MARK O'CONNELL

Writer, Author, Bond Fan

Page 29 of 34

SOME KIND OF HERO – New Bond book tells the epic story of ‘The Remarkable Story of the James Bond Films’

some kind of heroTwo good fellow bullet catchers are to bring out a great new 007 tome in December 2015.

Some Kind Of Hero – The Remarkable Story of the James Bond Films is a new, exhaustive account of the production of the 007 movies and is written by Ajay Chowdhury and Matthew Field.

“We have gained a new appreciation of not only how the series was started but how that Rolls-Royce standard has been maintained” – Field & Chowdhury

“For over 50 years, Albert R. Broccoli’s Eon Productions has navigated the ups and downs of the volatile British film industry, enduring both critical wrath and acclaim in equal measure for its now legendary James Bond series. Latterly, this family-run business has been crowned with box office gold and recognized by motion picture academies around the world. However, it has not always been smooth sailing. Changing tax regimes forced 007 to relocate to France and Mexico; changing fashions and politics led to box office disappointments; and changing studio regimes and business disputes all but killed the franchise while the rise of competing action heroes displaced Bond’s place in popular culture. But against all odds the filmmakers continue to wring new life from the series, and 2012’s Skyfall saw both huge critical and commercial success, crowning 007 as the undisputed king of the action genre.”

Some Kind of Hero recounts this remarkable story, from its origins in the early 1960s right through to the present day, and draws on hundreds of unpublished interviews with the cast and crew of this iconic series.

Authors Field and Chowdhury commented: ‘As we delved deeper into the Bond mythos, we realised there were many untold tales from many unsung heroes who played key creative roles in the series. We hope that even the most devoted Bond fans will find fascinating facets to the franchise in these pages. We have gained a new appreciation of not only how the series was started but how that Rolls-Royce standard has been maintained. When SPECTRE is released later this year, we hope readers will gain some insight in yet another chapter in the remarkable story of the James Bond films.’

About the authors :
Matthew Field is a film journalist with CINEMA RETRO magazine and an author, whose books include THE MAKING OF THE ITALIAN JOB and MICHAEL CAINE – YOU’RE A BIG MAN. He was also a consultant on the acclaimed James Bond documentary EVERYTHING OR NOTHING.

Ajay Chowdhury is an attorney and has given legal consultation on motion picture, music, publishing, television, and theatrical projects. He was the associate producer on two feature films and has contributed to numerous books on James Bond including GOLDENEYE – WHERE BOND WAS BORN : IAN FLEMING’S JAMAICA.

Some Kind Of Hero – The Remarkable Story of the James Bond Films 
by Matthew Field & Ajay Chowdhury
Published by The History Press
December 5th 2015

FOR YOUR EYES WIDE SHUT – SPECTRE and Team Eon win 2015’s teaser war in 97 seconds

 

“And anticipation is a big part of the appeal. To this day, the arrival of the Bond teaser trailer is a red letter day for me”

(Mark Gatiss, Catching Bullets – Memoirs of a Bond Fan)

Going viral round the globe quicker than Moonraker 5 or a Telly Savalas flu jab, the newly premiered trailer for SPECTRE hits the snow/water/gravel running and is surprisingly chaste for what could have played out as Skyfall II – Back To The Chapel.

SPECTRE

Simply pitched and lushly shot by DOP du jour Hoyte van Hoytem, this online teaser pre-title sequence to a further media campaign demonstrates an early sense of cool and story precision as well as a refreshing lack of falling masonry, arched eyebrow raising, car and lady jousting.

A destroyed MI6 building below The Fighting Temeraire’s oily horizon, Naomie Harris’s Moneypenny doing her subtext best with a flight recorder box of Bond’s salvaged memories and holiday selfies (though shouldn’t photos of a young Craig/Bond skiing show a bit more colourful 1980s exchange student ski-wear?), Bond at home and no doubt digging out his 1973 dressing gown (with his Live and Let Die coffee maker in one of those packing boxes), Bond being taken on a Who Do You Think You Are journey (there may be tears to camera before bedtime) and finding Catweazle – sorry, Mr White – hiding in an Austrian lodge not totally dissimilar (and wilfully so) to the interiors of Dennis Gassner’s 2012 Skyfall Lodge.

