James Bond : The Film Review and Bond Link/Connection Thread *SPOILERS*

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*


...then I'd really like to know how you'd describe the ususal posting behavior of people like Chimpy or RichardTheBully.
Responses.


...I can see a movie like Diamonds Are Forever with an actor like Gavin...wouldn't you say that A View To A Kill is principally the kind of movie one could see with another actor just as well
"Should" not "could." Me? Should? No.


If "the producers" refers to the current lunatics, then you're probably right.
It refers to the current experts in making the Bond movies people want to see, yes.


But Cubby and Harry seemed to be basically open for the idea, also offering the part to Burt Reynolds.
And Eastwood, apparently, depending on who to believe. What they did and why they did it might be different things. Who knows? What does history tell us? They cast major Hollywood stars and second stringers or virtual unknowns from America or second stringers and virtual unknowns from UK and Oz?

But I'd like to explore your use of the term "lunatics." It refers to someone, or people in the plural, who are insane (an archaic sociological and medical term nowadays). Or foolish, eccentric, crazy. But the common attributable term is "insane." Insanity is commonly a spectrum of behaviours characterised by certain abnormal mental or behavioural patterns. Einstein defines the very core of insanity as doing the same things over and over and expecting different outcomes. Insanity, or lunacy, is further defined by the rigid inability to break free of those patterns of behaviour despite the continued negativity or indeed positivity of the outcomes. The overriding factor is a compulsion to repeat the behaviour. Lunacy refers to the lunar cycle as a mythological trigger for the behaviour - but that's mostly folklore with a bit of science mixed in.

Consider the film industry as one that exists primarily to make money through crowd pleasing whilst occasionally trying to maintain some artistic integrity and critical kudos (the first two objectives are primary, integrity and kudos are simply optional). Look at the response to SKYFALL and then apply the term "lunatics" to Broccoli and Wilson and see if it fits.

Lunatic behaviour is only insane depending on the outcome. Like, when the world was thought to be flat, it was lunatic behaviour to sail towards the horizon and beyond. Then when the outcome justified the behaviour, it wasn't insane at all.


"What a helpful Chap."

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*


Responses.
How foolish of me to ask this. They're in basic agreement with bushtony, and therefore they get plenty of scope.

It refers to the current experts in making the Bond movies people want to see, yes.
Turns out that people don't want to see Bond movies right now. Or that they already forgot what Bond movies were like not so long ago. Or that they simply take everything labelled as Bond, just like they always have.

Look at the response to SKYFALL and then apply the term "lunatics" to Broccoli and Wilson and see if it fits.
Certainly when you define lunacy as the completely unfounded desire to go with the flow at any cost. Even at the cost of giving up your own identity.
As for Eastwood, Reynold's co-star in City Heat, I believe nothing but a "consideration", i.e. he was mentioned during name-dropping. That he received a serious offer strikes me as unlikely, but I naturally don't know the further particulars.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*


How foolish of me to ask this. They're in basic agreement with bushtony, and therefore they get plenty of scope.
But of course. As is the same for you and people who are in basic agreement with you. There are some silght differences - I personally don't write off everyone who disagrees with me or points out that some of my behaviour might constitute trollery as being lunatics, fascists or bullies. I will consider if what they're saying holds some grain of truth. Then I write them off as mindless pillocks.


Turns out that people don't want to see Bond movies right now.
Or they do, but they want to see them in a format and representation that resonates for them in the here and now. That doesn't mean that the older formula has been scrapped entirely, just changed, modified, updated, re-focused and slowly reintroduced. It make take some more years. That it doesn't hold appeal for you is clear. But, eye of the beholder and all that.


Certainly when you define lunacy as the completely unfounded desire to go with the flow at any cost. Even at the cost of giving up your own identity.
I don't define it as that or see it as such. That's you and your interpretation. Even if it were to be the case in fact, it would not constitute lunacy in the context of the outcomes - and let's face it, we all know generally why film makers make films. Lunatic/insane behaviour is only such if the outcomes are compatably lunatic and insane. Unprededented financial and critical success don't fit the bill, I would suggest, and nor are the responses of a lot of Bond fans and critics who are better informed, more knowledgeable and balanced than both you or I. SKYFALL may not be what movie Bond was, but it is what movie Bond is at the moment. And in ten years time I don't expect it to be the same as it is now.

The following dodgy list of actors who were (supposedly) offered the role of Bond but turned it down is good for a laugh. The punchline is right at the end with Gerard Butler. Enjoy.

http://www.buzzfeed.com/toddvanluling/10-actors-who-turned-down-james- bond

Other to that, I feel this thread is in danger of being derailed from it's original focus - my fault, admittedly. So, back to business.


"What a helpful Chap."

The Passage

THE PASSAGE (1979)

The acclaimed director of THE GUNS OF NAVARONE (J. Lee Thompson) churned out this lurid late seventies pot-boiler at a time when his best days were probably behind him. Ostensibly, a WWII adventure yarn about a Basque shepherd (Anthony Quinn) guiding a scientist (James Mason) his wife (Patricia Neal) and kids (Kay Lenz and Paul Clemens) across the Pyrenees and out of the clutches of the Nazis. Sounds a reasonable set-up on the surface of it, right?

Throw into the mix Malcolm McDowell as Von Berkow, a Gestapo captain in hot pursuit and, yes, still sounds reasonable. I mean, bang in some tunes and the hills could be alive with the sound of them.

However...

At sixty-four Quinn�s action man days were pretty much over. Yet out of the cast, he manages to be the most convincing character and at least seems the most physically capable. Mason looks frail and doddery at seventy. Patricia Neal looks like she�s already died but someone�s forgotten to tell her. There is as much chance of any of these people climbing mountains through deep snow and freezing temperatures as there is of me French-kissing Jessica Biel on top of an iceberg in the middle of the Sahara desert. Neal, especially, has difficulty managing a flight of steps (she was seriously ill in real life). It�s ludicrous.

Then to Malcolm McDowell. Not an actor renowned for subtlety, here he seems to have been completely let off the leash. His performance transcends all known boundaries of thespian restraint and spins off into a whole other far distant galaxy of pantomime excess. He is jaw-dropping. This is the most astonishing comedy caricature Gestapo-Nazi madman portrayal ever committed to film. By comparison, it makes his work in CALIGULA seem like John Gielgud whispering the poetry of Betjeman in Winchester Cathedral to an audience of the moral majority. If you have no other reason for watching this film, then I urge you to do so to marvel at McDowell and his interpretation of Nazi villainy. It�ll mess with your head. Especially the sight of his underpants with the swastika motif. He later described it as �some of the best work I�ve ever done.� Hopefully he was being satirical.

Throw in some violent action, throat-slittings, finger amputations, burnings, explosions (anything resembling a structure that gets shot at blows up), rape, sodomy, a completely histrionic Captain Oates scene, avalanches and consistently brain-freezing dialogue and there you have it.

It�s not a good film, but it is a film that provides a good laugh if you�re in the right frame of mind - and providing you can stand the mania and sadism.

LINK/CONNECTION: Chris (Scaramanga) Lee turns up as a gypsy. We know this because on the cast list he is billed as "The Gypsy." Also, Michael (Drax) Lonsdale is a French Resistance operative to whom McDowell gives a cookery lesson. This involves scalding him with boiling hot jus and chopping off his fingers with a kitchen knife whilst screeching: "Chop, chop, chop, chop, chop, chop!!!"

They don't make 'em like that any more.

Additionally, director J Lee Thompson made three notable films with David Niven (NAVARONE, EYE OF THE DEVIL and BEFORE WINTER COMES). Niven played James Bond in the disasterous sixties CASINO ROYALE spoof. Thompson also directed I AIM AT THE STARS with Curd (Stromberg) Jurgens in the lead.


"What a helpful Chap."

MACHETE MAIDENS UNLEASHED! (2010)

MACHETE MAIDENS UNLEASHED! (2010)

A documentary on the Filipino film scene of the 70s and 80s. Very interesting story of movie-making, exploitation, politics, real life dangers, and general craziness. The Marcos government supported its movie industry, and readily supplied soldiers and military equipment to a lot of low-budget films. One of the crew comments that a helicopter pilot arrived and told him they had just been in combat with the rebels--so he better put blanks in their M-60s now. [The movie guy thought that would be a good idea, too.]

Rolls through how US low budget productions were attracted to the PI and how they waxed and waned, alongside Filipino productions that were also pretty successful. One PI curio was tiny man Weng Weng, who was very popular in his action movies. His director was really excited over such small stature (3 feet tall) but otherwise pretty normal proportions.

Commentary by Danny Peary (a favorite film critic of mine, startling to see him here), Dick Miller ("writer", for $500 they kept asking him to write more, write more), Joe Dante, Allan Arkush, John Landis who appear to be having the time of lives talking here. Roger Corman is more calm about things, but he's got stories to tell. Some discussion of APOCALYPSE NOW and its notorious filming experience by folks that were there, including famous USMC drill sgt R. Lee Ermey, who tells it like it is as always. Some pretty frank descriptions of how expendable the locals used as extras--and even the US actors--were during filming.

LINK/CONNECTION: Well, first off Weng Weng made the Bond spoof FOR Y'UR HEIGHT ONLY (1981), covered here. It hits a lot of familiar targets in 007's world (the jet-pack, a lethal hat that does a lot more than Oddjob's) and even breaks new ground: X-ray specs to admire ladies without their clothing, almost 20 years ahead of THE WORLD IS NOT ENOUGH. The ring that detects "all types of poisons" would have been useful to 007 25 years later in CASINO ROYALE. Low budget silliness, lots of low blows in the fight scenes, but still.

More important are the actresses that are interviewed. Great to see Gloria Hendry (Rosie Carver in LIVE AND LET DIE) and Trina Parks (Thumper in DIAMONDS ARE FOREVER), they both looked fantastic, very beautiful ladies. Also very well-spoken and interesting describing what led them to find themselves in the middle of the Philippines fighting prison wardens and each other. Watching Pam Grier and Jayne Kennedy begs the question: why they hell didn't they appear in Bond films?



I'm motivated by my Duty.

The Legend Of Hell House

MACHETE MAIDENS UNLEASHED? What a superb title. A movie documentary film I had not previously been aware of, RTB, but one that sounds absolutely fascinating. Must seek it out. Many thanks for that review.

THE LEGEND OF HELL HOUSE (1973)

I love this film. It has a weird atmosphere that is uniquely its own and although I've seen it numerous times over the years every so often I'm drawn back to it for a repeat fix.

The cast list consists of only seven people (if the uncredited Michael Gough is counted) � and two of those are virtual walk-ons, even though one is in a wheelchair, but you know what I mean. It is unashamedly low-budget, it has minimal special effects; it is shot from some jarring and off-kilter camera angles and always looked grainy, especially on the big screen; plus the script (by the usually reliable Richard Matheson and based on his own novel) comes over as somewhat hokey and overwrought in places.

So why do I rate it?

