Sean Connery : For Connery Lovers, On His Birthday

For Connery Lovers, On His Birthday


SEAN CONNERY: A Highly Opinionated Appreciation

Sean Connery is both a great movie star and a great actor. Since Connery announced his retirement it is fitting to look back at his contribution to film, and I hope you’ll enjoy this effort.

A mentor of the young Sean advised him that an acting career is preferable to pro-sports, because an actor can get work his whole life rather than being washed-up at thirty. That helped Sean make up his mind. Was there ever anyone else who settled on acting because of job security? Taking assorted small roles throughout the 50’s (and presaging future on-screen action with off-screen heroics against small-time mobster Johnny Stompanato on the set of Another Time, Another Place) Connery had little chance to make an impression on film goers. That all changed in 1962. As everyone knows, the world was introduced to Sean Connery when Connery introduced the world to its newest hero, the rugged, suave, martini-sipping, womanizing, impeccably tailored super-spy, James Bond. In addition to the ultra-coolness and physical impressiveness, Connery invested James Bond with both a bemused and benign disdain for the world. For Connery’s Bond, the world existed only to provide him with his few pleasures in life, beautiful women, good food and fine wine. Sure, he’s willing to save the day, because, after all, a man must do something with his life, and at least being a double-0 is not a bore. Dr. No was a success, From Russia With Love even bigger, and with Goldfinger, James Bond became an international film phenomenon. We loved the movies, and we loved Connery in them.

We also had Sean Connery figured out. It didn’t occur to us that we were watching a first-rate actor working wonders within the strict and narrow confines that defined the role. We just thought this was an attractive man with the rare gift to relax and be himself in front of the camera. To put it another way, he was the new generation’s Errol Flynn – peerless at what he does, but he does basically just one thing. And he certainly brought some of Bond to his portrayal in Marnie. Yes, we had him figured out. The only thing was, somebody forgot to tell Sean. James Bond could bring fame and fortune enough for any man, but Sean’s ambitions and accomplishments as an actor were far from realized. So, he set to it with determination.

Connery’s next project, The Hill, removed any excuse for not recognizing Connery for the first rate actor that he was. All of the polish of Bond is removed in Connery’s strong portrayal of the rebellious prisoner, Robert 1c84 s. But Connery also demonstrated an uncommon artistic courage for an actor in his position. Watch closely the look on Connery’s face, early in the film, when Roberts looks at his fellow inmates enjoying themselves at the water while he is forced to continue to drill. Any other action star, back then, jaw set, would have shown us a look of grim determination, to show us his character is thinking, “So, that’s how it’s gonna be, huh?” But Connery’s face shows us a man upset, who might possibly begin to sob. His face is saying, “How come those guys get to rest at the water, and I don’t?” No other movie action star of the era would have dared to let a look like that cross his face for the camera. It would have been an unacceptable sign to the audience of weakness, not vulnerability, not sensitivity, which are acceptable, but weakness. And Connery acts similar moments of seeming weakness several other times in the film.

While Connery fulfilled his Bond obligations with Thunderball and You Only Live Twice, he also was utterly convincing as the selfish father in the TV production Male Of The Species, and showed new and antic sides of his talents as the irrepressible poet in the off beat comedy, A Fine Madness. Even his voice has a different quality in that film than in previous ones.In The Molly Maguires Connery manages to quietly dominate each scene he is in and provide the much needed conviction to an underwritten role. The same sense of conviction brought some strength to oddities like The Red Tent and Zardoz. His hit crime drama The Anderson Tapes was followed by a more light-hearted return to 007, for charity, in Diamonds Are Forever. He then filmed a stunning portrait of psychological disintegration, The Offence. Connery’s performance as Detective Sergeant Johnson could be the greatest barely seen lead performance in modern English speaking films. Connery captures all the fears and angers of a man who is irretrievably alienated from his wife, his colleagues, and the community at large. The portrayal of his bullying of a suspected child molester, while, paradoxically, becoming more and more at his mercy leaves one shaken.

The mid 70’s proved a strong phase of his career. In The Wind And The Lion Connery was at once fierce, charismatic, and humorous as a desert chieftain. In the great adventure, The Man Who Would Be King, Connery brings an unexpected warmth to the blustering Danny, and we can sense the dreamer inside the jaded shell, as well as Connery’s delightful relish in being unselfconsciously silly. Was there ever a “non-comic” actor who brought so much humor to his portrayals? Connery’s rendering of a middle-aged Robin Hood in Robin And Marian is an exquisite study of a heroic personality disillusioned by brutish reality. There is a moment in the film when, after Robin’s recounting of a sickening atrocity of the Crusades committed by King Richard, the beguiling Audrey Hepburn’s Marian asks Robin, “Why didn’t you come home then?” Connery’s face shows all the wavering confusion of a man whose lifelong assumptions about duty, morality, and pride in royal service are now in question. And, as he answers, “He was my king,” the words can barely escape his mouth before what once seemed obvious to him now sounds hollow and meaningless. A man’s entire psychological biography is imparted to us in seconds, none of it forced, all of it completely natural. The moment can stand as evidence of acting being a true art form.

