his “dressing” scene should amount to shots of him suiting up in his kevlar under-suit, maybe snapping some gauntlets on his hands, etc. — no full view of him in costume yet, just hints of the overall picture, if you will. This will be followed up by an obscured shot of him breezing by Alfred and mouthing the word “car” into his cowl-mic, at which point a stone dais will rise from the deeper recesses of the cave revealing, in all its glory, the new Batmobile!

Now, when it comes to exactly which Batmobile we’re talking about here, I admit I hunted high and low through various online image archives to find what I felt would be the perfect model. I’m not interested in a repeat of Christopher Nolan’s “Tumbler,” nor did I want a carbon-copy version of Tim Burton’s more classically-inspired ride, although something more akin to the Burton version, based as it was on an amalgamation of several of the better comic book designs, was what I had in mind. Still, the picture-perfect model well and truly escaped me, until —

I found that image reproduced at the top of this post. It’s a conceptual CG mock-up by a guy named Danny Gardner done for the Batman : Arkham City video game. Never having played the game myself I can’t say for certain whether or not it’s the car — or, hell, one of the cars — Batman uses in it, but I think for the overall tone of this new imaginary Bat-trilogy of ours, it’s pretty well goddamn perfect. I’m sure whatever Hollywood designers were working on this film if it ever came to pas would want to tweak it here and there, obviously, but as far as a “this is the kind of thing we’re going for” blueprint goes, I think it’s great. It’s sleek, it’s modern, it’s bad-ass, and yet it’s got something of a timeless quality to it that I think would ensure it ages well along with the film itself. It would also blend into the night pretty seamlessly. What say you, dear readers?

And now, with the car out of the way, tomorrow we can finally get to the business of a “full reveal,” as the saying goes, of the Bat-costume itself!

Artist Profile: Basil Gogos


Born to a Greek family living in Egypt, Basil Gogos immigrated to the United States at the age of 16.  Gogos was interested in art from a young age and studied at several New York city art schools.  Gogos began his professional career in 1959 and found his greatest success painting covers for The Famous Monsters of Filmland magazine.  In the 1970s, Gogos retired from commercial art and devoted himself to doing fine art.  In 2006, Gogos received the Monster Kid Hall Of Fame Award at The Rondo Hatton Classic Horror Awards.

Horror Trailer: Citadel (by Ciaran Foy)


Continuing the month-long theme of horror and everything spooky I come bearing horror gifts with the trailer to a horror film that made the rounds at this year’s film festivals.

Ciaran Foy’s Citadel looks to be one of those siege films where we have one or two people under siege by a large group of unnamed marauders (who may or may not be human). It’s a story that’s been told many times and one that’s simple to pull off. It made Romero’s zombie films extremely popular and even made a star out of John Carpenter who’s own brand of under siege films became a homage to the old Westerns which followed the same template but with cowboys and Indians instead.

Some may think this is just another Euro-zombie film that seems to be coming out of the old country and making its way to the shores of the US. Whether the hoodlums stalking and attacking the hapless young father in this film are zombies, or demons or just some pissed off chavs the film looks to be scary and well-shot for a first-time director.

There’s no set release date for the Citadel in the US but I’m sure it’ll find it’s way either on cable On Demand services, but at least on DVD/Blu-Ray.

 

What Horror Lisa Marie Watched Last Night #53: Halloween II (directed by Rick Rosenthal)


Last night, I watched Halloween II.  No, I’m not referring to the rather disturbing Rob Zombie movie that came out in 2009.  Instead, this Halloween II was the original sequel to the original Halloween.  This version was written by John Carpenter and Debra Hill.  It was released in 1981 and I saw it in 2012, via Cinemax.

Why Was I Watching It?

Because it’s October, of course!  It’s horror month and Halloween is one of the great horror movies.  Would Halloween II turn out to be another great horror movie?  Well, to be honest, I figured it probably wouldn’t but I decided to watch it anyway.

What Was It About?

Halloween II picks up exactly from where the first Halloween ended.  The sole surviving babysitter, Laurie Strode (Jamie Lee Curtis), is being rushed to the hospital by two paramedics, one nice (Lance Guest) and one kinda crude and pervy (Leo Rossi).  Two guesses which one of our two paramedics eventually ends up dead.  Meanwhile, Michael Myers has apparently survived being shot six times and falling out of a second story window and he’s still wandering around Haddonfield, Indiana.  Best of all, Dr. Sam Loomis (Donald Pleasence) is still running around all over the place, telling anyone who will listen that it wasn’t his idea to allow Michael to be released.  (In one of the film’s best running jokes, everyone responds to Loomis’ protestations by saying stuff like, “Damn you for letting him out!”  “Uhmm, I didn’t…” Dr. Loomis mutters at one point.)  It quickly becomes apparent that Michael’s rampage wasn’t quite as random as it seemed in the first film.  He’s after Laurie and, once he breaks into the local hospital, it seems like he might very well get her.  Why?  Because, for the most part, it appears that every single citizen of Haddonfield is a total and complete moron.

