MARK O'CONNELL

Writer, Author, Bond Fan

Tag: 007 (page 2 of 3)

SPECTRE – EON Productions let the cat out the bag on the 24th Bond opus

SPECTRE cast banner 8

“Welcome to the 007 Stage – where budgets go to die” – Sam Mendes

So sure as light follows day, finger follows gold and fall follows sky, there will be a new James Bond movie. So at a traditional press call (this time at the famed 007 Stage on the equally famous Pinewood Studios lot where the new 007 epic has been setting up shop for a while) it has been officially announced that shooting on the twenty-fourth 007 epic is about to begin. And whilst “B24” will continue to be signposted to various locations and unit bases during the seventh month shoot, the rest of the world will know the newest 007 movie now as SPECTRE.

A cryptic message from Bond’s past sends him on a trail to uncover a sinister organisation. While M battles political forces to keep the secret service alive, Bond peels back the layers of deceit to reveal the terrible truth behind SPECTRE.

Official press release, MGM / Sony Pictures / EON Productions

Joining producers Barbara Broccoli and Michael G Wilson, and Daniel Craig on his fourth Bond outing as agent 007 will be two-time Oscar winner, Tarantino favourite and all-round Austrian acting powerhouse, Christoph Waltz. Playing the under-specified “Oberhauser”, Waltz’s casting alongside the title has pulled back the anti-shark floodgates for all manner of speculation and supposition suggesting Roger Moore failed in his efforts to rid the world of Ernst Stavro Blofeld down a chimney at Beckton Gas Works. To be fair on Sir Roger, the biggest victim of Blofeld’s treachery has always been continuity which certainly implies the scarred/not scarred/drag act/wheelchair bound chameleon himself is right royally back in SPECTRE. Or is he?

Ever since Barbara Broccoli and Waltz shared time on the judging panel at the 2014 Berlin Film Festival it felt like only a matter of time until the two-time Oscar winner graced the Bond podium. And of course Waltz has already had a loose brush with Bond having played a German spy in 1989’s Fleming TV drama, Goldeneye. Like Javier Bardem before him, you don’t cast Waltz in a Bond film and not use him. “And the Best Supporting Actor Oscar for 2015 goes to Christoph Waltz….”

The SPECTRE Boardroom (from left) Daniel Craig, Naomi Harris, Ralph Fiennes, Dave Bautista, Ben Whishaw, Rory Kinnear & Andrew Scott.

Sidling up alongside Waltz in a delicious piece of physically ill-matching casting is Dave Bautista. Fresh from his summer 2014 success in Guardians of The Galaxy, the American-Filipino ex wrestler is to play henchmen Mr Hinx. It’s been a while since Bond has a decent bitch fight with a man monolith who can actually act. No – Zao, Kil, Bull and all manner of Brosnan henchmen don’t count.

Irish actor Andrew Scott is to play “Whitehall” colleague Denbigh. Scott (Pride, Sherlock) is a massive fan favourite via his current turn as arch nemesis Moriarty in Mark Gatiss and Steven Moffat’s Sherlock and no doubt a great box office lure for a whole slew of early 20s lady cult fans. Trust me. I have seen the Whovians and Sherlockians go crazy in Scott’s company and his casting represents more of a box office coup than may yet be realised. He is also a top notch actor. Scott’s Sherlock colleague and co-star Mark Gatiss (Catching Bullet’s very own cat-stroking ‘pre-title’ contributor) told this site upon Scott’s SPECTRE news “I’m naturally thrilled about Andrew being in Bond. He’s a brilliant actor and a brilliant man and now Her Majesty gets the unalloyed pleasure of his secret service!”

“I’m naturally thrilled about Andrew being in Bond. He’s a brilliant actor and a brilliant man and now Her Majesty gets the unalloyed pleasure of his secret service!”

Mark Gatiss on Andrew Scott’s casting in SPECTRE

Returning as MI6’s Chief of Staff Tanner, Rory Kinnear returns to the Eon fold for the third successive time. Clocking in with him at MI6’s new Bernard Lee-tastic HQ is Ben Whishaw as Q (who is already quite pleased to be back in the suit and glasses), Naomie Harris as arch-secretary Moneypenny (she is not arch at all but SPECTRE has now brought back such parlance) and of course Ralph Fiennes as 007’s new boss, passport holder and all-round brace wearing machine, M.

Remembrances of Things Past 

And what of Bond’s women? Well as was touted, rising French actress Lea Seydoux (Blue is The Warmest Colour, Grand Central, Midnight In Paris) is to play the Proustian Madeleine Swann. A possible play on words and continuing Skyfall and writer John Logan’s literary cameos, a madeleine cake was famously referenced at the beginning of Proust’s Swann’s Way – when the subject marks how a nostalgia-making madeleine brings back a tumult of hard emotions and childhood remembrances. A possible clue to Seydoux’s role, Swann’s Way was the first chapter of Proust’s In Search of Lost Time (À la Recherché Du Temps Perdu, 1913) which translates as the more familiar Remembrance of Things Past. A possible pointer to Bond’s personal journey in SPECTRE?

And in what has quickly made bigger headlines than was maybe expected, Italian actress Monica Bellucci (The Apartment, The Matrix Reloaded) is to play the brilliantly named Lucia Sciarra. Aged 50, Bellucci will be the oldest leading Bond actress and marks the first time – if these things really matter (they don’t) only the second actress in 007 history to be older than her Bond (Honor Blackman was older than Connery in 1964’s Goldfinger). Married to French actor Vincent Cassel (Mesrine, La Haine) and already more of a Bond Cougar than a Bond Woman, Bellucci has set many a heart racing and could well – despite her standing already – be the breakout star of SPECTRE.

SPECTRE cast banner 10

 

SPECTRE NUMBER 1 :

How does it stand as a Bond title?

In two words – cool and ruthless.

To paraphrase Ian Fleming it is a blunt instrument of a title. Perhaps like no other 007 marquee name for quite a while it packs a cracking punch. There is no hiding or interpretation with SPECTRE. It certainly makes total sense for a Bond movie that has to sidle up to its sizeable 2015 box office cousins – The Force Awakens, Jurassic World, Fury Road, The Man From UNCLE, Inside Out, Terminator – Genysis, The Hunger Games – Mockingjay Part 2, Mission Impossible V, The Martian, The Fantastic Four, The Peanuts Movie (Bond’s US release day buddy) and Spielberg’s own Cold War spy drama St. James Place – to load itself up with the bombast, heritage and killer intent of a title like SPECTRE.

There is no deceit or bluff about SPECTRE. Or is there? Despite the official line being that Christoph Waltz is playing “Oberhauser”, reports and rumour merchants have opted for the easy copy stating Christoph Waltz must ultimately be playing Blofeld. A title like SPECTRE only fuels that and the thought of Waltz waltzing in as a new wave Ernst is just too delicious a premise. But this is 2015. EON are following up Skyfall and Sam Mendes is making his first sequel. This will be a story with plenty of secrets, surprises and triple bluffs up its Mao suit sleeves. The phrase “hiding in plain sight” comes to mind.

(c) Aston Martin Ltd

SPECTRE NUMBER 2 :

Who else will be sat round SPECTRE’s table of Bondage?

Barbara Broccoli confirmed at the March 2014 launch of Bond In Motion that Bond 24 will see the return of a new Aston Martin. Well in true game-show unveiling style, director Sam Mendes whipped back the sleekest tarpaulin ever designed to reveal possibly the sleekest, juice-inducing Aston Martin – the brand new and wholly unique DB10. Designed by Aston Martin’s Gaydon HQ and in unison with EON Productions, the model has been specifically engineered for SPECTRE , the first time the famed car company has created such a bespoke, film-steered sidekick for our man James.

Dr Andy Palmer, CEO of Aston Martin, says : “In the same year that we celebrate our 50-year relationship with 007, it seems doubly fitting that today we unveiled this wonderful new sports car created especially for James Bond…I’m incredibly proud of everyone in the team at Gaydon who have brought this special project from concept to reality.” (AstonMartin.com). Aside from the probable stunt requirements dictating more than one back-up of the car, production of the beautiful DB10 will be limited to merely ten models.

Production designer Dennis Gassner has his biggest Bond gig so far as the Ken Adam Does SPECTRE boots are hard to fill. Confirmed locations are now Austria – where the townsfolk of the mountainous Obertilliach in the Tirol region have already seen the Bond circus come to town in preparation for the new year’s ambitious and sizeable shoot. Alongside that, Sölden and Lake Altaussee will be on Bond 24’s itenary too.

Incidentally the Tirol region and Kitzbühel is known Fleming turf. Ian himself would regularly holiday there and Fleming heavily references “Oberhauser” and Kitzbühel (see below). Perhaps Obertilliach is doubling for Kitzbühel?

Flanking such Bond-tastic locations (and nothing screams Bond more than a mountain covered in snow) will be London – playing a significant role, following on from Skyfall – Mexico City and Morocco’s Tangier and Erfoud. Possibly linking Bellucci’s turn as the Italian Lucia Sciarra, the capital Rome will finally feature significantly in a Bond movie. Production has already been based at the mod-classic and landmark Cinecittà Studios for quite a while. As Variety reported on the 24th November 2014, “MGM’s 24th James Bond film is instead expected in Rome between February and March 2015 with reported plans for high-speed car chases down the Eternal City’s narrow cobble-lines streets, and Bond parachuting down onto the ancient Ponte Sisto bridge on the Tiber“.