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Though despite the obvious leanings to Ian Flemings’s Hannes Oberhauser (Octopussy and The Living Daylights, 1966), climbing accidents, parental loss, orders of “Temporary Guardianship” and Monica Bellucci marked out in a sort of Bertolucci-framed grief there is a delicious additional sense of baroque villainy already in place in this newest 007 bullet. No doubt taking the tonal baton started by writer John Logan (who wrote the arched dialogue between Silva and Bond in Skyfall) SPECTRE looks to have an apt and shadowy sort of medieval sense of occasion guided by secretive, enclaved traditions (not totally un-removed from how Bond trailers themselves step out from the online wings). There is also that deliciously arched sense of dialogue and statement, in part from Logan’s pen. Oh, and Judi Dench’s M looks to be all over this film. Just sayin’.

I always knew death would wear a familiar face, but not yours

– Mr White, SPECTRE

No three pronged Walther PPK’s, no Thunderball droids, no CGI Aston Martins cascading through a signature theme. This ain’t The Sith Who Loved Me. This is pared down Bond, the Masters Year of Daniel Craig’s four film tenancy (so far). And is this the fully fledged return of Ernst Stavro Blofeld (after all he’s had 34 years to escape Beckton Gas Works – or the McClory legalities as they are also known) or have Eon Productions, director Sam Mendes and the writers got a few white cats of intrigue up their Mao sleeves (and yes, that is a Mao collar on Christoph Waltz there, no?). Well it better be!

One thing that is less evident as the trailer concludes with Bond stepping into a cultish invite-only Eyes Wide Shut territory is that the seated silhouette of Christoph Waltz about to do The Voice on 007 (“you owned that song, Mister Bond“), is we cannot yet see the rugs of surprise that are about to be pulled from under James Bond 007.

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“Welcome James. It’s been a long time. And finally here we are”

SPECTRE is released in the UK in October and around the world from November.

PLAYING RUSSIAN ROULETTE WITH GREAT IDEAS – producer Michael Deeley in conversation

bladeRobert De Niro clambering silently after deer in a Pittsburgh dawn, Joanna Cassidy cascading recklessly through a neon-soaked 2019 Los Angeles, Donald Sutherland and Julie Christie both clambering and cascading in one of cinema’s greatest sex scenes, a low-shot 1969 Michael Caine in any number of his modish suits and ties, Christopher Lee in folk-drag on a Scottish isle and Ali McGraw’s 1978 fro …. these are all moments of cinema which emerged under the watchful eye of British producer Michael Deeley.

Under the banner of Films Mean Business and their networking initiatives, seminars, screenings and socials Deeley attended a Q&A in London this week. Expertly steered by writer and film PR man Matthew Field (who co-wrote Deeley’s 2009 own book, Blade Runners, Deer Hunters and Blowing the Bloody Doors Off: My Life in Cult Movies) the session quickly becomes a fascinating and honest trawl through one man’s deer hunting, blade running, eleventh hour visitations from Warren Beatty (he wanted the sex scene in Don’t Look Now cut to spare the blushes of his then partner Julie Christie – Deeley rightfully refused, citing that was vital to the narrative), daily creative negotiations with a vice-addled Sam Peckinpah on Convoy (Peckinpah was not best pleased he was directing “a trucker movie”) and taking endless blame for allegedly not championing the first wave release of The Wicker Man (Deeley and Christopher Lee will forever beg to differ on what happened there – but, as the former points out more than once, a producer has to get a movie sold, seen and paid for, which is not always on the radar of actors).

Michael Deeley in conversation with Matthew Field, March 24th 2015 Photo © Mark O’Connell / 2015

Of course Deeley recounts his times producing 1969’s The Italian Job for Paramount Pictures. He recalls an original take on Troy Kennedy Martin’s [then] rather humourless script needing a desperate added layer of caper (a lightness of touch this writer thanked him for as there is nowt wrong with Peter Collinson’s timeless mod-yssey). Deeley was eventually able to cast the deliberately quirky likes of Benny Hill and Noel Coward and the rest is Britpop, Mini Cooper and cinema history. Deeley also rather deliciously teases out exactly what Croker’s cliff-hanger idea* is. And when asked if he made any money from the 2003 The Italian Job remake, Deeley is deliciously quick to fire, “no, and neither did Paramount“.