From the moment I first watched it I found it compelling and attention-grabbing. The electronic score by Delia Derbyshire and Brian Hodgson (they worked on the original Dr Who theme) is nerve-jangling eerie � all rumbling electronica and groaning, whispering synth chords. The central cast of four represent remarkably human characters with well defined personalities that, although they border on parody occasionally, are never clich�d. Most notable is Roddy McDowall as an initially creepy, nerdy and seemingly mentally damaged physical medium who gradually hits notes of sympathy and turns out to be the unexpected hero of the piece.

It packs a lot into it running time, does HELL HOUSE, and doesn't rely on buckets of gore or cheap jump-scares for its thrills and chills, instead managing to be quietly and insidiously unnerving � setting up an intriguing scenario populated by flawed and believable individuals. Finally, two of the hottest women ever to grace a film of this ilk (Pamela Franklin and Gayle Hunnicutt) are right there before your eyes, absolutely radiating sexuality from the screen. If for no other reason, guys...

Plotwise, dying millionaire Rudolph Deutsch offers �100.000 a pop to a physicist, his wife and two mediums if they can reassure him that there is life after death. Deutsch has bought the Belasco House ("the Mount Everest of haunted houses") and intends it as the ideal stamping ground to find the proof he needs. He packs the gang of four off there for a week (just before Christmas, as it happens � nice festive break).

As events play out, each character's personality flaws start to become the instruments of their own fate. Florence Tanner (Franklin) is a mental medium and virginal religious nut whose self-righteous self-belief is both rigid and arrogant. She thinks she's right when she's waaayyy off target. Barrett (Clive Revill) is a remote, brusque and clinically blinkered scientist who is closeted by cynical single-minded scepticism. His wife (Hunnicutt) is trapped in a sexless marriage and struggling to suppress her erotic urges beneath a cool exterior facade. Fischer (McDowall) has been here before � the only survivor of the last "expedition" to the Belasco House � and has no intention of letting his guard down, mentally shutting himself off and with a plan to just wait it out and collect the dough come payday.

Ghostly manifestations, possessions and violent poltergeist activity kick in early on, and the house itself seems to have a personality of its own � with a deadly agenda to boot.

If you've read Matheson's book, you'll perhaps find the movie version tame and watered down � the sexual elements and depravity factor de-intensified to a much lower setting. And the script isn't the author's most polished work. This isn't helped by some of the isolated pockets of overacting going on. McDowall comes off best, but even he does crank up the histrionics once in a while. That said, he has the most interesting character to portray and the scene where he delivers a verbal shopping-list of the depraved activities that went on in the house is an absolute joy to behold.

I tend towards labelling HELL HOUSE as "not quite classic," but then again, maybe it is. It holds something of a cult status, the long-deleted soundtrack album is a much sought after rarity in certain circles, a handful of rock bands (including Orbital) have been influenced by or sampled the audio from the movie for their tracks and Marvel once adapted the story for one of its comics.

Not that it matters, but as I said at the outset, I love this film � for some reasons I'm fully conscious of, and for some, I suspect, I'm not.

LINK/CONNECTIONS:

Author Matheson was contracted to Hammer Studios for a time in the sixties, primarily to pen a screenplay for the movie of his seminal modern horror novel "I Am Legend." When that project was aborted, he later wrote the screenplay for the studios version of Dennis Wheatley's "The Devil Rides Out." That film featured Chris (Scaramanga) Lee and Charles (Blofeld) Gray.

Wheatley's Gregory Sallust and Julian Day adventure/espionage novels predated Fleming and are cited as an influence on the creation of Bond.

Matheson also scripted Hammer's NIGHT CREATURES with a young Oliver Reed in the cast. Reed was considered for the role of Bond when Connery abdicated after YOLT, but was reportedly excluded due to a recent permanent facial scar inflicted in a barroom brawl.

Clive Revill, (Barrett in THE LEGEND OF HELL HOUSE) featured opposite Sean Connery in A FINE MADNESS (in which he played a psychiatrist treating Connery who was an aggressive and over-sexed poet living in sixties New York). He also popped up in The New Avengers TV series with Patrick (Tibbett) Macnee and an episode of Remington Steel with Pierce Brosnan.


"What a helpful Chap."

Legend of Hell House (1973)

Now it's my turn--thanks for this film review, bushtony.

Growing up in the US in the mid-70s, THE LEGEND OF HELL HOUSE was a mini-phenomenon for me and my friends. I was attracted to it as a horror film and for Roddy McDowall who was a favorite of mine because of Planet of the Apes mania of the day. My chance to view it was late late night on broadcast television, black and white set. It scared the HELL out of us, and we copied the audio on tape and listened to the dialog. I can still hear McDowall's final dialog invoking the word "BELASCO!" to maximum effect, he was so great with all the lines there.

I've actually never seen the film as released, just black and white TV viewing with commercial breaks, edited cuts for time. Now that you've mentioned it, THE LEGEND OF HELL HOUSE is waiting for me on my NetFlix account. Thanks again for bringing this up, I'm looking forward to seeing it really for the first time. And after all these years I'm better informed on Richard Matheson and other background.

And let me say you set the bar pretty high here. Starting a review with "I love this film" really says it all, it's what I enjoy reading about.


I'm motivated by my Duty.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

Glad you're getting something out of the thread, RTB.

I first saw HELL HOUSE back in the seventies in my local cinema - which was all but empty at this showing on rainy Sunday night. I recall a grainy print with the usual "cigarette burns" and so forth. It was an atmospheric experience that stayed with me. The DVD copy I have doesn't look much different - which might be a good thing. I believe a Blu-Ray remaster is due for release on 23rd of March 2013 in Germany.

I'd be interested to know your thoughts after your repeat viewing. Keep me posted.


"What a helpful Chap."

SUGAR HILL (1974)

Haven't caught up with HELL HOUSE yet, but soon.


SUGAR HILL (1974)

Blaxploitation, but with really high production values. The film image and cinematography come off as sharper and more professional than I expected. Main character (played by beautiful Marki Bey) is Sugar Hill. Her boyfriend is killed, so she finds 100+ year-old Mama Maitresse to use voodoo to summon The Lord of the Dead and a troop of Zombies to gleefully exact revenge on the bad guys.

No great shakes, can't really recommend it but I searched the film out for my own reasons. It opens with the maybe too funky track "Supernatural Voodoo Woman" by The Originals ("do her wrong and you won't see the light"), not exactly in synch with the rest of the story.

LINK/CONNECTIONS: This movie appears to have been made in large part to cash in on Live and Let Die's success. One year after the Bond film, this one reintroduces the familiar character of Baron Samedi himself, the Lord of the Dead.

Don Pedro Colley is no Geoffrey Holder, but he's got the right hat, he laughs it up and dishes out a lot of death-dealing. Almost as if since Bond didn't take any of his crap, he settled down with locals and took out his frustrations.

A (non-Bond) bonus: now I can say I've heard The Originals. Or at least some Originals.

https://www.youtube.com/watch?v=gS1jB-BWLvQ

Question: Has there ever been another unofficial spinoff of a character in a Bond film?


Nigel: And then we looked at each other and says well we might as well join up you know and uh....
David: So we became The Originals.
Nigel: Right.
David: And we had to change our name actually....
Nigel: Well there was, there was another group in the east end called The Originals and we had to rename ourselves.
David: The New Originals.
Nigel: The New Originals and then, uh, they became....
David: The Regulars, they changed their name back to The Regulars and we thought well, we could go back to The Originals but what's the point?
Nigel: We became The Thamesmen at that point.

D

THE IMPOSSIBLE KID OF KUNG FU (1982) a.k.a. The Impossible Kid

THE IMPOSSIBLE KID OF KUNG FU (1982) a.k.a. The Impossible Kid. Weng Weng craziness in the Philippines, after 1981's FOR Y'UR HEIGHT ONLY. He plays Double-Oh, an Interpol agent who folks never recognize until he beats the heck out of the people told to remove him from the room. There's some low budget funny stuff in the fight scenes and chase scenes and excuses for topless ladies.

The fights have a little inventiveness to them, which they need due to the actor's 2'9" (.84 cm) height. He's trained in martial arts and does some stuff. Zooms around on a tiny motorcycle that jumps a river totally horizontal--no arc or change in elevation, just straight across.

A couple unintentional funny moments: camera frame reveals a "nude" lady showering wears bikini bottom; man shot in the arm grabs his arm, and falls to the ground dead.

BOND LINKS/CONNECTIONS: No cast or crew connections. No way, no how.

Music: heavily rips off the Bond Theme, and even more the theme from The Pink Panther. Slight variation, but unmistakable. (And like a lot of low budget action films of the 70s-80s, there's a short unique theme that just repeats itself over and over and over.)
00 uses his small stature as an advantage during fights. (TMWTGG)
00 pursues bad guys up a series of stairs. (FYEO)
During a high speed chase his vehicle jumps a river. (TMWTGG)
00 hides in a cloth bag, knock out the bad guys when he emerges from it. (OP)
00 fights a man dressed as a woman. (TB)
Snake in his hotel room. (LALD)
00 visits a strip club for...information. (TMWTGG)
Leaders (good and bad) and their men laugh as a group constantly. (GF, TLD, LTK)

Interesting bio here on IMDb. http://www.imdb.com/name/nm0911067/bio?ref_=nm_ov_bio_sm


I'm motivated by my Duty.

FOR Y'UR HEIGHT ONLY (1981) aka For Your Height Only

FOR Y'UR HEIGHT ONLY aka For Your Height Only (1981). Weng Weng's first spy spoof, an undisguised ripoff of Bond and at times FOR YOUR EYES ONLY. For anyone who likes low budget schlock and spy movies or Bond, this is worth seeing. Weng is 2 feet 9 inches tall, a real world master of martial arts, and seems to enjoy himself in these movies.

A doctor is kidnapped, the kidnapper reports back to Mr. Giant. He wants the formula for an A-bomb to conquer the world (that's what he tells the doctor). The kidnapper has a pep talk with his co-workers, reminding them that the forces of good are their sworn enemy and must be exterminated--"and I mean LETHALLY" he emphasizes.

00 is at the pool with beautiful women, checks his watch, the office is calling. Walking to his car he saves a fine lady from a sniper's bullet. She tells him a syndicate that deals in drugs wants to use her as a prostitute. They also do kidnapping and protection, and shoot at her once or twice a week. Their boss is Columbus, she takes him to a building. Inside every one of about 20 men are smoking pot.

00 fights the guards, uses his size for advantage. Lola is pretty good, herself. With his tiny pistol, he gets the drop on the rest of the bad guys and finds out where Columbus is. 00 and Lola work together and take him out.

00 reports to his boss, who gives him gadgets that cost a fortune. A necklace two-way communicator, the other one is held by a pretty agent who infiltrated the syndicate. A ring that detects all poisons--made of gold, platinum was too expensive. Specially built tiny machine gun, a humdinger he says. A lethal hat, controlled by the ring. A pen that's a weapon (not explained). A buckle with a gang of gimmicks. A set of special glasses. He uses the glasses to check out the secretaries minus their clothing.