 

SPECTRE NUMBER 3 :

So what do we need to know about SPECTRE?

SPECTRE_LogoFirst mentioned by Ian Fleming in 1961’s Thunderball novel, S.P.E.C.T.R.E. (or  Special Executive for Counter-Intelligence, Terrorism, Revenge and Extortion – go on Don Black, get that one to rhyme) was next mentioned in 1962’s The Spy Who Loved Me, before taking centre stage in the following year’s On Her Majesty’s Secret Service. The shadowy organisation’s infamous kingpin Ernst Stavro Blofeld later re-appears in 1964’s novel, You Only Live Twice. The Thunderball, On Her Majesty’s Secret Service and You Only Live Twice books are often classed as The Blofeld Trilogy. But then came the Bond movies which tapped into S.P.E.C.T.R.E. from the start (despite Ian Fleming’s on-going wranglings with producer Kevin McClory who claimed he shared ownership to Ernst and SPECTRE – having allegedly crafted both when developing Bond with Fleming, Jack Whittingham and others for a touted TV project). The dispute behind SPECTRE, Blofeld and indeed Thunderball’s content reputedly stalled the ninth 007 novel from being the first Eon produced Bond movie, so producers Albert R Broccoli and Harry Saltzman went instead for the [then] less litigious and easier-to-mount Dr. No.

DR. NO: I’m a member of SPECTRE.

BOND: SPECTRE?

DR. NO: SPECTRE. Special Executive for Counter Intelligence, Terrorism, Revenge, Extortion. The four great cornerstones of power headed by the greatest brains in the world.

BOND: Correction. Criminal brains.

DR. NO: The successful criminal brain is always superior. It has to be.

Dr. No, 1962

The Doctor No of 1962’s Dr. No was instantly on the SPECTRE staff. In its rapid sequel From Russia with Love (1963) the toe-filleting Rosa Klebb had recently defected to SPECTRE from SMERSH (the real life Russian Soviet counter-intelligence organisation). From Russia With Love also marked the first feature appearance of one Ernst Stavro Blofeld – albeit shot with narrative chaste through a careful frame where only his hands and lap cat were seen. Played by Anthony Dawson (who also played SPECTRE agent Professor Dent in Dr. No) and voiced by actor Eric Pohlmann, it was From Russia’s Blofeld that set the template for the onscreen Blofeld – all Mao suits, Angora cats, menacing cuffs and the peril of anonymity.

That notion continued into the fourth Bond movie Thunderball (1965) before later evolving into a no holds (or faces) barred Blofeld in You Only Live Twice (Donald Pleasance, 1967), On Her Majesty’s Secret Service (Telly Savalas, 1969) and Diamonds Are Forever (Charles Gray, 1971).

More men have collectively played Blofeld than Bond. Though it is only one Blofeld who has ever tried to win Bond over in a panic by offers of a bizarre delicatessen start-up restaurant scheme (For Your Eyes Only).

Are we keeping up SPECTRE agents? This will not be repeated.

The 1970s saw various legal challenges, internal developments and ownership wrangles plaguing the Bond movies. The return of SPECTRE and Blofeld were toyed with for subsequent 007 episodes but times [and lawyers] changed and Eon Productions reputedly wanted to move on from Blofeld, his organisation and the possible claimants to the artistic properties in question (though the first draft notions of many a later Bond film was to go with SPECTRE). This possibly accounts for 1981’s in-joke overture – where an obscured wheelchair-bound Blofeld and his cat are plunged by Roger Moore and a 80s chopper  into a chimney at Beckton Gas Works (ironically, the site is now part of the SPECTRE inspired Docklands Light Railway monorail).

“He lets the other two fight while he waits. Waits until the survivor is so exhausted then he cannot defend himself. And then like SPECTRE, he strikes”

BLOFELD, From Russia With Love, 1963

 

SPECTRE_Logo Blofeld’s er filmic ‘swansong’ marked the final [to date] onscreen appearance of Blofeld in an Eon produced 007 opus. Of course 1983’s rival Bond film Never Say Never Again saw producer Kevin McClory exercising his rights to SPECTRE and Blofeld (having had the courts rule he does share an element of creative ownership with factors from that one novel). Max Von Sydow portrayed a decent enough Ernst in the less decent enough re-tread, but that would not stop McClory mounting various attempts to remake his remake (the only Bond property he was legally allowed to). Every decade and nearly every ex Bond actor it seemed were beckoned in to McClory’s remake plans with an abundance of schlocky titles (Warhead 2000?!!) and acrimonious lines in the sand.

“SPECTRE’s a dedicated fraternity to whose strength lies in the absolute integrity of its members”

BLOFELD, Thunderball, 1965

007 holding company Danjaq LLC and their various legal representatives naturally responded. Some courtroom altercations made headlines and some did not. The 2012 documentary movie Everything Or Nothing documents the toll it all took on Fleming, McClory, Eon and their associates. However, the end upshot was that in November 2013 the onscreen rights held by the McClory estate (which included Ernst Stavro Blofeld and SPECTRE) were finally given to Danjaq/Eon and MGM. McClory himself passed away in 2006.

As Variety reported in November 2013, representatives of the McClory estate declared “the 50-year intellectual property row involving James Bond was settled because of a great deal of hard work by the attorneys for the estate of Kevin McClory, MGM, and Danjaq and will benefit James Bond film fans throughout the world.”

 

SPECTRE NUMBER 4 :

Right ideas, wrong rumours

So what does this Bond fan think or hope we have in store? A bespoke, bigger budgeted sequel to Skyfall (which was deliberately produced – as much as you can on a Bond – with an eye on the budget, hence the brilliant domestic, UK based scenes) with the luxury now of a great canonical title and story background. This will not be 1960s SPECTRE. There will not be hollowed out volcanoes and monorails (despite my pleas on a recent media interview for such design quirks). There is also not the concern of the Blofeld/SPECTRE parodies easy copy writers are already throwing at Bond 24. This SPECTRE and its ownership will definitely be cut from that Mendes/John Logan cloth. Already the suggestion is that SPECTRE has one of the biggest intents of a Bond film. Mammoth sets and stunt sequences are being constructed throughout the globe and the box office success of its predecessor buys it some budgetary goodwill (as well as immense pressure).

The cast is cracking. Gone are the days of unknown models and European art-house actors flanking the Bond stage. The cast of SPECTRE could easily be in the next Coen Brothers movie, a Paul Thomas Anderson drama or Tarantino’s next final film. Likewise, the craftsmen and women responsible for this movie have between them been responsible for the look, tone and creative success of Let Him Have It, Interstellar, Inception, Tinker Tailor Soldier Spy, Her, Road To Perdition and American Beauty.

We still have no confirmation of a title song performer but lets something for the new year. Sam Smith has made the rumour rounds, but maybe it is time for a Depeche Mode or Rolling Stones type number – something a bit more cock-rock. Less Adele, more Cornell. But I would not be remotely surprised or delighted if Ms Adkins name is once again flanking a Bond film and the Best Song performances at the 2016 Academy Awards. However, two words though for Mendes, Thomas Newman and the EON team – London Grammar.

SPECTRE will be a natural successor to Skyfall. SPECTRE will inhabit its tonal and story world. Whitehall and how MI6 is run and led will once again be a thread, but in ways no-one possibly fathomed. Personally I would like to see Helen McCrory’s MP Claire Dowar being revealed as a SPECTRE agent all along. And what was in that file Mallory threw at Bond at the end of Skyfall?  One thing it is worth remembering – SPECTRE is not solely Ernst Stavro Blofeld. Nor are villain casting conclusions always right.

One final caveat for now is that “Oberhauser” is of course known to the Fleming / Bond world already. Hannes Oberhauser features in Ian Fleming’s 1966 short story Octopussy & The Living Daylights. In this novella (which inspired the onscreen Dexter-Smythe story strand in 1983’s Octopussy), this Oberhauser is pitched as a father figure to Bond, a ski and mountain instructor who was friends with his parents – the deceased Andrew and Monique Bond (referenced in the final act of 2012’s Skyfall). Bond’s parents also died in a climbing accident, the details of which could well be up for speculative grabs.

“It just happened that Oberhauser was a friend of mine. He taught me to ski before the war, when I was in my teens. He was a wonderful man. He was something of a father figure to me at a time when I happened to need one.”

Octopussy & The Living Daylights, 1966

Might SPECTRE be pitching Bond and Blofeld as former childhood friends?