What Worked?

Halloween II is actually one the better of the slasher sequels of the early 80s.  While it can’t compare to the first Halloween, it’s still a fairly suspenseful little film and Michael Myers is just as frightening as ever.  However, what truly makes this film memorable, is Donald Pleasence’s unhinged performance as Dr. Loomis.  Whereas in the first film, Pleasence played Loomis as just being somewhat testy and annoyed, his performance here suggests that, in the minute or so between shooting Michael and then looking out the window at the end of the first film, Loomis has managed to totally lose his mind.  Pleasence gives one of the most mannered, over the top performances in film history in Halloween II and it works perfectly.  Whenever the film starts to drag, Pleasence shows up and injects a nice bit of crazy into the proceedings.  My favorite moment comes when Loomis suddenly yells at a policeman, “What is it you guys you usually do?  FIRE A WARNING SHOT!?”

Lance Guest, who plays the nice paramedic, was really quite likable.  I know there’s some debate as to the ultimate fate of his character but I chose to believe that he survived.

The Halloween theme music is still probably one of the most effective horror soundtracks to have not been composed by Goblin or Riz Ortolani.  When it came on the TV last night, our cat Doc actually got scared and ran out of the room.

What Didn’t Work?

It’s not the first Halloween.

While the film nominally stars Jamie Lee Curtis, Laurie spends most of the film catatonic and she never really gets to do much other than run from Michael.  Say what you will about how Laurie kept dropping her weapons at the end of the first Halloween, she still at least fought back.  In Halloween II, Laurie is reduced to being a stereotypical victim.

“Oh my God!  Just like me!” Moments

I have to admit that I kinda related to the three nurses who were on call at the hospital.  I related to Karen (Pamela Susan Shoop) because, like her, I have, in the past, shown a weakness for bad boys who insist on making out in a hot tub even while there’s a merciless serial killer wandering about.  I related to Jill (Tawny Moyer) because, like her, I tend to look at my nails whenever I get bored at work.  Most of all, I related to Janet (Ana Alicia), because she couldn’t figure out how to use a walkie talkie.  (And, seriously, what type of name is walkie-talkie anyway?  It sounds like a cutesy robot.)

So, as opposed to most other slasher films, I was able to find instant empathy with not one but three characters!  Unfortunately, all three of those nurses were dead by the end of the film so, seriously … agck!

Lessons Learned:

I would not survive a slasher film.

James Bond Film Review: Dr. No (dir. by Terrence Young)


Hi there!  As you may already know, in the days leading up to the release of Skyfall, we’re going to be looking at the previous films in the James Bond franchise.  Today, we take a quick look at the first of the “official” James Bond films — 1962’s Dr. No.

Dr. No is a film of many firsts.  It was the first film to be adapted from one of Ian Fleming’s original novels.  (Though it was not the first adaptation, that honor going to the 1954 made-for-tv version of Casino Royale). It was, of course, the first Bond film to be produced by the legendary team of Harry Saltzman and Albert Broccoli.  It featured the first true Bond girl, with Ursula Andress playing Honey Rider and spending the entire film in an iconic white bikini.  Dr. No featured the first appearance of both M and Miss Moneypenny (played, respectively, by Bernard Lee and Lois Maxwell).  That iconic theme music made its first appearance in Dr. No as well.  However, most importantly, Dr. No featured the first appearance by Sean Connery in the role of James Bond.  Even more than Andress’ white bikini, Connery is the reason why Dr. No proved to be the rather unlikely launching pad for one of the most succesful film franchises in cinematic history.

Dr. No, in fact, is a film that contains so many historic firsts that, often, it seems like reviewers tend to neglect the film itself and, instead, chose to concentrate on the film’s legacy.  And indeed, 50 years after it was first released, it’s difficult to watch Dr. No without viewing everything about it in relation to what the James Bond franchise would eventually become.  Instead of evaluating the film on its own individual merits, the tendency is to watch Dr. No and to spend a lot of time thinking things like: That’s the first time the world ever heard Sean Connery say, “Bond, James Bond.”  We tend to forget that, when Connery and director Terrence Young actually made Dr. No, they had no way of knowing that 22 sequels would follow.  They didn’t know that they were making film history.