Bad guys confront him at an amusement park. He fights, then uses a Ferris wheel and cable slide to safety. 00 meets a beautiful lady at a cafe. She slips him a mickey and leaves, his ring tells him what's up so he smiles and drinks his Coke from the bottle. Back at his hotel, room service arrives, Irma sends a message. Later she contacts him with the pendant, he uses it as a homer to find her. The pen shoots a dart that puts a man unconscious. He disrupts their drug shipment.

The boss gets impatient with Columbus. They suspect an insider, a leak. Later Lola meets with 00 and they walk around talking business holding hands. She says she worries about him, he's petite like a little potato. He says let's go. Back at the warehouse with the bad guys and Irma. They're scheming about gold. 00 finds them with the tracer. Throws a stun grenade that takes out everyone except the hostage.

Dudes on the street see 00 (the only little person in the film)--hey, isn't that him? 00's hat knocks a gun from the bad guy's hand, chases the bad guys, then returns to 00 for wearing. The bad guys get more frustrated. They still smell a rat. Suspect the lady. They follow her to a meeting with 00 in a market. The chase is on. They split up. 00 fights five guys, wins. Goes back to his hotel. Dude with an umbrella gun shoots at him. 00 fights five more guys, wins. Pen is used as a gun, kills bad guy. 00 barges into a lady's hotel room. He stops to give her a long kiss with music, then uses an umbrella to escape from the balcony.

Back at his own hotel, his room is a mess. The X-ray specs reveal 3 nude dudes with guns hidden in the room. Minus the specs, he shoots the clothed dudes. Then goes to a disco to talk with Lola. She think they're onto her. Bad guys wait outside--where's the midget? Probably hiding in her handbag, they speculate. They grab Lola, and the 5 of them drive off in a VW Beetle. They discover the necklace, and wait for 00. When he's got, they tie him up and place him in a box like a coffin his size. Gadgets get him out of it. 00 goes after Mr. Giant to get Lola back.

A tracer leads him to a villa. He scales the fence. Takes on everybody with fists, feet, and his gun. Later he goes to another disco and meets Anna. Drunk guys bother them and get beat up. Anna and 00 fight well and go back to a hotel room together. Shall we get it on? Yes.

00 meets up with Marilyn. She calls him the scourge of the Secret Service. He giggles. She's a police reporter, has photos that are useful. They fight the bad guys. 00 follows a dude and shoots him, luckily there's a useful clue in his pocket. 00 shoots his way into the bad guy's estate. Then uses a sword on the rest of them. He's picked up by a beautiful black lady but taken straight to some bad guys. He runs off, ends up jumping from a railroad bridge to the water below.

Another assault on an estate. 00 slides down a stairway rail and shoots the bad guys. The hat comes in handy, cuts a guy's throat. He searches for clues. Back with the boss he gets a cheapo jetpack device. It's noisy and leaves a long contrail. More assault on the estate. Mr. Giant is a similar size to 00. They spar. 00 beats the heck out of Mr. Giant, then guns him down. The good guys arrive en force. The doctor is saved. Irma fights valiantly, saves 00, but is killed(!). She died that I could live on, says the Doctor. 00 pays respect at Irma's grave, and walks on.


BOND LINKS/CONNECTIONS:

Opens with a cartoony gunbarrel, 00 shoots, red blood flows down.
Not just the Bond theme, but the melody to FOR YOUR EYES ONLY is ripped off for the score.

Cartoon sound effects. (TMWTGG)
Bad guys with uniforms and berets. (TSWLM)
Assault on a warehouse. (FYEO)
Respect paid at a gravesite. (FYEO)
Foot chase over rooftops to ground level. (TLD, CR, QOS)
Hero slides down a staircase handrail, guns blazing. (OP)

Hat used as a weapon. (GF)
Jetpack device. (TB, NSNA)
Watch communicates message from home office. (TSWLM)
Umbrella used to jump over a ledge and cushion landing. (FYEO)
Special ring (this one detects poison). (TWINE)
X-ray specs show characters without clothing. (TWINE)
Hero drops from a railroad trestle to the water below. (SF)


I'm motivated by my Duty.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*


I will consider if what they're saying holds some grain of truth. Then I write them off as mindless pillocks.
Well, then the result is still the same.

That's you and your interpretation.
Apart from the clinical term, there are certainly many ways to define it.

Unprededented financial and critical success don't fit the bill, I would suggest, and nor are the responses of a lot of Bond fans and critics who are better informed, more knowledgeable and balanced than both you or I.
Unprecedented? In any case, there are no Bond fans and critics who are better informed and more knowledgeable than both you or I. More balanced? Well...
But the list was truly amusing. I'm all for lists, you know.

I feel this thread is in danger of being derailed from it's original focus
No offense, but I seriously wonder if it ever occured to the Original Poster that this thread might be a bit beyond the means of this board. Even a frequent contributor who thoroughly enjoys the connections part admittedly has some trouble rising to its challenges.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*


Well, then the result is still the same
All things being equal. But then, arguably, they aren't. Or are they?


Apart from the clinical term, there are certainly many ways to define it.
Subjectively and erroneously being two, yes.


In any case, there are no Bond fans and critics who are better informed and more knowledgeable than both you or I.
I have a feeling there are.


No offense, but I seriously wonder if it ever occured to the Original Poster that this thread might be a bit beyond the means of this board.
None taken. And no, I'm pretty sure it didn't.

Anyway, what is life without challenges?


"What a helpful Chap."

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

==================
No offense, but I seriously wonder if it ever occured to the Original Poster that this thread might be a bit beyond the means of this board.
==================

So far, just beyond one poster who resisted the simple instructions in the OP. Then posted (or actually, pasted) , then questioned things some more. And now is beside himself.

Doesn't stop a good trail.


I'm motivated by my Duty.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

Most people believe that the fly simply flew away. But I admit that it's really hard to tell.
Agreed on Lacey, but at least he got the opportunity to bug Mrs. Bond in an episode of The Avengers.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

I decided to make it tougher on myself.

Les Miserables (USA 1935)
Some critics, readers, and fans still insist that this American black and white version of Victor Hugo's magnum opus would be the best film adaptation of them all. Not sure if I'd go that far, but it is definitely worth a look. But what got me interested in it wasn't the recent musical version which won three Oscars last night but the fact that I find the two lead actors, Fredric March and Charles Laughton, thoroughly interesting for different reasons. March is my sole love/hate actor, i.e. the one actor whose performances I either love or hate. For me, there are no things like good, or average, or other inbetweens when it comes to Freddie. It's either love or hate. And in the case of the Les Miserables it is ... love. His Jean Valjean is angry, tender, likable, and compassionate; a wonderful performance of an iconic character that beautifully anchors this well-made film.
Charles Laughton on the other hand I always admire for his sheer unlimited acting skills, his exceptional ability to become a star even though he looked like an ugly elephant, and his ability to overcome a decade-long career hell in the 1940s only to end his career as impressively as he'd begun it. But in this particular film, I unfortunately feel that he was miscast. Javert should be a tall and lean guy, and nothing could be further away from Mr. Laughton's looks. Okay, at 5'8'', he was pretty much average height for an English-born male in the 1930s, but he still was noticeably shorter than March. Strange, in all the film adaptations of Les Miserables I've seen, Javert always has to look up to Valjean even though it should better be the other way around. Worse yet, Laughton's performance is less expressive than March's even though Charles has the potentially more interesting role. I also wasn't impressed by Cedric Hardwicke who fared better than Laughton, but for my taste still remained a bit too attached to his staginess. If you want to see both Laughton and Hardwicke playing Hugo to perfection, then you should watch their earth-shattering work four years later in the best-ever adaptation of The Hunchback Of Notre Dame. Also the rather quick ending of Les Miserables strikes me as too abrupt. But all of this is not to say that this film isn't good. It is.
Within a tight runtime of 109 minutes, Hugo's masterpiece is naturally rigorously cut down, but this film still remains mostly faithful to the book and actually manages to capture its spirit throughout the journey of Valjean. The focus on a competent script and a wonderful lead actor was clearly the right decision which is aptly supported by convincing sets, solid editing, and expressionistic lighting work by Gregg Toland. I think Hugo himself would have liked this version.
Grade: B

Hm, let's see.
1935 is the birth year of both Julian Glover and Topol who were linked by a decades-long enmity in For Your Eyes Only (even though they both were at least a decade too young for their characters who have supposedly fought in World War II), just like Valjean and Javert are in this film.
Fredric March won his second Oscar for The Best Years Of Our Lives, a movie with Hoagy Carmichael. The literary James Bond is described as resembling Carmichael. March acted with Grace Kelly in The Bridges At Toko-Ri, a movie that won the Special Effects Oscar, just like Thunderball. Additionally, Alfred Hitchcock initially wanted Kelly as Sean Connery's co-star in Marnie. Fredric also played Bothwell in Mary Of Scotland. Another Mary Stuart biopic, Mary Queen Of Scots, stars Timothy Dalton and Vernon Dobtcheff, and has music by John Barry.
Charles Laughton won an Oscar for playing Henry VIII in The Private Life Of Henry VIII, and his Oscar-winning performance is mentioned in the novel Goldfinger. More than 30 years later, Robert Shaw also received an Oscar nomination for playing Henry in A Man For All Seasons, the film which won frequent Bond cinematographer Ted Moore the coveted prize. But Shaw did not win. Laughton acted with John Gavin in Spartacus, and Gavin got the Bond role in the early 70s, but ultimately was not used when Connery agreed to return. Spartacus also stars Tony Curtis, Roger Moore's co-star in The Persuaders (already explored). Roger's adversary in Octopussy, Louis Jourdan, acted with Laughton in The Paradine Case, directed by Connery's Marnie director Alfred Hitchcock.
Supporting actors Cedric Hardwicke and John Carradine both also were in Around The World In Eighty Days (1956), a movie with Sir James Bond David Niven and Noel Coward. Coward was a good friend and neighbour of Ian Fleming and offered the role of the Dr., but he said No. Around The World In Eighty Day's production design is by uncredited Ken Adam and the associate producer was uncredited Kevin McClory. Cedric Hardwicke died in August 1964, just like Ian Fleming. John Carradine was in House Of The Long Shadows with Christopher Lee.
Score composer Alfred Newman is the father of Skyfall composer Thomas Newman.
Cinematographer Gregg Toland, the master of deep focus, is today best known for his work on Orson Welles' Citizen Kane. Welles played Le Chiffre opposite Sir James David Niven in the 1967 Bond thing Casino Royale that also included legit Bond actors Ursula Andress, Vladek Sheybal, and Burt Kwouk. But we mostly see Welles in that film opposite Peter Sellers who at that time was married to later Bond girl Britt Ekland. Toland won an Oscar for Wuthering Heights (1939), the by far best adaptation of Emily Bronte's novel which saw further movie versions in 1970 and 1992 with Bond Timothy Dalton resp. M Ralph Fiennes in the leading role. Several cinematographers of the Bond franchise have also won an Oscar. Ted Moore who shot six and a half Bond films, Robert Elswit who shot Tomorrow Never Dies, and Oswald Morris who shot half a Bond film. Morris won his Oscar for 1971, the year of Diamonds Are Forever, and the movie he won for was Fiddler On The Roof, a film with the aforementioned actors Topol and Vernon Dobtcheff, and with set decoration by Peter Lamont who received his first Oscar nomination for it. Ossie Morris was also the favored cinematographer of director John Huston. Huston and the aforementioned Orson Welles are the favorite directors of our beloved board regular JohnWelles. Huston also was in Casino Royale 1967 and directed parts of it. Among the movies Morris shot for Huston was The Man Who Would Be King with Sean. Oswald also photographed The Hill, the film which includes Connery's best on-screen performance. Freddie Young, the cinematographer of You Only Live Twice, even won three Oscars and the first one was for his work on the Best Picture winner for 1962, Lawrence Of Arabia, and 1962 was the year when it all began.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

In fairness that was a good read. So, good decision.