 

ALBERT R BROCCOLI’s EON PRODUCTIONS LTD.

presents

DANIEL CRAIG

as IAN FLEMING’S

JAMES BOND 007 in

SPECTRE

Starring

CHRISTOPH WALTZ

MONICA BELLUCI

LEA SEYDOUX

RALPH FIENNES

BEN WHISHAW

RORY KINNEAR

DAVE BAUTISTA

STEPHANIE SIGMAN

BRIGITTE MILLAR

PEPPE LANZETTA

and NAOMIE HARRIS as MONEYPENNY

Directed by SAM MENDES

Produced by BARBARA BROCCOLI & MICHAEL G WILSON

Written by JOHN LOGAN and NEIL PURVIS & ROBERT WADE

Co-Producer ANDREW NOAKES

Associate Producer GREGG WILSON

Production Designer DENNIS GASSNER

Director of Photography HOYTE VAN HOYTEMA

Editor LEE SMITH

Main Titles designed by DANIEL KLEINMAN

Original Score by THOMAS NEWMAN

Costume Designer JANY TEMIME

Casting DEBBIE McWILLIAMS

Unit Production Manager CALLUM McDOUGALL

Second Unit Director ALEXANDER WITT

Special Effects & Miniature Effects Supervisor CHRIS CORBOULD

Sound Design PER HALLBERG

Stunt Coordinator GARY POWELL

Visual Effects and Miniature Supervisor STEVE BEGG

Filmed on location at Pinewood Studios and Cinecittà Studios, Rome

and Italy, Austria, Morocco, Mexico, London and the UK.

Spectre_onesheet

Catching SPECTRE – discussing Bond, his new mission, Vodka Martinis and SPECTRE monorails

SPECTRE cast banner 8

SPECTRE is a nod to the Connery cat-stroking years”

Talking Bond, SPECTRE, Vodka Martinis and villain’s monorails on Five News…

“SPECTRE goes right back to the heart of Bond”

And taking things with a twist of lemon and a spin of the SPECTRE dice….

With thanks to the team at Five News.

 

 

 

PROJECT ONE – Anthony Horowitz announced as the new James Bond author

Unofficial artwork

On your marks, get set, Double-O!!!

Ian Fleming Publications have announced that British writer Anthony Horowitz is to pen the next title in their ever-expanding list of James Bond continuation novels, tentatively titled Project One.

Following on from the earlier post Ian Fleming 007 novels from Kingsley Amis (1968’s Colonel Sun), John Gardner (1979 – 1995), Raymond Benson (1996 – 2002), the The Moneypenny Diaries (Samantha Weinberg) and Charlie Higson and now Steve Cole (Young Bond) plus the more recent Devil May Care (Sebastian Faulks, 2008), Carte Blanche (Jeffrey Deaver, 2011) and Solo (William Boyd, 2013) Anthony Horowitz’s Project One is to be published worldwide by Orion Books. Based on original, unused material by Ian Fleming for an initial treatment of an unmade James Bond TV series episode, Project One (which may not hold as the final title, allegedly) takes 007 into the world of motor racing and serves as a launch pad – or starting line – for Horowitz’s new 007 novel, to be published on 8th September 2015. Set at Germany’s Nurburgring, Fleming’s original Murder on Wheels pitched 007 against a Russian plot to cause racing legend Stirling Moss to crash whilst racing. Horowitz has been quick to point out on Twitter how the title will “not” be Murder On Wheels however.

anthony_horowitz_copyright_adam_scourfield_stairs__fullThe prolific author of more than fifty books, Horowitz is of course no stranger to spy writing – having so far penned eleven Alex Rider series of teen agent books, with Stormbreaker being released as a motion picture in 2006 (which he adapted himself for the screen).

“When I was growing up, the James Bond films were a very big part of my life. I loved them passionately. And they had a very big impact on me.”

Anthony Horowitz, SCOPE interview

Horowitz is also well equipped at taking on existing publishing canons and British literary icons – having written 2011’s Sherlock Holmes novel, A House In Silk for the Conan Doyle Estate (published by Orion Books). And his imminent Moriarty novel is published on the 23rd October 2014 by Orion Books. The second Bond continuation author John Gardner curiously did the same, having written three Moriarty novels of his own in the late 1970s and posthumously in 2008.

“I would love to write a proper James Bond novel for adults! I would have quite liked to have written a Hercule Poirot novel in the style of Agatha Christie. But it’s probably time to stick to characters of my own.”

Anthony Horowitz, Guardian interview, June 2014

And of course it is Horowitz who was responsible for long running crime series, Midsomer Murders, wrote for 1980s cult classic Robin of Sherwood, continues to write for ITV1’s Foyle’s War and contributed adaptations to Agatha Christie’s Poirot series. He is also currently attached to Steven Spielberg and Peter Jackson’s Tintin sequel.

“When I was younger I loved the early James Bond films. I thought Sean Connery was great but Roger Moore… well, to me he looked too old to be cool and I thought – what if James Bond was young? Every school I went into I asked children to give me names for the coolest hero and the name that came out top was Alex. Then I thought back to James Bond and wondered … if JB had a son who would be the mother? To my mind, it would have to be Honey Rider, so my hero became Alex Rider! Creating Alex was like meeting my very best friend for the first time and each book I write I have such fun meeting up with him again. I still have lots of ideas and the more I get to know him the more I want to write about him.”

Anthony Horowitz, Scholastic Book Club interview

And for a great background into Horowitz’s Bond fan credentials, this Daily Telegraph article is a must read.
For more on Ian Fleming Publications.

For more on Anthony Horowitz.

Project One will be published on the 8th September 2015 by Orion Books and in the US by Harper Collins.

Catching GOLDENEYE and the London launch of Matthew Parker’s new book

© Mark O'Connell / 2014With Blackwell Rum on standby (a prized brand aptly produced by the owner of the Goldeneye estate, Chris Blackwell), Matthew Parker’s lush tome Goldeneye – Where Bond Was Born : Ian Fleming’s Jamaica has been launched in fine Caribbean style.

Charting the physical, political, literary and personal influences of how Jamaica and the Goldeneye estate helped shape Fleming’s writing – in particular James Bond 007 – Goldeneye – Where Bond Was Born is a rich, nuanced, highly researched and clever work. It is most accessible at the same time as being deeply complex and an intelligent survey of an island, an empire, a man, his loves and a literary and cinematic sensation.

Author Matthew Parker proudly window-shopping. © Mark O’Connell / 2014

Pitched up at London’s Daunt Books – and surrounded by fiction and non-fiction travel writing – this London launch was a fine location to wet the book’s head and for Hutchinson Books and Random House to proudly announce how Goldeneye is now a Sunday Times Bestseller. And very rightly so.

Various connected guests and scholars were in attendance – including biographer and historian Andrew Lycett (author of the 1995 defining work Ian Fleming – The Man Behind James Bond), Chris Salewicz (author of Firefly: Noel Coward in Jamaica) and other representatives from Noel Coward’s life and estate (Coward was famously Fleming’s neighbour, close friend and confidante at Oracabessa, Jamaica), Ian Fleming’s niece Kate Grimond, the James Bond Radio guys Chris Wright and Tom Sears, the Jamaica High Commissioner Her Excellency Mrs. Aloun Ndombet-Assamba and all manner of Jamaican knowledge, artwork and food kindly provided by the team at the Jamaican Tourist Board. Oh, and me.

Personally I was more than glad to be able to have a little, inadvertent chat with Fionn Morgan. Daughter of Ann Charteris, Fionn was sixteen when Ian Fleming married her mother and has a wise stance on her step-father’s life, work, loves and outlooks. She has recently written an interesting piece on Ian and his brother Peter for the The Spectator (Was Fleming as cool as his Brother) and suggested that one of the things Ian is rarely known or recognised for was that he was a great deal more “cosily domestic” than his press and reputation allows. But the night quite rightly belonged to Matthew Parker and that Ian Fleming chap who fifty years since his death can still hold sway at a London drinks party.

My review and thoughts on Goldeneye – Where Bond Was Born : Ian Fleming’s Jamaica.

Goldeneye – Where Bond Was Born : Ian Fleming’s Jamaica is available now from Hutchinson / Random House. It will be published in the US in March 2015.

 

“See reflections on the water…” – Catching Matthew Parker’s GOLDENEYE – WHERE BOND WAS BORN : IAN FLEMING’S JAMAICA

Ian-Fleming

Following BBC America / Sky Atlantic’s four part Fleming drama series and aptly launching on the fiftieth anniversary of Ian Fleming’s premature death, Matthew Parker’s top-notch Goldeneye – Where Bond Was Born : Ian Fleming’s Jamaica is a timely tome exploring just how and why the author fell in love with the island seven years before his typewriter ever did.

Goldeneye – Where Bond Was Born is not solely about the genesis of a literary hero (or even his empire hangover of a creator) but the founding of a project, an ideal, a workplace, a lovers retreat, a home and eventually a state of mind. Though it was an abode that key neighbour Noel Coward forever mocked for resembling a medical clinic and would chip away at friend Ian by referring to it as ‘Goldeneye, Ears & Throat’. Designers and labourers who shaped the hillside haven are discussed and referenced as Parker provides a narrative of the land itself. The flora and fauna, the Shamelady green weeds, the colonial sugarcane heritage and how the site was once part of a larger estate with “over 1,000 slaves” carefully reminds of the natural and less natural shadows and traumas serving as an almost greenhouse to the burgeoning seed that was James Bond 007. Fleming is written here as a man with a conscience about the natural world and the moral laws against harming it – a trait which Matthew Parker believes is evident in Bond himself.