Despite a growing body of quality work, critical praise for Connery seemed tentative, even grudging. There seemed to be a real resistance to the idea that Connery was a master of his craft. He couldn’t be this good, could he? Anyone this handsome, this athletic, and this sexy must be, at least in part, getting by on his looks. It’s true that some critics were early champions, but most were fairly late in acknowledging Connery’s abilities, and some, like Stanley Kauffmann would never “get” Connery.

Connery cut a convincing figure as both the brain and the brawn in the engaging and colorful The Great Train Robbery. He could have coasted through Outland, but took the pains to give this outer space lawman a genuinely human presence. Wrong Is Right was just wrong. Connery simply has too much vitality to be believed as a reporter, ironically detached from events, caring primarily about getting a juicy story. Watching him hold a microphone in front of an angry mob, you couldn’t help but think that it should be Connery at the head of the mob. It’s the only time Connery was miscast. It was a thrilling prospect to anticipate a ready and fit Connery making another comeback as James Bond in Never Say Never Again. But the film only served to demonstrate how far he had outgrown the role.

As with the career of any prolific actor, there were the easily forgettable films, like Shalako, The Next Man, Cuba, Five Days One Summer, Highlander, The Presidio, and the obligatory disaster flick, Meteor. But in the late 80’s Connery also gave us a superb portrayal in The Name Of The Rose, as the Sherlock Holmes like monk who brims with enthusiasm for man’s intellectual capacity. He followed that with the seasoned Chicago cop Malone, giving real heart to the rousing The Untouchables. Never had a stock movie character seemed so fresh or original. He helped breathe new life into the Spielberg-Lucas adventures in Indiana Jones And The Last Crusade. When Indy learns that his father has slept with Indy’s leading lady notice the particular grin (never employed by him before or since) that Connery flashes him. It humorously conveys two thoughts simultaneously: both embarrassment, and also, “Hey, the old man’s still got it!” If you study Connery’s work, you could make a large catalog of such “little” moments that invigorate his performances. Connery’s face registers for the camera the momentary mood changes that we all experience, and this helps invest his performances with an uncommon richness. In Outland notice his brief look of annoyance over having to fire his gun to make clear to his adversary where things stand, or in From Russia With Love the hint of embarrassment over resorting to offer the villain a bribe not to kill him. Year after year, Connery was not one to rely on a repertoire of familiar tricks. His bag of surprises seemed bottomless. In one film after another there was always some new inflection we’d never heard, some new expression we had not seen before, but was unfailingly right for the moment. There never was a screen actor more generous to his audience.

In Family Business Connery conveyed both roguish charm and a dangerous and untrustworthy selfishness as the crooked Jesse McMullen. With his attitudes on how to get by in a corrupt world, his character could have been Duke Anderson at the end of his life. After his efficient turn as the Russian sub commander in the well made, purely plot dri 5b4 ven thriller, The Hunt For Red October, Connery turned to what would turn out to be his last really good role and really good movie. As the affable and boozy Barley Blair in The Russia House Connery conveys the sense of a man lacking purpose, but who can’t let himself burn out, a man with reserves of strength and courage gone unused, dust covered, until love finally gives him the long awaited reason to act with boldness.

After The Russia House, the next dozen years were shining for Connery as a movie star, but lamentable for Connery as an actor. Medicine Man had potential, but was fatally flawed with a TV sitcom level script. There followed, then, a string of star vehicles, demanding little of what Connery had previously been demanding of himself. In Rising Sun, Just Cause, First Knight, The Rock, Entrapment, and The League Of Extraordinary Gentlemen, his on screen authority and charisma were all that were called for and all that were present. It was only with Finding Forrester that Connery, as a reclusive writer, would strive for something interesting, with only partially successful results.

Maybe Sean Connery will be lured back one of these days, if the itch to work returns at the same time an intriguing role is offered. Maybe not, but either way, here’s wishing him a happy birthday and a happy retirement. Our cinema libraries are much richer because of him.



"I'm such a moody fellow; it depends upon my mood."

Re: For Connery Lovers, On His Birthday

Cheers, for the article.

Happy 81st Mr. Connery!

Re: For Connery Lovers, On His Birthday

It was my pleasure.

"I'm such a moody fellow; it depends upon my mood."

Re: For Connery Lovers, On His Birthday

I'm a week or so late, but this is a wonderful article for us Connery-philes!!! Thanks.

Re: For Connery Lovers, On His Birthday

I'm glad you liked it.

Thanks for commenting.

"I'm such a moody fellow; it depends upon my mood."

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Re: For Connery Lovers, On His Birthday

Birthday bump!

"I'm such a moody fellow; it depends upon my mood."

Re: For Connery Lovers, On His Birthday

Great article. Kudos mate.




NOBODY expects the Spanish Inquisition!

Re: For Connery Lovers, On His Birthday

Another birthday bump!

Re: For Connery Lovers, On His Birthday

Birthday bump!
Happy 84th Sir Sean!

Re: For Connery Lovers, On His Birthday

A birthday bump!
Happy and healthy 86, Sir Sean!
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