"What a helpful Chap."

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

Thank you. But I won't go back as far as the silent era.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

Shame. I suspect there are a whole load of Bond connections between THE BIRTH OF A NATION and LIVE AND LET DIE alone. THE GOLD RUSH and GOLDFINGER, GREED and MOONRAKER, NOSFERATU and LICENCE TO KILL and of course TMWTGG (OK, TMWTGG is a bit obvious).

Still, I'm happy enough sticking with the talkies.


"What a helpful Chap."

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

Well, this actually wouldn't even be a bad starting point, cause I've seen all of those movies. So, maybe I can please you with just one for each.

The Birth Of A Nation includes a short appearance by director John Ford. Ford died in 1973, the year of Live And Let Die.
The Gold Rush obviously includes the word gold in its title. Better yet, director Charlie Chaplin also directed Tippi Hedren in A Countess From Hong Kong. Hedren was Bond's co-star in Marnie which was released in the very same year as Goldfinger.
Greed's uncredited producer was Irving Thalberg. The producer of Moonraker, Albert R. Broccoli, is a recipient of the Irving G. Thalberg Memorial Award.
Nosferatu is an unofficial adaptation of Bram Stoker's novel Dracula, and Scaramanga's most famous role is Dracula. In Shadow Of The Vampire, a movie about the making of Nosferatu, Max Schreck was played by Willem Dafoe. Dafoe got an Oscar nomination as Best Supporting Actor for his performance, but horrifyingly lost to Dario.

Nevertheless, I don't think that we should do it that way. If anything, we could leave out the review.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*


If anything, we could leave out the review.
The you that you refer to when you say "we" can most certainly do that if you so wish. I'm not a stickler for rules and it's up to the individual - as far as I'm concerned - whether they participate or however they participate. Life is much simpler and...yes, creatively less oppressed...like that.


"What a helpful Chap."

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

But at this point in the story, I'd never do it without your permission. However, I knew that you'd not deny the request of someone who can link The Birth Of A Nation to Live And Let Die, and Greed to Moonraker. Either way, I don't have any movies lined up right now and therefore can't say when and if I'll participate again (with or without the review). But I always enjoy reading the contributions to this rather challenging thread. Well, most of them at least.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

Knowing a poster's honest views on a film are the main enjoyment of your trail, bushtony. The point, one might say.

Thanks for posting it, I'm sure it will draw more complete responses.


I'm motivated by my Duty.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*


The point, one might say.
Admittedly the thread is a bit self-indulgent on my part, RTB, and I'm quite open about that. I'm interested in knowing what others posting here make of some of the films they've seen. So, for me, yes, one of the main points. Secondarily, the theory that any film can somehow be linked to the Bond movies. I'm further intrigued by how people approach that process and what they see and think that I don't or haven't. Yet.

In that second respect I'm having some trouble with a movie I saw a few nights ago, but I'm working on it.


"What a helpful Chap."

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

Before this thread I had a couple challenges on my mind to link the Bond films to two other well-known film sources. [No, not Bourne and not B-Man.] But hey, I like this one and I have all the time in the world for that other stuff.


I'm motivated by my Duty.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*


it's much more fun when we simply leave out the review.
Yes, its now but a few numbers away from being an oh so delicious list! <cue homer simpson gurgle>


Now, this is a signature gun, and that is an optical palm reader.

Cockneys vs Zombies

COCKNEYS vs ZOMBIES (2012)

Corrupt property developers in the East End of London unwittingly unleash a zombie plague on the city when they unearth a long buried tomb. Same developers are out to close and demolish a retirement home.

Meanwhile, cockney-sparrer diamond geezer slackers, brothers Terry and Andy (Rasmus Hardiker and Harry Treadaway), along with feisty cousin Katy (Michelle Ryan), inept criminal doofus Tuppence and sociopathic metal skull-plated nutbar Mental Mickey (Ashley Thomas) plan to knock over a bank. The brothers need the money to keep the retirement home open as their grandfather Ray (Alan Ford) lives there. The retirement home is further populated by stalwart characters played by what closely resembles a roll call of familiar actors from 60s and 70s British films and TV dramas � Tony Selby, Georgina Hale, Dudley Sutton, Honor Blackman and Richard Briers.

We�re in bargain-basement SHAUN OF THE DEAD territory, minus the subtlety, satire and unforced quirkiness of that particular movie. It�s a low level, no-brainer, no-budget zombie flick with lots of noise, gunfire, splattering blood, explosions and aggression. And no jokes � none that work, anyway.

The cast seem to be having fun and at least enter into the spirit of things, joyfully spraying bullets at the unfeasibly made-up walking dead with wild abandon and chewing the scenery with gusto. The depiction of London deserted and under siege is quite well-realised within the limited means at the disposal of the makers. It drones along at a consistent pace and fills in time without causing the viewer to question why the hell they are watching it � at least, not too often.

There are some scenes of questionable taste � for instance, blowing the head off a zombie teenage mother then drop-kicking her zombie baby into a billboard. I don�t personally have a problem with that, but it might cause some to wonder just where the comedy is supposed to be in such situations, or to be simply offended. One inspired instance does occur when Mental Mickey turns zombie but can�t be effectively shot in the head because his metal plate results in the bullets ricocheting off. The solution to stopping his clock involves a hand grenade in the mouth.

Anyone expecting the startling drama, pathos and doomy decaying splendour of THE WALKING DEAD or the slacker culture sociology and wit of SHAUN OF THE DEAD will fail to find any of that stuff here. If a dumb and thick-eared time-filler is required as part of your zombie movie fix, you could do worse. Like FANGORIA�S �GERM Z� which should truly be avoided like a real zombie plague.

LINKS/CONNECTIONS � One of the most all-time iconic Bond girls, Honor (Pussy Galore) Blackman, features as a resident of the retirement home � and love interest of Grandfather Ray. A double-decker London bus is used as a getaway vehicle � shades of LIVE AND LET DIE. The river Thames is the final escape destination and landmarks like the Millennium Dome and Tower Bridge are featured prominently throughout (TWINE). At one point Dudley Sutton exclaims: �Those things are vampires! We need crucifixes, garlic, silver, holy water, and Christopher Lee!� Lee=Scaramanga, TMWTGG, etc.

Alan Ford was in THE LONG GOOD FRIDAY along with Pierce Brosnan. Dudley Sutton was in A TOWN CALLED BASTARD with Robert (Grant) Shaw and Telly (Blofeld) Savalas. He was also in CROSSPLOT and an episode of THE SAINT with Roger Moore. Richard Briers was in SPICE WORLD as was Roger Moore � what some people won�t do for a paycheque, eh?



"What a helpful Chap."

Callan

CALLAN(1974)

David Callan and the TV series he appeared in were the brainchild of writer James Mitchell. Both character and series became a successful phenomenon of the late sixties and early seventies and made a star of Edward Woodward. Conceived as a flip-side to Bond, Callan was a reluctant spy � a veteran combatant of Malaya, dishonourably discharged from the army, a career criminal and ex-con. He winds up blackmailed into working for The Section, the sharp end of cold war espionage. A crack-shot with a pistol and a multiple murderer, he gets the dirty jobs. The Section is all about damage-limitation by whatever means necessary and is run by a series of different bureaucrats with the same codename � Charlie Hunter.

Callan's only friend, a pathetic and perpetually nervous thief called Lonely (Russell Hunter) is like something straight out of the pages of Dickens. Their interactions are full of dramatic pathos and distorted humanity, defined by Callan's cruel jibes about Lonely's body odour problem and his at times frightening aggression towards him. In response, Lonely reciprocates with awestruck fear and respect for the man who is the only person who actually cares about him. For despite all, Callan does everything he can to protect Lonely because Lonely is in fact the only person in the world who really cares about Callan.

Essentially, Callan has a conscience and it bothers him. He questions and rebels against authority, hates his life but has no other options open. He is a working class thug and peerless killer with a sharp brain and a fractured psyche. He should perhaps be seen as a monster, but his inherent humanity and convincingly empathic personality flaws render him completely relatable and sympathetic.

The colour episodes (all available and intact) are arguably less visually impactive than the monochrome ones. Of the sixties black and white series, about nine teleplays have been "lost" for all time � the tapes reputedly wiped by some idiot jobsworth at ITV. Those that remain � including the original introductory play "A Magnum For Schneider" � depict a sixties London that definitely isn't all swinging, all dancing. It is bleak, grimy, downbeat and dangerous - full of squalid bed-sits, creeping social paranoia and post-war depression. Callan lives in the shadows and life there is cruel, harsh and often painfully short.

This brings us to the 1974 movie version and the penultimate screen appearance of the character. The last time Callan appeared on screen was in the 1981 teleplay "Wet Job" which, despite being penned by Mitchell, was unfortunately a bit lacking and not the most appropriate of swansongs for such a great creation. Still, it was good to see him meet up with Lonely one last time and live to fight another day.

The movie is a retread of "A Magnum For Schneider." A disgraced Callan has been kicked out of The Section, working as a book-keeper for a seedy businessman. This is just a set up for some wet work. Hunter has manipulated the situation to put Callan in close proximity with Schneider, a German industrialist based in the offices next door. He is rich, has Nazi connections and funds global terrorism. Callan is to get close to Schneider � through their mutual love of playing war-games � find and retrieve evidence of his activities and kill him. But it's never that simple. Callan has to operate off the books so The Section has plausible deniability, so he's on his own. If he succeeds, Hunter promises to take him back into The Section.

It's a solid enough film, but workmanlike rather than inspired. Woodward is, as always, convincingly superb as the conflicted and tortured agent. Russell Hunter gives his usual authentic portrayal of the ultimate dweller on the fringes of society, a pathetic petty crook habitually addicted to a hopeless life of crime. Toby Meres is this time played by a very smooth Peter Egan, the third actor to take on the role, and he's OK but he's not a patch on Anthony Valentine who truly owns it.