Parker – himself born in Central America with a West Indies childhood to follow – is highly aware of the complicated colonial (and less colonial) ownership of Jamaica and how such proprietorships have their own evolutions, devolutions, fall outs and successes. Likewise, this work is also a vital record of the governors, wives, mistresses, laws (both at home and abroad), newspaper magnates (this book crosses history timelines with my own Catching Bullets more than once), vivacious lady pals, boozing and all manner of fallen aristocrats afforded a societal rise on the island.

No stone is left unturned when it comes to the social and societal demarcations of the island and – more importantly – how they changed, progressed and possibly even regressed in the almost two decades Fleming called ‘Goldeneye’ home. This is a Jamaica that Parker is still fascinated in long after Fleming’s death in 1964. “Jamaica provided a home for British eccentricities” says Parker – with the plantocracies and their players avoiding maybe more than just the British winters and the discussions of them in the members club of London. “For Empire nostalgists”, he continues, “Jamaica seemed a delicious slice of the old imperial uncertainties”. But later on, Ian’s wife Ann (and other peers) help Parker underline how the fading of empire in Jamaica had various last hurrahs. To be fair, a lot of Jamaica’s history has been predicated on someone’s last fling of the dice. Goldeneye – Where Bond Was Born is as much a history of Jamaica and British rule as it is Ian Lancaster Fleming and Commander Bond.

Parker evokes playwright Stephen Poliakoff’s great sense of how personal intervention, passing characters, eccentric pals and less obvious friendships can all shape a narrative – whether it is James Bond’s or Fleming’s himself. That Poliakoff placement of moments and happenstance is one of the pearls of this book. The accounts of Ian and Ann’s sometimes wilfully tempestuous relationship is familiar to Bond scholars. But here Parker ensures a rich historical insight runs alongside an examination of a marriage, a relationship and, initially, an affair fuelled by two fascinating life-forces colliding in ever-fascinating ways.

Later bound quite rightly to the chronology of Fleming’s novels in the second half of Goldeneye, Parker uses that framework to account for the creative and personal ebbs and flows at ‘Goldeneye’ – and of course Jamaica and the West Indies world beyond that. Parker expands upon his thoughts on each book and its story vices and genesis, but is equally quick to FLEMINGexplore and underline the concurrent relationships Ian has with the likes of housekeeper Violet and  gardener Ramsay Dacosta.  The real-life Havelocks, Strangways, Tanners and Posenbys either cameo or star – adding fair linkage to the fictional and real world of both author and subject. Yet, Parker avoids joining dots that are not there. Not everyone who was very real to Fleming needs to be echoed in his work. In a similar vein, Parker fails to fall into that origins genre trap. He navigates with finesse the now familiar punctuation points of the Bond genesis story. How the Birds of The West Indies tome serves as a possible inspiration for the name of James Bond is never eulogised. More pertinently, lesser known island skirmishes, arrests, smuggling rackets, double-crosses, back-hands, brokered deals, local and less local politicians and their favoured drinking holes are what Parker picks up on as he deftly supposes and impresses with the real world correlations between Fleming and his literary world. A later fictional crisis at the hands of SPECTRE in some exotic land is often traced back to the clash of personalities witnessed first or even third hand by Ian in Jamaica, with Britain as empire as a constant brass frame round Fleming’s mirror.

And like his author subject, Parker occasionally yields his own blunt stoicism too. Towards the end of his life Fleming later noted [as he was preparing Ian Fleming Introduces Jamaica with friend Morris Cargill] ‘Jamaica has grown from a child into an adult’. Parker is quick to suggest how Fleming’s own depiction of Jamaicans had however maybe seen less maturation over the years and books.

Less a dry narrative of sandal wearing chaps paying over the odds for their Morland cigarettes than a studious array of thoughts and insight, Goldeneye – Where Bond Was Born is no isolated island of a tale. Britain, its media and political animals, the literary and entertainment circles, trade conditions, a devolving empire and the characters of Hollywood itself are involved from the start. With quite a timeline while to go before Eon Productions, Albert R Broccoli and Harry Saltzman came knocking, this is an Ian Fleming and a Jamaica already in the company of visiting Hollywood dignitaries and key players. Some become trusted and vital friends – Blanche Blackwell, Cecil Beaton, Evelyn Waugh and of course ‘Goldeneye’ neighbour Noel Coward (who soon becomes a great Tanner to Ian’s ‘Commander’). Whilst others maybe sit less comfortable with Fleming – such as Errol Flynn who no doubt posed an instant rival of notoriety, womanising and liver strength. A great moment sees Coward and his Firefly abode demand the poolside rules of “nude only” be obeyed at all times. Cue Fleming wandering in one day to find Laurence Olivier and Vivien Leigh fooling around buck naked with a jazzy, locally sourced ‘cigarette’ on the go.

The Broccoli / Saltzman involvement comes late in the day but that is because – in terms of Fleming and his story with Jamaica – it was the closing chapter, the final act that quickly ran away from him as he returned to Jamaica to write and narratively house his last 007 novel, The Man With The Golden Gun. Parker gleans fresh insight around the Dr. No production and just what Fleming thought about his first screen adaptation. Or to be more specific – what someone said he thought about it. A recurring trait of some of Goldeneye’s contributors creates a real members club gossipy take on Fleming (and joyously so). There is often a real time-capsule sense of being stuck at the quiet table at a function with Parker relaying the better scandal coming from the next table for the reader’s benefit. In discussing the Jamaican production context of the film version of Dr. No, Parker astutely weaves initially random, but ever relevant nods to a visiting Princess Margaret and how the beginning of Bond’s onscreen independence coincided with that of Jamaica’s own burgeoning self-rule (and the British government’s 1962 vetoing of immigrants being able to travel to a Britain that was once known as the ‘mother country’).

It is curious too how the Jamaica, West Indies and Bahamas of Fleming’s real world are discussed by Parker as being on their own final hurrahs. He notes “In the West Indian stories, in the For Your Eyes Only collection, there is also a palpable sense of decline and retreat. In Quantum of Solace, the Bahamas are tired and dull”. Yet one possible oversight of the book is overlooking the explosion of renewed interest in Jamaica, the Caribbean, its depiction and tourism fallout fuelled quite aptly by the Eon movie making take on 007. Though Roger Moore and 1973’s Live and Let Die is aptly discussed. And of course 007 will one day return to Jamaican soil.

Hoping for at least a BOAC airplane holdall of a retro minded story, Goldeneye – Where Bond Was Born is so much more than a Mad Men with Red Stripe and sand sort of a biography. It is a skillful mash-up of both time and history, wisely realising –  just like Ian himself – that the island was never just Ian Fleming’s Jamaica, Parker has crafted a valuable document of a publishing phenomenon and now cinematic mainstay, an overseas Britain, a Cold War as witnessed from the warm climes and colonially sourced comforts of Oracabessa and an acute study of an author, his typewriter and which room gets the best sun in the morning.

Goldeneye – Where Bond Was Born : Ian Fleming’s Jamaica by Matthew Parker is published in the US on March 11th 2015 by Pegasus Books and was released in the UK on August 13th 2014 by Hutchinson / Random House.

 

Catching GOLDFINGER throughout the world on its golden jubilee

Following on from fiftieth anniversary screenings in Nottingham, Adelaide, Calgary, the Florida Film Festival, Edinburgh’s famed Cameo Cinema, at the Egyptian in Hollywood and Norway already in 2014, many other global cinema-spots are getting out the gold paint to mark the golden anniversary of the classic 007 blueprint, Goldfinger with their own special screenings.


PLEASE NOTE THIS EVENT AND SOME OTHERS HAVE NOW PASSED.

Marking the first time a restored vintae Bond film has been screened in this style in Norway, organizers Morten Steingrimsen and Anders Frejdh are pleased to announce that the film’s production designer Ken Adam (countless iconic Bond films as well as Dr Strangelove, The Madness of King George, Barry Lyndon) and his biographer Sir Christopher Frayling (Ken Adam Designs The Movies). This is the first time Adam has come to Oslo in this context and organisers are justly excited. Joining Adam and Frayling will also be Norman Wanstall (Oscar winning sound designer on Goldfinger) and Margaret Nolan (Bond’s first girl, Dink and title sequence star) will also be in attendance. Adam, Wanstall and Nolan will participate in a Q&A following the screening. The British Ambassador in Norway, Ms. Jane Owen, will also be in attendance to open the festivities.

‘Forventer du at jeg skal snakke?’

‘Nei, Mr Bond, jeg forventer at du skal dø!’

The May 22nd screening and Q&A will be a closed and exclusive event for 292 invited guests. The film will be shown with a newly restored version and all manner of 007 accoutrements will fill the evening in apt style.

A public screening will follow on May 23th – with Norman Wanstall and Margaret Nolan also in attendance.

For more information, click here.

Goldfinger

Oslo Kino, Oslo

May 22nd & 23rd August 2014

8.00pm

PLEASE NOTE THIS EVENT HAS PASSED.


Birmingham’s Botanical Gardens in Alabama is launching Flicks Amongst The Flowers with their first film taking viewers back to the decade the Gardens were founded for their screening of Goldfinger.

The free event will take place in the Formal Garden in front of the newly renovated Conservatory.