Dr. No begins with a shooting in Jamaica.  John Strangeways, the British Intelligence station chief, is ambushed and gunned down by three assassins.  Shortly afterward, in a surprisingly brutal scene, his secretary is also assassinated.  In response, James Bond is summoned to the offices of MI6.  When he receives the summons, Bond is busy gambling and seducing Sylvia Trench (Eunice Grayson).  Sylvia, incidentally, was originally meant to be a character who would pop up in all of the subsequent Bond films.  Basically, she would have functioned as Bond’s girlfriend, the loyal woman who waited at home while Bond went to exotic countries and slept with every other woman in the world.  Perhaps wisely, this idea was abandoned after just two movies but still, Bond’s initial meeting with Sylvia (and the audience) is such an iconic moment that words simply won’t do it justice.  Here it is, for your viewing pleasure:

This scene has to rank as one of the best intro scenes in film history.  In just a few brief minutes, this scene tells us everything that we need to know about both James Bond and, even more importantly, Sean Connery’s interpretation of the character.  In this scene, Connery’s Bond is the epitome of narcissistic charm, giving just a hint of the determined cruelty lurking right underneath the surface.  It’s especially interesting to compare Connery’s Bond here to Daniel Craig’s interpretation of the character.  Whereas Craig’s Bond often seems to be on the verge of having a nervous breakdown, Connery is established in his first scene as being a cool and calm professional.  Craig may be the ideal Bond for our troubled reality but Connery will always be the Bond of our dreams and fantasies.

Bond is sent to Jamaica, where he teams up with CIA agent Felix Leiter (played by Jack Lord).  Again, it’s interesting to compare this version of Felix Leiter with Jeffrey Wright’s more-recent interpretation of Felix.  Whereas Jack Lord’s Felix Leiter is a cool, calm professional (a bit like an asexual version of Connery’s Bond, to be honest), Jeffrey Wright’s Felix often seems to be mired in self-loathing.  Both interpretations are perfectly legitimate (and Felix is usually such a superfluous character that just about any interpretation will do).  Instead, they’re interesting largely because of the way that each one of them epitomizes the decade in which each film was made.

With the help of Leiter, Bond quickly figures out that Strangeways’ death is linked to the mysterious, Dr. No (Joseph Wiseman), who has his own private island near Jamaica.  The natives claim that a dragon guards the island but Bond, never one to let something like that stop him (especially when it’s always his allies — like the unfortunate Quarrel — who get killed in these films, as opposed to him) sneaks onto the island.  It’s here that he first spies Honey Rider (Ursula Andress) walking along the beach.  Again, Honey’s introduction is such an iconic scene that, rather than try to describe it, it’s better just to show it:

For all the talk of how the Bond girls were often sexist stereotypes, I would have loved to have been an old school Bond girl.  Seriously, they got to be all sexy, they got to make love to James Bond, and occasionally, they got to help save the world.  Seriously, what fun!

I’ve spent so much time talking about James Bond and Honey Rider that I haven’t left much room for Dr. No.  But that’s okay because, to be honest, Dr. No is not really that interesting of a villain.  As opposed to future Bond villains, Dr. No is something of a bland character.  Joseph Wiseman plays him with a lot of menace and he has a few over the top moments but it doesn’t matter because there’s really nothing to distinguish Dr. No from any other megalomaniac that’s ever shown up in a low budget spy movie.  He’s a perfectly acceptable villain but he’s not an extremely memorable one.  (Perhaps if Christopher Lee had accepted the role when it was offered to him, Dr. No would have been a bit more of an effective character.)  Rest assured that Dr. No does have an impressive secret headquarters and, that once he does capture Bond and Honey, he takes his time to explain all of his evil plans as opposed to doing something sensible like killing them.

So, how does Dr. No hold up 50 years after first being released?

Surprisingly well.

Despite having a weak villain, Dr. No is still a lot of fun.  As opposed to future Bond films, Dr. No was a low-budget affair and, at it’s best, it comes across as an appealing B-movie.  Ultimately, the film is best known for introducing audiences to Sean Connery in the role of James Bond and perhaps that is for the best because Connery truly is the best thing in Dr. No.  Five decades later, you can still see why the world was so intrigued with both the actor and the character.

Tomorrow, we’ll take a look at one of my personal favorite films of all time — From Russia With Love!