There are some memorable moments and lines of dialogue. After Callan kills the towering heavy, Arthur (Dave Prowse), with his bare hands, he tells Lonely that he hit him. "You hit Arthur?" Lonely inquires incredulously. Callan replies: "I hit him... and he died of it." It's a terrific little scene, beautifully played, with both actors conveying an entire range of affecting emotions in mere flickering seconds of screen time. At one later point Hunter inquires: "what about Meres?" to receive the laconic and perfectly delivered response from Callan: "I believe he is unconscious, though with Meres it is difficult to tell." The writing is crisp and bone dry.

There are sporadic bursts of realistic action, and the film overall has a pleasing, downbeat early seventies vibe. It captures certain elements of the TV series well � the sense of being close to what real Cold War espionage might have been like � but it really would have benefited from re-using the original Jack Trombey "Callan Theme" to add to the atmosphere. The jaunty harmonica and military band motifs here are no replacement for that slow, resonating guitar hook, spartan strings and melancholic horns.

"Callan" the movie remains a firm personal favourite for me and it's due another viewing once I've worked my way through my recent purchase of "The Monochrome Years" and "The Colour Years" DVD sets of the original series. All TV episodes in existence are available in these collections and represent one of the best purchases I've ever made. The movie remains a respectful and decent enough representation of one of British TV's greatest and most influential creations.

LINKS/CONNECTIONS - CALLAN has it's roots in the sixties spy movie craze kickstarted by Bond, but is more of the LeCarre/Deighton universe than Fleming's. The movie features Catherine Schell as Schneider's mistress and she was one of Blofeld's angels of death in OHMSS. David (Darth Vader) Prowse plays the heavy Callan beats to death and was also in CROSSPLOT and an episode of The Saint with Roger Moore, as well as appearing in an uncredited role as Frankenstein's Monster in the 1967 CASINO ROYALE.

Director Don Sharp did some uncredited second unit work on PUPPET ON A CHAIN - which featured a protracted speedboat chase, a likely influence on the famous LALD chase. Callan's creator, James Mitchell, penned four spy novels in the sixties under the pen-name James Munro ("The Man Who Sold Death," "Die Rich, Die Happy," "The Money That Money Can't Buy" and "The Innocent Bystanders"). They featured a British secret agent named John Craig. The final novel was made into a film (INNOCENT BYSTANDERS) with Stanley Baker in 1972. The film included in the cast list Donald (Blofeld) Pleasance and Vladek (Kronsteen) Sheybal (Sheybal was also a villain in PUPPET ON A CHAIN). Oh, and a guy called Cec Linder turned up as a character called Mancowitz


"What a helpful Chap."

The Outfit

THE OUTFIT (1973)

As in most of the movie adaptations of Donald Westlake/Richard Stark's Parker novels (POINT BLANK, PAYBACK, PARKER) the central character is after a payoff from the mob or syndicate or outfit. Here, Robert Duvall's Earl Macklin, recently released from prison, figures he's owed compensation for the assassination of his brother and a contract hanging over his own head. His plan is to keep hitting and robbing the organisation, in partnership with his colleague Cody (Joe Don Baker), until they cough up $250.000.

THE OUTFIT hails from a period in movie history that was golden for premium quality crime cinema and it's a stone cold, clinically violent and meticulous little beast. Director John Flynn (who later helmed the exploitation classic ROLLING THUNDER) delivers a stylish piece of work, trimmed of frippery and unnecessary clutter. Sharp and no-nonsense, businesslike, but with a solid grip.

Both script and performances are pitch-perfect - the cast of character actors (Duvall, Baker, Black, Ryan, Greer, North, Cassidy, Jaeckal) don't miss a beat and keep everything real. This is up there with Peckinpah's THE GETAWAY and Siegel's CHARLEY VARRICK.

Duvall is a standout as the principled hard-nut with enough confidence and icy cool to stride into the mob heartland and take what he wants, taking out whoever gets in his way. Joe Don Baker, perhaps one of the most undervalued American movie character actors of his generation, isn't far behind as Cody. And Robert Ryan in one of his last roles gives a masterclass in ruthless contempt as the beleaguered syndicate kingpin Mailer.

For an experience of the expert execution of cynical 70's neo noir with grit, pace and exciting verve then this is as good a place as any. Oh, and I'd be surprised if the ending doesn't raise at least the ghost of a satisfied smile to the most jaded viewer.

LINKS/CONNECTIONS � Director John Flynn's ROLLING THUNDER is one of Quentin Tarantino's favourite movies and influences. Tarantino self-publicised an involvement as a potential director for CASINO ROYALE with Brosnan in the role of Bond. It's a tangled web of a Bond connection with no real telling where fiction ends and truth begins - if indeed it does. Tarantino maintains he was in the frame to this day but the producers chickened-out. There seems to be no official confirmation or denial.

Joe Don Baker turned up as villain Brad Whitaker in THE LIVING DAYLIGHTS and as CIA operative Jack Wade in GOLDENEYE and TOMORROW NEVER DIES.

Joanna Cassidy appeared alongside a pre-Bond Pierce Brosnan in THE FOURTH PROTOCOL whilst Karen Black was in Peter Hyam's excellent CAPRICORN ONE with Telly (Blofeld) Savalas. Sheree North also appeared with Savalas in the double episode KOJAK story "The Chinatown Murders."

There is apparently a reason why author Donald E. Westlake (writing under the pseudonym Richard Stark) would not allow his anti hero Parker to be called Parker in any of the films (predating the 2013 Jason Statham vehicle, which is actually titled PARKER). It is said to be because he wanted the character to feature in a movie franchise - and when that was under contract he would allow the character's name to be used. Westlake felt that Parker could be a franchise phenomenon to rival Bond. It never materialised and by the time of the Statham venture Westlake was dead. Incidentally, apart from the Richard Stark pseudonym the prolific Westlake wrote under another 16 or more others.


"What a helpful Chap."

MAN ON FIRE (2004)

Wanted to say I've been enjoying the comments gathered here over time. Though I'm a little frustrated the interesting titles bushtony brings up aren't so available here in the US. I will continue to search those out.

Here's a quick one.


MAN ON FIRE (2004)

This is a film I'm always drawn into when it's on tv. A.J. Quinnell's novel MAN ON FIRE filmed by Tony Scott. Denzel Washington as John Creasy, former CIA, current bodyguard in Mexico City. His assigned body to guard is kidnapped, the ransom payment goes wrong. Creasy is absolutely unleashed and unrelenting to get back to the source and wreak havoc every step of the way until he can serve up justice. This movie, with Scott's moments of flash, is all intense business as Creasy moves from point to point closer to the conclusion. Which is the kind of hitting a brick wall realization and awareness and acceptance that is rare in film and life.

I'm actually not a fan of Tony Scott, and I dislike some of his most popular films including Top Gun. Denzel Washington is one of my favorites, and to me this him at his best.

Links/Connection: The connection here is Giancarlo Giannini as Miguel Manzano, director of the Polic�a Federal Ministerial. He's a colorful character, shown to be balancing his position with breaking rules and putting the moves on the pretty reporter Rachel Ticotin. So he seems a good guy, but he's probably been around too long, is affected by the seedy goings on with the government and gangsters in Mexico. Very established and self-assured, to the point of putting down his guard a bit and accepting a little too much of the status quo.

Giancarlo is the picture of Rene Mathis, who hopefully didn't stray as far but must have been involved in some of the dirty deals done in Central and South America as normal business. Watching him on screen is a pleasure, and it's easy to imagine the Rene Mathis character assigned there. And to imagine Mathis being as long-lived as he was in the Fleming novels, starting with Casino Royale and surviving them all being an important longtime friend to Bond.

As it stands, Mathis was well used across two films, story-wise played an important part in establishing the Bond character for the reboot and after. Seeing Miguel Manzano always reminds me of Rene Mathis and the possibilities past and future.



The light that burns twice as bright burns for half as long - and you have burneD so very, very brightly.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

Many thanks for that, RTB.

MAN ON FIRE (2004) is one of those rare beasts - a remake that was better in almost all respects than the original. Which puts it up there with Carpenter's THE THING, Cronenberg's THE FLY and a few select others. The other more obvious Bond link is Chris (Zorin) Walken's impeccably magnetic turn as Creasey's friend Rayburn. But naturally, that's a given.


"What a helpful Chap."

Sitting Target

SITTING TARGET (1972)

Dynamically superb British crime thriller from the early seventies that bleeds a thrilling and marvellously evocative atmosphere with a high degree of ruthless style and punch.

The all-out action and brutality literally pulsates from the screen in a number of suspense-filled set pieces - from the nail-biting prison break to the almost surreal shoot out with motorcycle cops amidst urban washing lines and flapping white bedsheets to the climactic chase and explosive finale.

Oliver Reed gives a masterclass performance of seething rage and psychotic obsession as Harry Lomart. Harry is a hardened career criminal on a long prison stretch. When his wife Pat pays him a visit and confesses that she is pregnant by another man and leaving him, Harry's measured, reasoned and quietly philosophical response is to smash through the security glass and try to strangle her to death.

Breaking out of prison with his partner and friend Birdy (Ian McShane) he has two aims in life - to retrieve the plunder he stashed from his last job and to kill his unfaithful wife.

It becomes almost a bleak and twisted urban road trip - using waterways and trains and transit vans - for the two cons who leave a trail death and destruction in their wake in and around London.

SITTING TARGET represents one of a random new wave of British thriller in the early to late seventies that includes GET CARTER, VILLAIN, CALLAN and latterly THE LONG GOOD Friday. Taking cues from American counterparts, it transplants mob/gangster action to the less than glamorous setting of a United Kingdom that is polluted by mass industrialisation, dominated by slums and monolithic concrete high rises and scabbed by wide open spaces of rubble-strewn wastelands. SITTING TARGET absolutely rocks.

Reed is stunning, giving a no-holds barred and utterly naked portrayal that reminds what a powerhouse talent he was back then. McShane, Jill St. John and Edward Woodward lend solid support. The screenplay is practically Shakespearean in essence complete with drama, violence, action, betrayal and dark inevitable tragedy. You just know it isn't going to end well - and it doesn't. For anyone. And that's great.

This is another of those films that simply screams out for an uncut DVD/BluRay release/remaster. To date this has inexplicably failed to materialise. It pops up now and again on TCM, the only venue I'm aware of for anyone seeking a viewing. As a key British crime thriller and a resonant document of a time and place, it deserves much better. It's a crime...really.

BOND LINKS/CONNECTIONS:

Most obviously, Jill St. John, who appears as Lomart's trashy dolly-bird wife, had a much more glamorous previous role as Tiffany Case in DIAMONDS ARE FOREVER. Edward Woodward is the cop on the trail of the excaped cons - he'd just completed his run as TV's David Callan, the down and dirty flip side to Bond. Mike (Randall and Hopkirk - Deceased) Pratt turns up as a prison warder - and he'd worked with Roger Moore on two episodes of The Saint in the sixties. Composer Stanley Myers (best known for writing Cavatina - popularised by THE DEER HUNTER) also wrote the score for Pierce Brosnan's Oirish Masterpiece TAFFIN. Probably the very peak of his career. You think?