“Couples are encouraged to enjoy a unique, themed menu created by Kathy G. which includes “Gold Dust” Truffle Popcorn, Homemade Parmesean Potato Chips, the “Operation Grand Slam,” a unique take on the Cuban sandwich and a Smoked Portabella Panini. The evening’s drink menu will include beer, wine, champagne and martinis” (www.bbgardens.org)

Gates open at 6 p.m., and the film begins at 7:30 p.m. Visitors are encouraged to bring a blanket and find a spot on the lawn to enjoy the film.

For more details.

Goldfinger

Botanical Gardens, Birmingham, Alabama.

May 16th 2014

7.30pm / Free

PLEASE NOTE THIS EVENT HAS PASSED.


And the American Film Institute (AFI) is getting itself in on the celebratory action with three nights of screenings also this May at its Silver Theatre in Maryland, US.

For more details.

Goldfinger

American Film Institute @ Silver Theatre, Maryland, US

May 23rd, 26th & 29th 2014

8.30pm / £18 & £30

PLEASE NOTE THIS EVENT HAS PASSED.


London’s Courthouse Hotel is proud to present their Cinema Club’s own summer showing of Goldfinger in their unique venue.

For more details.

Goldfinger

Courthouse Hotel, London

June 7th 2014

Evening / Cinema Club members only

PLEASE NOTE THIS EVENT HAS PASSED.


London’s Grosvenor Square (home of the real US Embassy) is the setting for The Nomad Cinema’s pop-up cinema screening of Goldfinger. Founded to give 100% to charities, The Nomad Cinema is a roaming cinema experience, setting up camp in the strangest of settings to bring cracking cinema to movie fans. Please note – this screening is silent with Wi-Fi headsets.

For more details.

Goldfinger

The Nomad Cinema (Grosvenor Square)

Thursday 10th July 2014

8.00pm / £16.50 (all profits go to the Sustainability

Institute)


Not to be outdone, the savvy and retro minded Cinespia is hosting a downtown Los Angeles open air screening of the film in perhaps one of the most unique locations Goldfinger has ever been shown at. The film is being screened outdoors on Fairbanks Lawn, a field inside the Hollywood Forever Cemetery (and a stone’s – or hat’s throw – from Paramount Studios). Bring blankets, pillows, picnic and drinks. Wine and beer is permitted, but no spirits please. DJs spin the decks as the sun sets and after the film too.

For more details.

Goldfinger

Cinespia @ the Hollywood Forever Cemetery (6000 Santa Monica Blvd)

Saturday 12th July 2014

7.00pm doors / 9.00pm screening / $14


And hot on the golden heels of these Goldfinger events comes news from London that Luna Cinema in association with the Regent’s Park Open Air Theatre is screening the 1964 classic. To mark the 50th anniversary of Goldfinger, arguably the most iconic Bond film of them all, famed outdoors exhibitors Luna Cinema presents a special celebratory screening in the unique tree-lined setting of Regent’s Park Open Air Theatre on Sunday 17th August 2014 at 8.30pm.

For more details.

Goldfinger

Regent’s Open Air Theatre, London

Sunday 17th August 2014

8.30pm / £18 & £30


Illinois’s Classic Cinemas’ Paramount Theatre is holding a Bond weekend. Beginning with a newly restored version of Goldfinger in the evening of September 5th, the weekend is also screening The Man with the Golden Gun and The Spy Who Loved Me (both on Sunday 6th September 2014).

For more details.

Goldfinger

Paramount Theatre, Kankakee, IL

Friday 5th September 2014

7.15pm / $5


Masterminded by the Swiss 007 club, James Bond Club Schweiz, their Goldfinger – Reloaded event forms a full day of all things golden. Beginning with a location bus tour (following the famed mountainous Furka Pass route of the Swiss-bound cars in the film’s first act – including the DB5), the day also involves a meet and greet with Oscar winning sound designer Norman Wanstall and Bond actress Tania Mallet (Goldinger‘s Tilly Masterson), plenty of photo opportunities, a three course dinner and more…

For more details.

Goldfinger Reloaded

6490 Andermatt, Furkapass/Schweiz

Saturday 13th September 2014

12.00pm  / 190 Euros


From the James Bond Club Deutschland, comes a September screening of Goldfinger at the UFA Palast, Stuttgart. With Bond fan Danny Morgenstern, cars and a Vodka Bar on standby, the day’s events start at 3pm.  For more details.

Goldfinger

UFA Palast, Stuttgart

Saturday 27th September 2014

From 15.00pm  / 8 Euros


 

 

Blofeld is on iPlayer Radio! BBC Radio Four airs ON HER MAJESTY’S SECRET SERVICE

BOND“Why not make it for always?” 

On Her Majesty’s Secret Service

by Ian Fleming (1963)

 

 

 

 

 

Following on from the success of the radio adaptations of Dr. No in 2008, Goldfinger in 2010 (with Ian McKellen on duty as the titular villain) and From Russia With Love in 2012 (starring Catching Bullets very own foreword-er Mark Gatiss), husband and wife production company Jarvis & Ayres present their new Ian Fleming adaptation, On Her Majesty’s Secret Service.

Adapted by Archie Scottney and both directed and narrated by Martin Jarvis as the voice of Ian Fleming, On Her Majesty’s Secret Service once again stars ex Bond villain Toby Stephens in the role of James Bond 007. Alfred Molina is on vocal duties as arch nemesis Ernst Stavro Blofeld and actress Joanna Lumley steps into the heavy boots of hench-bitch Irma Bunt. Lumley of course was in the 1969 film version of OHMSS, playing one of Blofeld and Bunt’s Angels of Death, narrated OHMSS for BBC Radio Four in the 1990s and in 2008 presented BBC1’s Ian Fleming – Where Bond Began in October 2008.

James Bond seems more interested in gambling at the Casino Royale than tracking down elusive SPECTRE chief Blofeld. Then he meets Tracy, emotionally disturbed daughter of mafia boss Draco. Now he has a double motive: seek and destroy Blofeld, and prevent Tracy killing herself.

(BBC press release)

 

On Her Majesty’s Secret Service was broadcast on BBC Radio Four on Saturday 3rd May 2014. It is available to hear for a small amount of days via here.

Those Magnificent 007 Men in Their Flying, Driving & Diving Machines – CATCHING ‘BOND IN MOTION’

BOND IN MOTION montage 1 d

BOND-IN-MOTION-32

“I’ve had some optional extras installed”

Aston Martin V8, The Living Daylights (1987)

From the opening shot of the opening Bond movie Dr. No (1962) where three “blind” assassins trundle on a mission of murder across traffic before cowering in a private members club car park, James Bond’s onscreen romance with automobiles was a given. Instantly part of the machismo, panache and kinetic pace of 007, these various fold-up planes, model trains and high-end automobiles are now Bond’s necessary co-stars, sidekicks and maybe even love interest. In 2012’s Skyfall, the fiery death of the Aston Martin DB5 was lent nearly as much impact as the onscreen death of Bond’s wife Tracy forty or so years before. It was certainly as shocking. Maybe. And an earlier reveal in a London lock-up got the biggest cheer in many a screening of Skyfall, including a right royal applause on premiere night.

“I hope my back end will stand up to this!”

Mercury Cougar XR7, On Her Majesty’s Secret Service (1969)

Mercury Cougar XR7, ON HER MAJESTY'S SECRET SERVICE (Photos © Mark O'Connell / 2014)

Mercury Cougar XR7, ON HER MAJESTY’S SECRET SERVICE (Photos © Mark O’Connell / 2014)

So it now makes perfect sense for 007 creative house Eon Productions to celebrate Bond’s various vehicular speeding bullets with the London Film Museum’s newly launched exhibition, Bond In Motion. A collaboration between both parties (following a highly successful and extended run at the National Motor Museum in Beaulieu through 2012 and 2013), Bond In Motion is the largest official collection of original 007 vehicles and a rich pageant to some of cinema’s most iconic cars. And planes. And motorbikes. And jet packs. And speedboats. And underwater tow-sleds. And that crocodile submersible thing.

“No, some men just don’t like to be taken for a ride”

Thunderball  (1965)

Overseen by Raoul Silva, GOLDENEYE’s Aston Martin DB5 and the scale model of the same car as used in SKYFALL (Photo © Mark O’Connell / 2014)

Kindly invited by Eon Productions and the London Film Museum to a recent preview of Bond In Motion, the day quickly grew faster than an Aston Martin’s self-inflating tyre with surprise reunions, typical Bond glamour, some welcome bubbly and a possible nugget or two of news about October 2015’s Bond 24. Granted a quieter session of grace to fully take in the whole exhibition before the world’s press descended like Japanese ninjas, it was a welcome opportunity to chat to the gathering Bond alumni, particularly top Eon archivist and the ‘M’ of the various Bond exhibitions travelling through the globe, Meg Simmonds. Added to that production designer Peter Lamont, stunt driver and 007 fan Ben Collins (who currently doubles for Daniel Craig and took part in the frenetic Italian road chase in Quantum of Solace), Casino Royale‘s Caterina Murino (who does not have a fear of hammocks as I first queried but does admit they are awful for reading in), current Moneypenny and all-round car wrecker herself Naomie Harris, husband and wife stunt legends Vic Armstrong and Wendy Leech, 007 producer Gregg Wilson, special effects head Chris Corbould (who was able to answer another pressing query of mine – namely, ‘did we do our Christmas shopping last year at the same place?’ … we did), actress Maryam D’Abo (Kara, The Living Daylights), writers Robert Wade and Neil Purvis (Skyfall, The World Is Not Enough) and soon to be three-time production designer Dennis Gassner (following on from Quantum Of Solace and Skyfall).