Photo (c) Mark O'Connell / 2015

Whilst I don’t fully agree with Deeley and his 1978 producer hat that suggests the first 45 minutes of Michael Cimino’s three hour The Deer Hunter (1978) is surplus to requirements because it impinges on the daily tally of screenings and hence profit (I believe that Pittsburgh first act sets up the characters and their American world that few other Vietnam movies took the time and dignity to do), Deeley seems particularly proud of the Oscar winning classic (and the fact John Wayne presented him with Best Picture three weeks before life’s Russian roulette took the cowboy star from this world). I asked Deeley what his proudest scene or shot is, what was the defining moment. He quipped that it is Benny Hill’s penchant for “big” ladies in The Italian Job (“I like ’em big!“) but conceded that it is the Russian Roulette scene in Hunter with its sharp, acute and panicky intensity.

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Photo © Mark O’Connell / 2015

Michael Deeley © Mark O’Connell / 2015

And then so to Blade Runner. Matthew Field was astute to not labour any of the special edition anecdotes we all think we know about the likes of 1982’s sci-fi turning point. It is the film Deeley seems most proud of, despite its “Hollywood star” increasingly miffed he was not getting regular on-set “cuddles” from Ridley Scott and the physical difficulties of shooting at night and in the rain for months on end. Deeley personally believes Scott is “stupid” to embark upon Blade Runner 2 – which French-Canadian director Denis Villeneuve (Prisoners, Enemy) is currently circled to direct. Less the narrow vision of an older producer looking back, this writer believes the calmly savvy and non-cynical Deeley is on to something here. He mentions the models, rostrums and pioneering (hence, unknown) effects processes and experiments of the original Blade Runner with great reverence. I wonder just how that very real, very physical world of 1982’s 2019 would translate to today’s CGI, rendering and virtual sets. Nostalgia for one of the benchmarks of sci-fi cinema is not enough reason to go back.

And it is the myths surrounding how films happen which Deeley is particularly adept at shattering. When asked “what exactly does a producer do?” by an astute questioner in the audience no doubt keen to get the room of fledgling producers and creatives to peer around the rose-tinted prism of cinema’s best and hardest job, Deeley’s simple and telling response was, “he causes the film to happen“.

Michael Deeley is certainly testament to the best causes and effects of cinema.

With thanks to Michael Deeley, Matthew Field and Ajay Chowdhury.

Blade Runners, Deer Hunters & Blowing the Bloody Doors Off: My Life in Cult Movies by Michael Deeley (with Matthew Field) is available now in paperback from Pegasus Books.

Blade Runner – The Final Cut will be released at selected cinema on April 3rd 2015 in association with the BFI.

 

[* As Croker and the boys lie in paused terror the roar of a helicopter is accompanied by the sight of two steel cables descending to hoist the coach back onto the road as the gold plays back into the mafia’s hands and hence The Self Preservation Society (come on, it’s a great title!) has its narrative starter pistol]

 

 

 

EYES WIDE OPEN – Reviewing LOOKING’s second glance

Opening on a quietly hilarious riff on the all-macho city-break that is Deliverance, Season 2 of HBO’s intelligent, honest and razor-witted Looking once again rows gloriously upstream against the tide of gay telly clichés with a tighter confidence one only gets in the sophomore year.

I really think that this weekend should be about the three of us together, not two hundred naked homos crammed in a pool” – Patrick (Jonathan Groff), Episode 1, Season Two

LOOKING 2 1Of course it is not long before Patrick’s sober plans to hug ancient redwood trees and observe rare woodpeckers are swiftly replaced by booze, pills, plentiful peckers of a different kind and doing all sorts of nocturnal things against trees. One party invite from some sandbank-partying homos (“bring the clone and the seal pup!”) and a camp Cockette-ish fawn giving directions in the moonlight and we’re off – lost in music amidst a glorious opener marked by savvy slo-mo, some sharp editing and rich photography, a Sister Sledge classic and some pretty hot censor-baiting loving.

So where are our triumvirate of characters now? Ex-artist and career narcissist Augustin (Frankie J. Álvarez) is still trying to be less Augustin with varying success. Pop-up restaurateur wannabe Dom (Murray Bartlett) is now playing gay rugby and half-dating the “Dame Gladioli of The Castro” and flower shop mogul Lynn (Scott Bakula), but still over-panicking at the hands and minds that want to help him. And unlike the audience, main character Patrick (Jonathan Groff) appears to be over the soulful, barber boy Richie (Raúl Castillo) and the romance which so marked out Looking at the non-cynical tableau of gay American life. Or is he…? Following the end-of-season cliff-hanger (though Looking is not really a cliff-hanger show – it just ends on perfectly random anthems and bittersweet conclusions), the single Patrick is now seeing British software boss Kevin (Russell Tovey) who it seems is far from single. Series Two very quickly (though quietly) does not want us to like this new direction for Patrick.