"What a helpful Chap."

Villain

VILLAIN (1971)

A towering monument to EastEnd gangster-hood, VILLAIN loosely incorporates the persona, history and traits of the Kray twin's mythology into one thunderingly mad and menacing character - Vic Dakin (Richard Burton).

Sharply scripted by British sitcom maestros Clement and La Frenais (The Likely Lads, Porridge) this is a fabulously nasty and paroxysmally brutal foray into the London underworld. A place where straight razors, shotguns, revolvers and blunt instruments are the tools of the trade and egocentric kingpins of crime play out cut-price Machiavellian games for a piece of turf.

Burton's character - a sadistic homosexual psychopath with a mother-fixation - sounds like a blatant clich�. Luckily, his performance keeps things on the right side of the thin line between believably escalating paranoid psychosis and unrestrained pantomime ham. It's a close call, but Liz Taylor's more talented other half pulls it off - just. He pitches things somewhere between Cagney's Cody Jarrett and the real-life Ronnie Kray and is a truly magnetic act to watch. His final deranged but chilling rant is worth the price of admission alone. It will linger with you.

At the time of release, there was much controversy over the violence and the perverse sexual content but nowadays that won't strike as all that shocking, whereas the casual and unpleasant misogyny probably will affront the delicate PC sensibilities of some sensitive souls.

VILLAIN stacks up well against those other iconic early seventies British crime classics GET CARTER and SITTING TARGET and is greatly enhanced by Burton burning up the screen with barely restrained ferocity and venom. Compulsive viewing, well worth looking at.

BOND LINKS/CONNECTIONS:

Script writers Dick Clement and Ian La Frenais later did some uncredited work on the rogue Connery Bond flick NEVER SAY NEVER AGAIN. The scene where Connery is asked to provide a urine sample in a bottle was recycled from one in an episode of Porridge whereby Norman Stanley Fletcher is asked to do the same thing and inquires: "What, from here?"

In the 60's their comedy spy movie OTLEY rode the wave of Bond mania - although the content couldn't have been much more unlike Bond. Also in 2005 they scripted the TV movie ARCHANGEL which was headlined by Daniel Craig.

Richard Burton is said to have been in the frame (along with countless others) for the role of Bond before Connery was eventually chosen.

Fiona Lewis plays the sexually abused Venitia in VILLAIN. She is pimped out by Ian McShane to corrupt politician Donald Sinden. Wouldn't you know she appeared in a 1966 episode of The Saint (Flight Plan) with Roger Moore. She was also in the aforementioned OTLEY.

Nigel Davenport (Burton's police nemesis in VILLAIN) appeared in two episodes of The Saint with our Rog and turned up in a David Niven Bond knock off in the sixties - WHERE THE SPIES ARE. That film was scripted by Wolf Mankowitz who also had a hand in the 1967 Niven spoof version of CASINO ROYALE.

Tony Selby, who played one of Burton's crew in VILLAIN, also appeared with Honor (Pussy Galore) Blackman in COCKNEY'S VS ZOMBIES (see elsewhere on this thread). He was in WITCHFINDER GENERAL (1968) with Ian Ogilvy who later reprised Roger Moore's role of Simon Templar in The Return Of The Saint TV series.


"What a helpful Chap."

CALLAN (1967)

I did catch up with CALLAN and watched the 1974 movie this afternoon, enjoyed it very much. Edward Woodward was excellent of course and the other actors were all good in their roles. Catherine Schell was beautiful and funnily enough I think David Prowse was dubbed. Was more than a little surprised by the jazzy opening music and score, as you said the original theme and style of music was missed.

You called out a lot of nice highlights. Some nice touches to the story with the WWII ties and the toy soldiers, battle strategies. I don't know what opportunities were used during the series, but this really showcased Callan's knowledge of history and war strategy. It came across as an important revelation to the audience for a complex character operating mostly on the simple level dictated by his masters.

And a nice final moment toward the end, that beautiful (and smart!) secretary's reaction to Hunter's latest directive. Thanks for recommending this, bushtony, I liked it enough to plan to go back to the older series. This was totally unknown territory to an American like me.


I'm motivated by my Duty.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

Glad you got some entertainment out of it, RTB.

Callan indulges his passion for wargames one more time in the third season of the series - episode "An Act Of Kindness." The agenda is similar as the one in "A Magnum For Schneider" and the film version of that story.

Despite being smarter than his pay grade the character was always hamstrung by his conscience and sentimentality along with a down-market social background. Never went to Eton or Cambridge. In the series he becomes Hunter for a while, but it doesn't end well. Makes for good drama though.


"What a helpful Chap."

Killing Them Softly

KILLING THEM SOFTLY (2012)

George V. Higgins wrote some superb hard-boiled crime fiction novels and two of his very best are "The Friends of Eddie Coyle" and "Cogan's Trade." Both written in the seventies and focusing on nefarious activities in the Boston underworld, the former was made into a suitably downbeat movie in 1974, featuring Robert Mitchum in one of his career best performances. Now "Cogan's Trade" is updated to the year of Obama's election and put on screen by director Andrew Dominik as KILLING THEM SOFTLY.

I can't claim to be a big fan of Brad Pitt but you'd have to be in complete denial to fail to acknowledge that he takes on some seriously unglamourous roles and projects clearly chosen to advance his status as an actor rather than a Hollywood star. This is more evidence. Here his plays Jackie Cogan, a razor sharp and clued-in hit-man contracted by the Boston mob to rub out the perpetrators of a poker-game heist. Cogan is a replacement for Dillon (a character who also featured in THE FRIENDS OF EDDIE COYLE) who has been hospitalised. Instantly he figures out who's responsible for what and what has to be done. Then things get tricky.

First, the unseen mob executive board don't want him to whack Markie (Ray Liotta) the host of the illegal poker game. Rather, they want him roughed up because people like him. Markie has a history – he knocked off his own poker game once in the past. Although this time he's innocent, Cogan knows that he has to be killed, reasoning that it is weak to do otherwise and will send the wrong message. Next up, the "mastermind" of the heist, Johnny Amato (Vincent Curatola) knows Cogan, so Cogan reasons an out-of-towner needs to be brought in to carry out the hit. Unfortunately, the out-of-towner in question, Mickey (James Gandolfini) is now a hopeless, burned-out alcoholic with an unfaithful wife and a penchant for hookers. He's less than useless. Meanwhile, the two incredibly dumb lowlife sleaze-balls who carried out the heist, Frankie and Russell (Scoot McNairy and Ben Mendelsohn), are phenomenally careless and loose-mouthed about the robbery with Russell addicted to heroin and embroiled in a plan to become a dealer and Frankie all jittery and nervously unstable.

So it goes. Convincing characters, great dialogue, stylish filming (Markie's death sequence is amazingly staged and shot) and wonderful interplay from a solid-gold ensemble cast make this one of the best films of 2012. Credit to Pitt for his super-cool turn as a completely bad-ass enforcer calmly and confidently striding through a world of unravelling mayhem and incompetence where he is the only character with the force of will to exercise control and do what is required to set things right. For some, it might be seen as dialogue-heavy, rambling and at times incoherent, but that's probably the point. Life is often like that and things don't go according to plan, so it's credible and realistic in that sense. The pacing may also come across as a bit ramshackle and uneven, but it's a minor point.

I, for one, was riveted, and it's pleasing to see a film stick relatively close to the spirit and content of the source material, finding ways to enhance it in transition from page to screen. The criminal world is represented as a sub-cultural society that is fractious and disorganised, beset by indecisiveness and uncertainty – presenting the concept of "organised crime" as something of a misnomer. If you want a movie that's hip and cool, that isn't bogged down by pretentiousness and glamorisation, something that crackles with quotable dialogue punctuated by episodes of stylishly rendered yet appalling violence, then this might be for you.

The obvious star appeal of Brad Pitt was not enough to make this a box-office hit and I'm not overly surprised. There's no CGI, no pallid and winsome vampires or spandex-wearing superheroes, so that's the teenies out of the equation. You need to watch, listen and concentrate, drinking in the atmosphere and savouring the slow-burn. Farewell to the ADHD contingent. The action content is sparse with the tension content being high, so nothing much for the adrenaline junkies. No good guys, no heroes, some bad language and some cruelly explicit violence which will likely alienate the moralists. And we have a political counterpoint to the Obama feel good factor, driven home by Cogan's flint-hard cynicism about America in his closing speech – the film ends on the lines: "Don't make me laugh. I'm living in America, and in America you're on your own. America's not a country. It's just a business. Now *beep* pay me!" So how popular was it likely to be with the masses?

No matter. It's popular with me. I like good cinema. And that's how it strikes

BOND LINKS/CONNECTIONS:

Brad Pitt starred in WORLD WAR Z which was directed by Marc (QUANTUM OF SOLACE) Forster. A big budget zombie movie doom-mongered and earmarked for complete financial disaster, but has instead taken a reasonably respectable $474,473,962 at the worldwide box office.

Ben Mendelsohn was in the Jason Statham 2011 actioner KILLER ELITE alongside Clive Owen who was once hotly tipped for the role of James Bond 007. In fact, he was the favourite for a time.

Director/screen writer Andrew Dominik's first feature was CHOPPER, which starred Eric Bana in the lead role. Bana later starred alongside a pre-Bond Daniel Craig in Spielberg's MUNICH (2005).

Richard Jordan starred in THE FRIENDS OF EDDIE COYLE with Robert Mitchum (an erlier adaptation of a George V. Higgins novel). That film was released in the same year as Roger Moore's Bond debut LIVE AND LET DIE (1973). Jordan later appeared in THE HUNT FOR RED OCTOBER with Sean Connery.


"What a helpful Chap."

Byzantium

BYZANTIUM (2012)

Do you like your vampire flicks all sparkly, tweenie, Americanised, sanitised and wholesome in all their toothy mushy kid-friendly glamour? Or do you like them a bit more depraved, dangerous, gothic, unsettling, erotic and dark? You may, of course, like both, but for those who make a discerning choice BYZANTIUN falls into the latter category being more Stoker-like than Disney-esque.

It's the best vampire movie I've seen for a few years and though it tinkers with traditional conventions (no fangs, for instance, and no shape-shifting or obvious supernatural powers) it does have a great deal going for it.

To the ADHD squad, a warning. It's a slow burner moving at a sedate pace and it relies on flashbacks to tell the story. So if you have both attention and concentration issues, best give it a miss.