© Mark O'Connell 2014

“Boy with toys” – Various souped up examples of Bond machinery from THE WORLD IS NOT ENOUGH, THE SPY WHO LOVED ME and SKYFALL.
(Photos © Mark O’Connell / 2014)

Amidst all the fantasy apparatus and Q-Branch hardware, this Bond author chose instead to not chat to Peter Lamont about his favourite Bond car or maybe even the prop that caused him the most design grief. No, this Bond film author chose instead to take the opportunity to chat about the Octopussy bed (all spray-painted polystyrene and destroyed not long after filming… criminal, I know). Cutting a far too youthful gait for someone in his eighty-fifth year, the now retired Lamont (Titanic, Aliens) was glad to have gone out on 2006’s Casino Royale, which he suggests is one of his best Bonds. That film’s presence is certainly marked in Bond In Motion by one of the Aston Martin DBS’s used for that film’s record-smashing multiple roll, and the curious magic-shattering add-ons necessary to make it happen.

The different phases of Bond production design – all perfectly underlined by Bond In Motion – have always held a fascination. Not just for me, but cinema audiences, design students, new directors and cineastes the world over. Ken Adam’s influence on design (and not just cinema) is immense. Globally renowned architects often cite him as an influence, his bombastic war rooms and HQs are no longer a retro fantasy (The Avengers Assemble and Inception certainly owes him a debt – or an apology), Apple’s flagship stores ape his style, and material contradictions and angular excesses are all over the likes of London’s Canary Wharf tube station.

Ken Adam’s iconic designs @ The Storyboard Gallery, BOND IN MOTION (Photos © Mark O’Connell / 2014)

To witness Mr Adam arrive – and equally cutting a far too youthful gait for his ninety-three years – to a warm welcome from Peter Lamont and current 007 designer Dennis Gassner was a moment to treasure. Clearly, Bond producers Barbara Broccoli and Michael G Wilson couldn’t have been happier to mark such an exhibition with three generations of 007 designers in attendance and some of the most famous examples of all their work flanking proceedings.

(L) Artists Royale : a rare and special moment for BOND IN MOTION. 007’s top production designers (Dennis Gassner, Ken Adam & Peter Lamont) unite with Barbara Broccoli and Michael G Wilson to prove the charcoal sketch pen is always mightier than the sword.
(R) “So how many Oscars have you got?” – Dennis Gassner, Ken Adam & Peter Lamont catching up in the BOND IN MOTION café.
(Photos © Mark O’Connell / 2014)

And of course Bond producers Barbara Broccoli and Michael G Wilson were on hand to proudly talk up Bond In Motion for the press, the legacy of all these cars, their own favourites and what the likes of CUB 1 means to the Broccoli family and the history of Bond film production. Naturally the question of 007’s immediate future came up and the astute pair were traditionally coy. However, Wilson confirmed that Bond 24 – Daniel Craig’s fourth spin of the wheel – will feature a brand new Aston Martin. Writer John Logan is indeed hard at work on the script with Daniel Craig crucially inputting as before, the process of casting a villain will begin in earnest in the next few months, the production is based at Pinewood Studios and the film is based on an “original story”. Broccoli declared how this is “the fun bit” – where casting, story arcs, choosing the various creatives and heads of department, planning the stunts and feel of the film is debated and planned to get into enough shape for the commencement of principle photography in the Autumn.

Flanked by the family wheels (CUB 1 - as seen in A VIEW TO A KILL, THUNDERBALL and CATCHING BULLETS), 007 producers Barbara Broccoli and Michael G Wilson chat to the press about all things BOND IN MOTION ( / Photo © Mark O'Connell / 2014)

Flanked by the family wheels (CUB 1 – as seen in A VIEW TO A KILL, THUNDERBALL and CATCHING BULLETS), 007 producers Barbara Broccoli and Michael G Wilson chat to the press about all things BOND IN MOTION
(Photos © Mark O’Connell / 2014)

Unfortunately, the gathered Eon ensemble will not be on hand when the doors properly open for the public. But rest assured, there are enough vehicular stars, shiny beauties and colourful flying co-stars on display to keep every Bond fan boy and girl, man and women completely happy. Oh, and the gift shop – don’t let me forget the gift shop! And the ‘get your own gunbarrel pose’ photo room (complete with tuxedos, oh yes).

One [not] careful owner : an Aston Martin DBS, a SPECTRE Bath-O-Sub & a Ford Mustang, BOND IN MOTION (Photos © Mark O'Connell / 2014)

One [not] careful owner : an Aston Martin DBS, a SPECTRE Bath-O-Sub & a Ford Mustang, BOND IN MOTION (Photos © Mark O’Connell / 2014)

Astutely situated in London’s Covent Garden (and a gearstick’s length from Bond director Sam Mendes’ current West End hit, Charlie and The Chocolate Factory), from the moment one steps off the street into the immersive and white gallery space of 45 Wellington Street, it is instantly apparent just how much thought and design care has gone into Bond In Motion. Multiple screens herald and celebrate 007’s car moments, Bond anthems are all around you and a 1/3 scale (but still sizeable) model of Skyfall’s Augusta Westland helicopter hangs very carefully on an equally sizeable hoist. Incidentally it was the same hoist that lowered each and every car into the exhibition space in what Bond In Motion’s very own Q – the London Film Museum’s Jonathan Sands – admits was a sweaty process as each car had its own weights, structural concerns and no doubt insurance premiums. And it is the very idea of logistics and planning that sees an upstairs gallery space dedicated to numerous storyboards and design thinking from Bond’s transport options over the last six decades. Including sketches and vehicle concepts by Bond production designers Ken Adam, Peter Lamont, Peter Murton and Syd Cain, the collection contains some top notch examples of 007 artistry from the Eon Archive – some of which has never been seen publically before, such as all that now remains of Thunderball’s SPECTRE yacht, the Disco Volante.

“That look like a boat stuck in the Sheriff’s car there, Eddie?”

Glastron V-162 Futura, Live and Let Die (1973)

Sgt Pepper’s lonely boat club banned….The Glastron GT-150 speedboat from LIVE AND LET DIE
(Photo © Mark O’Connell / 2014)

With an optional tour guide cell-phone ably guiding those that opt for the pre-ordained flow, Bond In Motion takes off proper when one ventures downwards into an underground Aladdin’s cave of 007 delights. Filling a labyrinthine space that once housed a vast flower storage warehouse (serving the Covent Garden’s famed trade) this is now the London Film Museum’s chamber of 007 secrets, an apt underground garage housing the capital’s most expensive run-arounds. Flanked by Auric Goldfinger’s beautiful 1937 Rolls Royce Phantom III (which Bond producer Michael G Wilson drove himself to the Skyfall premiere in October 2012) and the all-important Rolls Royce Silver Cloud II aka “CUB 1” from 1985’s A View To a Kill (which due to a familial link is one of the key players in my own Catching Bullets – Memoirs of a Bond Fan), this exhibition very quickly lays it cars on the table with a luxuriant bombast.

“Little Nellie got a hot reception. Four big shots made improper advances towards her, but she defended her honour with great success”

Wallis WA-116 Agile, You Only Live Twice (1967)

Little Nellie causing a big stir, BOND IN MOTION (Photo © Mark O'Connell / 2014)

Little Nellie causing a big stir, BOND IN MOTION (Photo © Mark O’Connell / 2014)

Of course the original factory-floor artistry of these Aston Martins, Lotus Esprits, BMWs, Cougars, Mustangs, Jaguars and Roll Royces speak for themselves. Most of the gathered vehicles here deserve their own pedestal whether they shared screen time with Sean, Roger and Daniel or not. Albert R Broccoli’s very own CUB 1 is a beautiful example of early 1960s car-tistry, regardless of her two Bond film appearances – a lush metallic zeppelin of curves, passenger head room and corners. Likewise, the various incarnations of Aston Martin’s famed relationship with Bond never ceases to amaze even the least car savvy of punters for their sleek aesthetic and low-lying finesse. Rest assured, Bond In Motion is not solely for Bond or film fans. This writer is no petrol head, but the way this exhibition presents itself, the way it allows itself and its visitors room to breathe and let these cars tell their own derring do tales is a key lure for the slightest of Bond geeks. Because this is Eon’s Bond and because their own filmmaking ethos dictates the real thing being real at all times where feasible, this collection is also a high-end reminder of the opulence and quality invested in each new film. There are no Smart cars or family friendly Skodas here. This is an A-grade ensemble of vehicles. The investment Eon pumps into its various filmic projects is no more apparent than in this exhibition.

“Ejector seat? You’re joking!”