The first thing of note that strikes from the very start is the quality of the cinematography by Sean Bobbitt. It's both striking and gorgeous and adapts skillfully to the time-shifts within the narrative. Secondly, Gemma Arterton and Saoirse Ronan give compelling performances as mother and daughter, different sides of the same coin. Arterton is a predatory whore with an indiscriminate killer instinct whilst Ronan is a chaste and conflicted perpetual woman-child who feeds on the terminally ill or those who desire release from this world. The relationship dynamic - a combination of mutual love, recrimination and support - is nicely set up and developed.

Both have been on the run for centuries from The Brotherhood - a cabal of male only vampires bent on their destruction. The English coastal town where it all started - now a shabby and decaying resort rife with drugs and prostitution - is the setting where things gradually escalate to a climax.

I won't give the ending away, but I will say that for a refreshing change it is both positive and humane rather than nihilistic and depressing. It's not Hollywood sloppy and nauseating, but it is hopeful.

The main characters are sympathetic and their motivations realistic for a fantasy flick. There's some gore and violence, but it's not excessive, most satisfaction deriving from a decent story well told with characters who are believably rendered.

I suspect much of what I see as good qualities in the film are the very elements that prevent it from being much of a box-office hit. It isn't shocking or visceral enough for the gore hounds and it's too cerebral and not glam enough for the sparkly crowd. But if you want a vampire fantasy film that's directed with care, well-shot, well-scripted and well-acted with a great sense of atmosphere, this may well be your cup of plasma.

BOND LINKS/CONNECTIONS:

Gemma Arterton appeared in QUANTUM OF SOLACE as the ill-fated Fields.

Caleb Landry-Jones had a bit part in NO COUNTRY FOR OLD MEN which starred Javier (Silva) Bardem who was, as we know, in SKYFALL.

Daniel Mays voiced a character in THE ADVENTURS OF TINTIN: THE SECRET OF THE UNICORN. As did Daniel Craig.

Jonny Lee Miller, who plays the dissolute and villainous Ruthven, is also the grandson of Bernard (M) Lee. He was in TRAINSPOTTING which references Bond and Sean Connery in several ways and was directed by Danny Boyle who orchestrated the opening visuals for the London Olympics (2012). The ceremony included a Bond sequence with Daniel Craig, The Queen and a helicopter. And some corgis.

Sam Riley is being touted on internet forums as a potential future James Bond. He played Ian Curtis in Anton Corbijn's CONTROL. Curtis was the lead vocalist and songwriter of Joy Division. In the early eighties Moby was playing in a heavily Joy Division inspired post punk band called AWOL. Later Moby reworked the James Bond Theme as James Bond Theme (Moby's Re-Version). The track was used in TOMORROW NEVER DIES.



"What a helpful Chap."

Malone

MALONE (1987)

Once upon a time, in the 1970s, Burt Reynolds vied with Clint Eastwood for Hollywood male movie star domination at the box office. He was one hell of a popular guy, no denying, but when it came to outlasting and outstripping Mr Eastwood in terms of popularity, creativity and sheer movie mythology, ultimately he was on a hiding to nowhere.

Eastwood saw himself more as a film-maker than a star. Reynolds saw himself that way too. Problem was, the films Burt made were mostly uninspiring and forgettable box-office bubblegum time-wasters. Where Eastwood could boast powerfully iconic characters like The Man With No Name and Dirty Harry and Josie Wales Reynolds had Bandit, Gator McKlusky and Stick Stickley. When Eastwood started directing audiences got PLAY MISTY FOR ME, HIGH PLAINS DRIFTER, THE OUTLAW JOSIE WALES, and eventually the Oscar-baiting UNFORGIVEN. Reynolds gave audiences a taste of his directorial skills with GATOR, THE END, SHARKEY'S MACHINE and STICK.

By the eighties, neither actor seemed to still be at the top of their game, but Eastwood continued to remain a timeless epitome of cool machismo. Whereas Reynolds, with his 70s porno-star moustache and intricately coiffed toupé looked sadly hokey and anachronistic.

Which brings me to MALONE. This is one of those films that you feel you shouldn't like but do in-spite of your better judgement. Burt is an ex-special forces operative and CIA troubleshooter proficient at wet work. He loses his edge, aborts an assassination and walks away because he's had enough of the killing and stuff, etc, etc. He ends up stranded in a one horse town in a beautiful valley somewhere in California when his car breaks down. As is the way of such things, the parts he needs to get his car working again have to be ordered so he shelters with the local garage owner and his nubile daughter.

Meanwhile, mega rich and frozen-faced landowner Delaney (Cliff Robertson) is buying up all the local properties and strong-arming the populace out of his way. He's an ultra right-wing nut-job building an army to fight for truth, justice and the American way. Which translates as "kill anyone who doesn't agree with us or is in any way, shape or form different than us." Soon, Malone crosses the path of some of his hired goons and you can pretty much guess the rest. Yes, they've met the wrong guy this time. When Malone's ex partner and lover (Lauren Hutton) ends up with a plastic bag over her head at the hands of Delaney's thugs his aversion to all the killing and stuff, etc, etc, is forgotten and Burt and his trusty toupé embark on a one man wigged-out mission to blow them all away.

What can I tell you. It's dumb, predictable, contrived, thick-eared and really quite low rent. And it's great fun. Burt takes it all quite seriously, but ironically looks utterly absurd. The moustache, the wig, the denims, the paunch. But he punches, runs, jumps and shoots with remarkable enthusiasm and prowess. Whilst looking utterly absurd. Cliff Robertson has the quizzically stunned expression of a man who once won a best actor Oscar and is now wondering just what the hell happened to his career and just how did he wind up a second stringer in films like MALONE.

Yet I don't resent this movie one iota. Certainly not enough to call it a guilty pleasure because I don't feel guilty in the least. I like this film because I enjoy it. And if it came down to a choice of kicking back with some DVDs at home and watching either MALONE or MILLION DOLLAR BABY (even though Eastwood is number one in my book) it's going to be a clear case of home MALONE.

BOND LINKS/CONNECTIONS:

Burt was once considered for the role of Bond in the early seventies (thus it was rumoured). Razor off the 70s porno moustache and he had the look down - sort of. In one of Reynold's well known movies, THE CANNONBALL RUN, Roger Moore played a delusional Jewish playboy, Seymour Goldfarb, who imagines he's the actor Roger Moore and tries to imitate James Bond. He drives an Aston Martin DB5.

MALONE is in some ways a sub-Bond movie with Reynolds playing a government assassin/spy and Cliff Robertson playing a sub-Bond villain complete with lair/base and personal army. In common with several Bond movie villains he suggests that Malone joins him in his scheme. And there's a sacrificial lamb.

Character actor Kenneth McMillan who plays the corrupt sherrif in MALONE appeared in three episodes of the TV series KOJAK with Blofeld actor Telly (OHMSS) Savalas.


"What a helpful Chap."

Malone

Well, that's another great recommendation I can't find on NetFlix or other streaming sources--and this one a US film.

But I'm keeping track, bushtony.


I'm motivated by my Duty.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

I know it's available on DVD in the US - that's how I came by a copy on import. Hadn't seen it for quite some time and it was dirt cheap so for me nothing to lose and everything to gain.


"What a helpful Chap."

Malone

It's actually on YouTube, I noticed. Watching it now, about 25 minutes in.


I'm motivated by my Duty.

MALONE (1987)

Yeah, I watched Malone and really enjoyed it. Standard action film, it was great seeing Burt Reynolds doing his stuff, he looked fit and trim, and the rest of the cast was fine. Looking back I think I never saw this one because I was overseas in the military and things were busy for me--I made time for The Living Daylights that year but probably not much more. Another plus was Cliff Robertson as the bad guy--in the same timestream I could see his evil (identical) twin keeping up the family tradition about 10 years later with the same pseudo-religious political agenda as president in Escape from LA.

Thanks for the recommendation. I also see Callan shows up on YouTube--the first couple existing BW shows are pretty rough quality, but you got my interest and I'm going to try them out.


I'm motivated by my Duty.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*


I also see Callan shows up on YouTube--the first couple existing BW shows are pretty rough quality, but you got my interest and I'm going to try them out..
Media memory is an intricate and personalised thing. There is something about MALONE that draws me back to it. With something about Burt Reynolds that makes him watchable. The CALLAN episodes of the sixties and seventies remain pin-sharp in my head, when I know they were visually glitchy, grainy and riddled with broadcast interference at the time of first viewing. My remastered DVDs of the series look fine but not as "vivid" as my memory of the originals. Age, the initial experience and impact amplifies technical quality maybe? The quality of the content, though, for me is unchanged.

Anyhow, I would be more than interested in your opinions on CALLAN at any point and thanks for your contributions RTB.


"What a helpful Chap."

CALLAN (1967)

You know, what's available on line with Callan starts Season 3 and after. I was hoping I could begin with the beginning and what's now marketed as the monochrome years, so I held off. I did watch Season 3 episode 1 "Where Else Could I Go", and it was an interesting slice of the 60s. Didn't expect anything addressing this particular angle of the British Intelligence business (or the video over film presentation), seeing it back during its original airings must have been quite an experience. Unlike The Prisoner, this one is one pretty unknown in the US.

Also watched a black and white segment of the first episode, establishing Callan as wanting out but not being allowed that opportunity. My reference point for Edward Woodward is Breaker Morant (then The Wicker Man), so seeing him so young here is quite a treat. I was half amused but still taken in when he got frustrated with Hunter and started rubbing the barrel of his revolver across his face.

Okay, now I realize you recommended the actual film from 1974 and I'm going to give it a try.


I'm motivated by my Duty.

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*

I remember MALONE. It was frequently on the telly. It was okay, but nothing too special. But I always remember the shenanigans in the barn at the end and I always enjoy those scenes. Whenever the film is playing I tune in during the barn/lair scenes.

Burt was also in a film called HEAT in 1987. I recall that Peter MacNicol was also in it and it had something to do with gambling. I've only seen it once a very long, long time ago. Can't remember much about it at this stage. I think I preferred MALONE over HEAT.

Connery, Moore, and Brosnan! Accept NO substitutes!

Re: The Film Review and Bond Link/Connection Thread *SPOILERS*


I've only seen it once a very long, long time ago. Can't remember much about it at this stage.
Same here. I recall I enjoyed watching HEAT at the time, but it was rather forgettable. I also recall that Burt was supposedly an expert with "edged weapons" and I think he killed somone with a credit card. And I also think that he scared the main villain so much he offed himself rather than face the wrath of Reynolds. Plotwise, though, I have no recollection of what the hell it was about. If I'd seen it for the first time last week, I have a feeling I'd still remember as much about it today. Well, maybe a bit more.

Now MALONE, for whatever reason, I had a vivid recall for over twenty years since first viewing. Not because it was some amazing piece of art but because it had a certain resonance. Go figure. Guess no one can impose a rigid time frame on these things.


"What a helpful Chap."

MALONE (1987)

Malone (the film) did include the masterless samurai slant to the character in the dialog. That was a nice touch for 1987.


I'm motivated by my Duty.

After Earth

AFTER EARTH (2013)

Apparently, 130 million dollars was burned through to achieve this. I can only imagine the studio must have insured it for a billion in order to make a huge claim. It has to be a scam. I can discern no other explanation for it. I am a firm believer that hardly anyone would deliberately set out to make a bad movie. But...to green light a project that was clearly potentially financial and definitely artistic suicide from the outset is either unparallelled lunacy or a caper of some sort. Evidence being that the script alone could not have been any more of a monolithic flop indicator if it came with giant neon signs spelling out M-E-G-A T-U-R-K-E-Y in flashing twelve-foot high letters.

At this point I'm not going to go into the plot in any depth but I am going to raise the issue of the atrocious acting from both father and son. Papa Smith needs to drop the kid. I mean, I know blood is thicker than water and all, but this child is never going to be an actor and he's just going to stink up any project he's ever involved in. Yes, I know, I know it's really hard for any parent to accept that their child is truly useless at something as easy as a running and jumping game of pretend in front of a green screen, but we all have to face facts. Kid is a dead loss. Find him another career or just pay him to stay at home or, maybe even let him find his own way in the world. He has no acting talent whatsoever. Accept it, get over it and move on.

The same might soon be said for Papa Smith if he can't turn in something better than this these days. He played his role with all the animation, charisma, presence and dramatic expression of a plank of balsa. I accept that he was portraying someone who is an expert at controlling their emotions, but he achieved the nigh-on impossible feat of making Keanu Reeve's moribund turn in THE DAY MY FACE STOOD STILL seem a master-class example of the thespian art. Smith senior stares intensely into the camera a lot, grunts and puffs a bit when his legs are broken and goes to sleep every so often then wakes up again looking a bit groggy. All the time those trademark jug-ears make him look like an Easter Island head with satellite dishes on either side. Smith Junior, meanwhile, has his stunt double run and jump about the place until he gets a close-up wherein he wildly furrows his brow, loses control of his jaw, pops his eyes and telegraphs episodes of respiratory failure with all the conviction of a burned-out porn star simulating an orgasm. Both father and son should pause for thought and take stock.

Here's another thing – career moves born out of personal obsessions are sometimes not the way to go. I get that certain Hollywood types feel the need to voraciously ram their pretentious hobbies and eccentricities into the eager faces of their audiences, but just go make an advert or take out a page in a paper if you feel the need. Frittering away 130 mil on an extended propaganda piece for your favourite sci-fi mock-religious cult baloney is nothing short of obscene. Travolta had a shot at it and bombed. Smith's attempt may make back some of the dough, but even so it's truly awful cinema. Should Cruise ever step up to the plate marked "Egocentric Vanity Jerk" I expect the results to be pretty much the same.

Performances aside, along with the Scientology mumbo-jumbo, if the film had been any good I would be much more forgiving. But it's a predictable CGI drag from beginning to end that boringly rehashes some sci-fi iconography from other much more creatively original sources. The core philosophy/message is the simplistic mantra of "you have nothing to fear but fear itself." Whoo-hoo! Ya think?

M. Knight Charlatan directs in a listless and linear way and the narrative has no twists or turns – it just ploughs the same one-note furrow from beginning to end. Some of the CG eye-candy grabs the attention for brief periods, but it's mostly dull and drab. The dialogue has no spark or life and consists of daisy chained clichés or terse blocks of hilarious cod-philosophical speech. "Danger is real, but fear is a choice." Yeah, well "Bowel actions are real, but toilet paper is a choice." Next?

Just as most filmmakers don't deliberately make bad films most film-watchers don't deliberately want to dislike or not enjoy the films they watch. And I'm of that ilk. But I am struggling to find much positive to say about AFTER EARTH. Even so, globally it took around 243 mil at the box office and there are rumours of a sequel. If the sequel is real then my fear definitely isn't a choice. In that case I'll overcome my fear through avoidance. Works for me.

BOND LINKS/CONNECTIONS

Was seriously hoping I wouldn't come up with any. But...

Cinematographer Peter Suschitzky worked on MARS ATTACKS which included in the cast one Piercing Bronchospasm who, it is rumoured, was once a James Bond actor who played the part of James Bond. He also worked on FIGURES IN A LANDSCAPE (1970) which starred the late great Robert Shaw (Grant, in FRWL, old man).

Composer James Howard Newton scored JUST CAUSE (1995) which starred Sean Connery as a Harvard law professor.


"What a helpful Chap."

After Earth

I was half-wondering about AFTER EARTH. Wasn't aware of the Scientology connections. No rush, but I gotta see this one.

Still wondering if M. Night Shyamalan has any more good films in him.

What no man Can give ya. And none Can take away.

Scream And Scream Again

SCREAM AND SCREAM AGAIN (1970)

From the opening scenes of a runner in urban parkland collapsing and clutching his chest to the final still shot of Christopher Lee’s government agent sat in quietly knowing malevolence in his car, this film is a perplexing yet oddly compulsive grab bag of weird set-pieces and half-baked ideas. In some ways, it’s quite unique and in others thoroughly familiar. It veers all over the place, avoids exposition like the plague and explains incredibly little. The narrative jumps around from one thing to another, dropping plot-holes and unanswered questions like breadcrumbs in a forest populated by ravenous breadcrumb-eating birds. Not only is it sometimes hard to move forward, it’s equally difficult to back-track without getting lost or sidelined. In the end, the best approach is to simply sit tight, chill out and enjoy the ride.

The runner wakes up in a hospital bed. He is tended by a lone nurse who never speaks but wears more makeup than Alice Cooper. When he pulls back the sheets his leg has been amputated. He screams. This happens twice more – and each time a limb has been removed. He screams. He becomes a living torso on a bed. He is seen one final time as a severed head in a freezer compartment. This is much later on.

Meanwhile a serial killer is beating, throttling, raping, throat-slashing and draining the blood from dolly-bird victims in London. Detective Bellaver (Alfred Marks) is on the case with his thick-eared plod underlings. They all give much the same impression of being largely unable to detect an elephant with dysentery in a snowstorm.

Elsewhere, in an unnamed totalitarian state (probably someplace in Europe) Konratz (Marshall Jones) is portrayed as a high-ranking military official. The troops look like Nazi-Commie hybrids and sport a swastika-like symbol. Konratz murders his superior (Peter Sallis) by gripping his shoulder with one hand and squeezing until he dies. It’s like the Vulcan neck pinch only it isn’t.

Back in London the serial-killer is revealed to be Keith (Michael Gothard) who picks up a dolly-bird at a music club where The Amen Corner (actually Amen Corner) are performing a song entitled “Scream And Scream Again.” He drives her to a secluded spot and beats the living crap out of her. Next time we see her she’s naked on a mortuary slab.

Enter Vincent Price as Dr Browning (you can bet it’s all gravy for him). He runs a clinic in the countryside where one of the victims worked. Odds are he’s somehow involved in all this.

Back in Nazi-Commie land, Konratz is carpeted and demoted by his other superior Major Benedek (Peter Cushing) for extreme brutality and torture/murder of suspects. Konratz responds by squeezing Benedek’s shoulder and killing him.

Then in London serial killer Keith is honey-trapped by an undercover policewoman. He evades capture by tearing off his own handcuffed hand, running to Dr Browning’s residence and in a really inspired move hurls himself into a vat of sulphuric acid in a barn. Which is one way of doing it, I suppose.

Oh look, now here comes Christopher Lee who appears as Fremont, a government agent involved in shady dealings and political machinations with Konratz.

All of this is just the tip of a very convoluted iceberg to be honest. The rest boils down to a Frankenstein re-jig with Vince creating super-human “composite” people from body parts and synthetic materials to bring about world peace and the eradication of disease. Not sure how this works as it will be achieved by Nazi-Commie Konratz who will use them as super-soldiers. Is it just me or are the methods incompatible with the aims here. Konratz turns out to be a “composite.” As does serial-killer Keith (RIP). As does the nurse. As does Chris Lee. As does Vince.

Wait a minute. Vince makes the composites. If he’s one, then who made Vince? Ah-ha, clearly a story for another time.

It’s a film that has a lot going on. And up until the third act it’s attention-grabbing, intriguing and engrossing stuff. Early on events sink that all powerful hook in the viewer, the one defined by the thought: “I wonder where all this is going?”

There is plenty of action and a standout car chase so well choreographed and shot that it feels like it ought to belong to a much more prestigious and expensive project. This is back in the days when driving stunts were done for real and stuntmen risked life and limb, unlike that computer-generated Furiously Fast dreck we get today. The vehicles are old and cumbersome, vintage by today’s standards. But watching you can almost feel the strain and struggle taking place as a 1969 Jaguar S-Type takes a hairpin bend at speed with a squeal of brakes and a scream of grinding chassis.

Much of the film seems to have been shot in perpetual twilight, and this adds a certain distinct atmosphere to the murder set-piece and Keith’s increasingly desperate and violent attempts to evade capture. The confrontation with police in the chalk quarry culminating in his leaving his hand behind, still handcuffed to the bumper of a squad car, and then throwing himself into a vat of acid is a particularly gruesome delight.

There’s mileage in almost any film to feature the triad of Vince Price, Chris Lee and Pete Cushing – even though the first two share no screen time with the latter. In fact, for Cushing it was one day’s work and it’s little more than a cameo appearance.

I’m uncertain if SCREAM AND SCREAM AGAIN has achieved cult status in any quarters, but I’d be surprised if it hasn’t. It predates by a significant time frame any number of other cult movies that have cribbed some of its’ ideas even if the makers of those films are unaware of its’ influence or even its’ existence.

If you fancy a fix of weird and off the wall horror-thriller action and are prepared to suspend logic and disbelief a little more vehemently than usual then you could do far worse.

BOND LINKS/CONNECTIONS:

Chris (Scaramanga) Lee is a given. Michael Gothard (serial killer Keith) played hitman Locque in FOR YOUR EYES ONLY and featured in one of Roger Moore’s all time classic Bond scenes.

Judy Huxtable who played policewoman Sylvia in SCREAM AND SCREAM AGAIN had a bit part in LICENSED TO KILL (1965) which was one of the Bond rip-off movies of the sixties featuring secret agent Charles Vine.

The plot of SASA – the creation of a master race of superior human beings – was not a new concept and was later utilised as the agenda for super-villain Hugo Drax in MOONRAKER.

Alfred Marks appeared with Rog in an episode of the Persuaders (“The Gold Napoleon”) as well as starring with Sean Connery in THE FRIGHTENED CITY (1961).

Character actor David Lodge turned up in an episode of The Persuaders with Rog (“The Time And The Place”) and an episode of The Saint (“The Man Who Liked Toys”). Clifford Earl stood alongside Rog in THE SEA WOLVES (1980) and an episode of The Saint (“The World Beater”). Julian Holloway (who gets kicked in the stomach and hospitalised by serial killer Keith in SASA) voiced Dr Julius No in the James Bond Jr. animated TV series. And like so many others was in an episode of The Saint (“Luella”) with Rog.


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