Aston Martin DB5, Goldfinger (1964)

Of course a great many of these vehicles come with – as 1987’s Bond Timothy Dalton remarks – “a few optional extras“. An added joy is seeing just how the various special effects gurus and design heads over the decades have souped up cars that are so damn cool they didn’t need accessorising. Yet this is the world of James Bond and witnessing the fantasy of that up close is a major plus point of Bond In Motion. So of course the various added missile launchers, studded tyres, ski supports and revolving number plates mark these already special cars as being just that bit more special. Take your time to study the exhibits and props. The amount of detail put into a GoldenEye train, model helicopter or a nearly throwaway Brosnan surfboard is as important to this exhibition and understanding the effort spent on Bond as the smooth fender of an Aston Martin DBS or a Mustang’s red paint job.

One of these looks stunning emerging from the surf. The other is a Lotus Esprit from THE SPY WHO LOVED ME (Photo © Mark O’Connell / 2014)

“Ever heard of Evel Knievel?”

AMC Hornet, The Man With The Golden Gun (1974)

(Photo © Mark O’Connell / 2014)

All delicately lit with aptly positioned montage screens and film friezes adding individual Bond film context, each car is often showcased with visitor access as key. Whilst petting the exhibits will no doubt be frowned upon, this is not an exercise in keeping the public at bay. With a loose theme for the various zones – water, the DB5s (there is more than one), bikes, ski-doos and Skyfall Honda bikes, the destroyed DBSs (the Daniel Craig Astons are invariably Royale-y trashed) and all punctuated with props, miniatures, random helmets, jetpacks and cool piton guns – this exhibition has its own natural flow with a breathing space between these four and two wheeled beauties and plenty of photo opportunities for everyone’s 007 fantasies. Museum head Jonathan Sands has a self-declared fondness for the Roger Moore era (good man) and there is a fun array of 1970s Roger-mobiles. Likewise, there is a lot of Connery kit, particularly showcasing the design alchemy genius of one Ken Adam. Like the quirky cousin that must be in every family photo, You Only Live Twice’s famed gyrocopter Little Nellie is of course in there too – taking pride of place in a spacious wing with various two-wheeled motorbikes, Octopussy‘s tuk-tuk, For Your Eyes Only’s canary yellow Citreon 2CV and The World Is Not Enough’s Parahawks.

Lean over!”

Ford Mustang Mach 1, Diamonds Are Forever (1971)

Yes, maybe the Lotus Esprit could have been more showcased (or showboated) in the layout scheme of things, but actually its not-obvious placement creates a great “oh my – is that the Lotus?” realisations for any kid of any age to suddenly make an eager beeline for. One of the feng-shui successes of Bond In Motion is how sizing up one car offers a nearby peek of another classic from yesteryear. It’s like being at a school reunion where every conversation is interrupted by someone better to veer towards. More than one sweep through and starting at the end and working backwards is much recommended. And yes – check out the gift shop, nicely sited in one of the underground flower storage catacombs of the museum and inadvertently echoing the “new digs” MI6 end up in 2012’s Skyfall. The ladies can traipse around town with their buff boy Hollister bags, but the Bond fan boys are going to be fighting for a Bond In Motion boutique bag stocked full of mugs, DVDs, prints, clothing and pencils (who isn’t a sucker for a museum pencil?). It also houses a neat case of vintage Bond car memorabilia. And just like how the rather snazzy and kid friendly Scalectrix set available in a canteen room for all to play demonstrates, Bond In Motion straddles a careful line of history, geekery and contemporary.

BOND IN MOTION - 18-03-14 - Jaguar XKR (DIE ANOTHER DAY) © Mark O'Connell 2014 (7)

BOND IN MOTION (Photo © Mark O’Connell / 2014)

And my favourite exhibit? Yes, the Astons are beyond lush and the mecha-flippered Lotus Esprit is always going to be the biggest Bond car toy made real. Diamonds Are Forever’s Mustang is – like Las Vegas itself – a bit weather-worn but still holding its sparkle and Blofeld’s Bath-O-Tub from the same film is possibly the campest exhibit in a subterranean world of machismo. But the one that kept catching this bullet catcher’s eye…? Diana Rigg’s Mercury Cougar XR7 from 1969’s On Her Majesty’s Secret Service. Complete with a vintage rack of White Wing skis, this car is simple in its own intent and that of the film it features. No bells. No whistles. Just Steve McQueen cool.

Like a 1970s double-taking Frenchman clasping a near-empty bottle of plonk as a Lotus Espirit motors from the surf, these cars make you pause. Strikingly laid out and physically choreographed by Jonathan Sands, Eon and their respective teams, the exhibition echoes Eon Production’s sister exhibition – Designing Bond – for its insistence on leaving space to let these metallic exhibits breathe. However, it might well overtake Designing Bond on a hairpin bend for the best current exhibition celebrating cinema’s favourite son and spy. Amidst the hardware, ammo and machismo of these cars and vehicles there is an unexpected grace to this collection. But as you shift down a gear for your final lap of the exhibits, there is a private and selfish joy in standing back and surveying the biggest Bond car toy box ever opened in one place. A highly roadworthy experience from lots of careful and not-so-careful owners, Bond In Motion passes its 007 fan MOT with flying (and driving and diving) colours.

“I love a drive in the country, don’t you?”

Citreon 2Cv, For Your Eyes Only (1981)

Bond In Motion opens on March 21st 2014.

www.londonfilmmuseum.com

BOND IN MOTION 2Tickets are £14.50 for adults, £9.50 for children and a family ticket is £38. The Museum is currently recommending booking ahead (especially in these early weeks) but also states how people are equally welcome just to turn up and try their chances.

With thanks to Jonathan Sands, Meg Simmonds, Barbara Broccoli & Eon Productions, Sam Fane & Sal Porter at Freuds and the team at London Film Museum. And to Remmert Van Braam, Ben Williams, Adam Bollard & Morten Steingrimsen.

For a whole car boot full of more photos of the exhibition and launch – check out Catching Bullets Facebook page.

BOND IN MOTION is back!

BOND IN MOTION 3
BOND IN MOTION is back!!
Having spent an extended and highly popular run at Beaulieu’s Motor Museum until Christmas 2013, Eon Productions & the London Film Museum have announced that BOND IN MOTION is to take on the capital and open in London in March 2014.
BOND IN MOTION 2
Based at the London Film Museum, the newly revised exhibition will offer folk the opportunity to rub bumpers with a stellar cast of around fifty of 007’s wheeled co-stars – from the Connery days, the 1970s, possibly half a Parisian Renault, an Octopussy tuk-tuk, Skyfall‘s vehicular support acts (including the 1/3 scale Merlin helicopter models), You Only Live Twice‘s Little Nelly, Goldfinger‘s Rolls Royce Phantom III, The Spy Who Loved Me’s Lotus Esprit S1 and a certain Aston Martin DB5.
BOND IN MOTION 4
In the heart of London’s Covent Garden and marking the first time such a collection has been on display in the capital, this one is not to be missed… BOND IN MOTION.
For more details and tickets go to London Film Museum’s site.

Catching FLEMING – Sky Atlantic & BBC America’s new Bond genesis drama reviewed

Everything I write has a precedent in truth” – Ian Fleming

FLEMING 14

 

More men have played Ian Fleming on-screen than have portrayed his key creation James Bond 007. At least nine in total. Charles Dance (Goldeneye, 1989), Leo Fenn and Jason Connery (Spymaker, 1990), Ben Daniels (Bondmaker, 2005), Skip Goeree (Bernhard – Scoundrel of Orange, 2010), Tobias Menzies (Any Human Heart, 2010), James D’Arcy (Age Of Heroes, 2011),  Jeremy Crutchley (A Caribbean Mystery, 2013) and now Dominic Cooper in Ecosse Films’ new four-part Sky Atlantic / BBC America series Fleming. And that is not including any docu-drama Flemings (Jonathan Pryce voiced him in 2008’s Ian Fleming – Where Bond Began) and the long-mooted Fleming biopic based on Andrew Lycett’s key tome, Ian Fleming – The Man Behind James Bond (1995) which Moon director Duncan Jones was formerly attached to helm.

FLEMING 1Obviously bankrolled by the unabatting global interest in James Bond and itself dramatically launched by an initial question as to “who?” is this 007 character, British director Mat Whitecross (Ashes, Sex & Drugs & Rock & Roll) and writers John Brownlow and Don McPherson (with noted Fleming biographer John Pearson on consultant duties) circle a World War Two context to try and explore the world and motivations of one Ian Lancaster Fleming. It has long been acknowledged that Fleming’s own wartime experiences shaped the outlook and experiences he in turn fed into Bond. His various episodes and Intelligence hijinks were rife for any writer to get their story claws into. But just as Fleming has the obvious audience-savvy agenda of detailing how the Second World War shaped one of the 20th Century’s most iconic characters, this drama also tackles what created Ian Fleming, the writer. Added to that, in Whitecross’s version of events the First World War also has its echoes – and not just with Fleming himself (his father Valentine died in 1917 and received an obituary penned by his friend Winston Churchill) but his family, Britain and the world.

FLEMING 6An initially too contemporary choice to play the very 1930s Ian Fleming, Dominic Cooper is at first too slight, too young, too smooth-chested and just too damn beautiful for Ian Fleming. But very soon under Cooper’s performance this Ian Fleming and, by default, 007 himself emerge as an identifiable figure rather than a Etonian clone, and one carefully shaped by the wars abroad and at home, exhibiting a cruel duplicity in the fields, corridors and silk sheets of battle. It is important to remember too that Ian Fleming was quite a ladies man in his day. It has to make sense he is a modern-day catch like Cooper.

The character of James Bond was always a touch different to James Bond as filmed. Less handsome, less cool, less Scottish. But like Agatha Christie, Sir Arthur Conan Doyle and JM Barrie, it is a narrative challenge to separate the author’s world from that of their characters when the temptation is to forever assume and join the life dots. It is made doubly difficult with a man whose public persona only really started in his final decade or so. FLEMING 9A product of the dying embers of empire, Fleming’s own carriage and poise is from a different era of Britain, a different era of masculinity and a different era of global oneupmanship. This was a time when thirty year olds looked forty-nine. Cooper is actually older than Ian was at the time. Fleming himself looked far older than his 56 years when – in 1964 – heart disease, life stresses and his vices sadly proved you only live once. Portraying an actual person so often naively boils down to “does he look like him?”. Of course it helps and is a concern. But so too is attracting an audience to a project and a decent actor to a role. It’s about essence not essentials. For that reason, Cooper is very quickly an apt and canny choice – an agile and natty ladies’ man who, no doubt like the real Fleming in his day, is fetching in and out of that naval uniform. The real Ian is often presented in those familiar black and white, smoke-blowing publicity shots – all taken in response to the books and then early films success. But Fleming, Cooper and director Whitecross’s own Eyes Only mission is to remind he had a whole life and a world where his proclivities and roving eye were not enough and one which was possibly hemmed in by becoming a fully fledged writer and author. Cooper lends his Ian FLEMING 11an authority-clashing intuition throughout, partly borne out of a frustration his mistress is someone else’s and that nagging concern about what will any of that generation do after the war has ended? Cooper nails the script’s suggested loneliness with a sense of personal purpose that is very much adrift in the face of a domineering mother and life-thriving older brother (“he’s married to a film star – I’m not”). “Having something to offer” is quickly a key motif. And it is that – rather than the pinch-of-salt homages to gambling, cars, arm-stretched gun poses and monotone European bad eggs – where Fleming more astutely suggests the personal refuge of writing and imagining stories led to 1953’s Casino Royale. Here the creation of that pivotal debut novel is simply presented as being a gesture for eventual wife Ann (Lara Pulver) – even if Cooper’s typewriter-bound Ian dismisses it during an opening coda with “it’s not bloody literature, it’s a pot boiler” which somewhat contradicts his later wish for it to be “the spy story to end all spy stories”. FLEMING 15The historians and archivists all have their insights and theories, but maybe Fleming wrote because sometimes that is all that writers can do. It is not perhaps intentional, but one of the successes of Fleming is its suggestion James Bond 007 was a literary hero for those that experienced and survived the war – for those that knew its duplicities, never-again opportunities, sexual emancipations and regrets.

Playing opposite Cooper is Lara Pulver (Sherlock) as Ann O’Neill, married to a war-absent husband and betrothed as a mistress to Lord Rothermere (Pip Torrens). It is a deliberately confused set-up – for Fleming and the society circles witnessing it. This is an Ann whose cut-glass skills in the function room match her appetites in the bedroom – a sort of Princess Margaret meets Wallis Simpson. Though a near-rape scene as Fleming is mourning the death of a loved one sits goes from harsh to ridiculous and back again as the ‘romance’ crackles away over four episodes. The series narrative core, Ian and Ann’s love maze is a welcome flipside to the spying hijinks as the sadomasochistic leanings of their union become a very adult counterpart to Cooper’s fun Boys Own antics playing spies in Europe.

Some characters do vanish too fleetingly. Harry Treadaway (Penny Dreadful) pops up as a brief and nervous navy junior, Dean Lennox Kelly (Shameless) is a refreshing working class Scot in a sea of stiff upper chaps and German actor Wolf Kahler (familiar to anyone who has seen Raiders of the Lost Ark) plays a crucial conscience-altering Nazi commandant. FLEMING 13Likewise Camilla Rutherford (The Fifth Estate) is cruelly resigned to a couple of scenes (though one of them certainly has impact) as Loelia Ponsonby – Fleming’s more-than-feasible inspiration for Bond’s secretary of the same name. Samuel West as Fleming boss and eventual friend Admiral Godfrey is obviously channelling Judi Dench and Bernard Lee, but the easy nods to ‘M’ make way for a warm, principled series regular. Similarly Anna Chancellor’s marvellous and loyal Lieutenant Monday (the series own Miss Moneypenny) is more sister than conquest turning a blind eye and faked signature where necessary. But it is Lesley Manville’s icy turn as Ian’s mother Eve that steals many a scene with a simmering resentment at Ann whilst making an empirical play at hiding her own skeletons.

As a genesis project (not that Genesis Project – though there is a curious take on The Wrath of Khan’s Kobayashi Maru in the form of ‘The K Protocol’ which Fleming gets involved with) the screenplay lacks the grace and finesse of Mark Gatiss’s sublime An Adventure In Space and Time (2013) which so eloquently focused on the origins of the onscreen Bond’s 1960s cult cousin, Doctor Who. However, the breathing space of a four-act structure focusing almost solely on the war years is a welcome one – even if some of the narrative implications of some of the war exploits will set the eyebrows of the Fleming purists to Roger Moore raising heights. Fleming’s involvement in the famed Operation Mincemeat is not ignored, nor is his alleged brainstorming assistance in the early days of the CIA. However, the subsequent Cold War that shaped Fleming and Bond is kept at bay leaving a gap of context that is perhaps equally important to the origins of our man James. Likewise, some further fun and intrigue could have been somehow had with Fleming’s trademark habit for contrary and provocative titles (You Only Live Twice, Octopussy, Dr No, Live and Let Die, Goldfinger) as well as his alliterative character names (Moneypenny, Pussy Galore, Rosa Klebb, Ernst Stavro Blofeld, Scaramanga). FLEMING 10But maybe then the piece becomes a knowing in-joke to itself where Whitecross is damned either way as those life-dots get in the way. Fleming’s intuition for intelligence is a better played out device. It is entwined here with a need and ability to spin a tale, to add a backstory to a war-vital dead corpse, to fake an accent and persona when needs must and to make heart-wrenching false promises for the greater good. All this feels more of a natural parallel to the Bond we all know than fun allusions to golf-ball gadgets and hidden cameras. And like 2012’s Skyfall, this Fleming is also comedically dismissive of the exploding pen culture with a silly scene involving Chancellor’s Lieutenant Monday.

Of course Fleming himself was known to elaborate and embellish (as all good writers should, and certainly those that experience war) so we should forgive the series about him occasionally vaulting over the literary Bond to homage and honour the cinematic Bond. Episode One’s billowing opening titles are a deliberate underwater homage to 1965’s Thunderball and its own overture graphics (which may actually be the last film Ian himself would have wanted referenced as that entry and its now-famous legal shenanigans were hardly welcome). And moments later we have a nicely lensed 007-esque skiing sequence – all shot quite radiantly by Ed Wild with an indie-budget defying bravura seen in each episode. Real-life locations Budapest and London ably double and triple up for Canada, Germany, Austria, Paris and Lisbon and the society bashes, jazz joints and war rooms hold their own under Sophie Becher’s production design. Quite rightly, the whole piece often feels more Bletchley than Broccoli. FLEMING 12The film Bond nods soon make way for the politics at play, with Fleming sickened by witnessing the rising cruelty towards the Jews – a motif repeated later when a braver Ian is able to do something about it. And a cracking sequence sees Fleming and new love Ann flouting the air raid sirens for a first slo-mo clench with glass shattering aplomb. There is a painterly, sleeve-jacket sort of charm to the [computer generated] visual likes of a snowy Nazi mountain retreat no doubt homaging Bond onscreen’s design alchemist Ken Adam, the modernist excess of an archive room’s glass ceiling or a pan-European steam train powering through Austria seen from above. These visual tics dotingly ape that John Buchan cover-art world which writers Brownlow and McPherson suggest inspires the desk-bound Ian. Added to the opulence is Caroline Harris’ sublime costumes – especially the women’s attire which nearly out-Downton’s Downton as various levels of high-end couture swan in and out of many a Mayfair bash with Lara Pulver’s Ann O’Neil particularly turning more than Fleming’s head.

World War Two was a launching pad for Ian Fleming’s discovery of Bond. Whilst Fleming lacks the Jamaican world that furnished Fleming’s writing, any initial encounters with Broccoli and Saltzman and the Cold War time-frame which one could argue finally enabled the writer and his mind a valuable context and distance to twist and fly with the Blofelds, SPECTREs and Tiger Tanakas of his arched, baroque world, it is nevertheless a fun, often lavish and well played ‘imagining’ of the all-important starting pistol. Now where are my Morlands…?

 

Fleming begins on Sky Atlantic in the UK from February 2014 and on BBC AMERICA from January 29th 2014.

 

Mark O’Connell is on Twitter and the Catching Bullets – Memoirs of a Bond Fan Facebook Page.

 

tumblr_mu3bbq4C1c1sh00v0o1_1280With thanks to Sky Atlantic.

 

 

Older posts Newer posts

© 2017 MARK O'CONNELL

Theme by Anders NorenUp ↑