Afraid to tell close friends Augustin and Dom he has been seeing Kevin all over the workplace, over-sensitive Patrick is however more confident about sex – both doing it and talking about it. The joy of Looking is the raw, fresh and recognisable dialogue. Looking talks like people talk (“straight people never have to think about squirting water up their ass before sex”). It is not about being candid or shocking. It is about being real. Part of the continued authenticity in season two is that – from the outset – these three characters believe they have evolved and learnt their lessons. The show naturally has to update and evolve. But Looking knows life is not like that. There is of course a sense of progression, but possibly marked more by the side characters taking to the story podium too. This is still Patrick, Dom and Augustin’s gig. However, Wave Two of Looking astutely lets some the support figures evolve proceedings too.

LOOKING 2 2We learn more about Tovey’s Kevin and his British childhood in Romford (“is that like Wimbledon?” wonders Patrick). He confesses to adolescent stirrings over breakfast TV to boy-band Take That (and many a Brit guy of a certain age will wholeheartedly attest to taking that as all we could get pre -internet) and the click-rate on one of the band’s earlier twinky videos will rise when folk see Kevin’s rendition of the dance moves in question. He is not painted as such, and it is because he is not the kind Richie (in many ways the most personally sorted and clued up of all the Looking characters), but Kevin increasingly feels like the series villain despite thawing towards Patrick when their sex life finally finds a bed rather than a works store cupboard to continue in.

Of course firecracker fag hag Doris (the brilliant Lauren Weedman) is on early hand to lead the boys astray – “so you guys thought you were going to have your little sausage party without me?!”. But instead of being some comedy appendage, or “catnip for the lesbians” as she describes herself, Doris is soon afforded her own love story as the forty-something party girl meets her own [tangled] love story. Though that is very much after we are told Doris was last seen at the redwood party topless on a jet ski and offering a Navy salute to the lesbians. And there is a new character in the bear-shaped, Trans support worker Eddie (Mean Girls’ Daniel Franzese) – “the hairy assed mother of the Mission”. One moonlit skinny dip later and the kind Eddie is soon embarking upon a steadier, purer friendship with Augustin that the latter might be used to. Added to that, Castillo‘s Richie is accidentally back in the mix (yay!) and Bakula’s Lynn is possibly a gift horse with sharper teeth than Dom imagined.

When it launched in early 2014, everything the detractors threw at Looking was exactly why it worked. As Season Two underlines now even more, it is still not a peaks and troughs screaming cliché of a comedy-drama. If anything – and this is possibly the point – Tovey’s gossip-shy Kevin is the queer cliché, the less content and more troubled victim of the piece. Kevin is soon part of the uncomfortable Richie/Kevin dilemma Patrick is battling with – all of which is heightened with the latter’s scary talk of work-visa expirations and asides about gaining citizenship through marriage. At least Augustin’s problems don’t stem from his homosexuality. Or Dom’s. Or even Patrick’s. They might think they do with a private sense of martyrdom that some gay guys are wont to have, but the skill of Looking is it adeptly pricks all that with narrative ease and a scathing quip – always suggesting the characters fears, inadequacies and paranoia are actually universal to us all.

HIV/AIDS and the [now] higher agenda of the Trans communities situation have a greater presence than Season One. Hypochondriac Patrick gets a whole episode to worry that letting the bed bug bite might be something worse in a town where HIV tests are “given out like coffee stirrers“, and bear Eddie’s “Home In Virginia” status and telling tattoo is introduced with an ease and normalcy San Francisco has of course had to become the master of.

The momentum of the glorious nirvana that is the opening episode is somewhat lost in the couple that follow, but that is no fault. Every triumphant weekend needs a comedown – especially in San Francisco. Still sharply aware of the corridors of social media all our thumbs roam up and down (“You can’t shout at a homeless person…homeless people have Twitter accounts“), show runner Andrew Haigh, creator Michael Lannan and fellow writers are now free of the need to establish these characters and their world. Now is the time to enjoy the series template they have established. San Francisco is still the fairy godmother to the show, but without the gay landmarks turning into postcards of themselves. This is still a very familiar gay-by-the-Bay town. With a clever and often joyous soundtrack (continuing Looking’s musical habit of reminding you loved certain tracks you haven’t heard for years), it is already a TV privilege to be in these character’s company again.

https://www.youtube.com/watch?v=oLTCEMqDR84

 

Season 2 of Looking begins in the US on January 11th 2015 and in the UK on Sky Atlantic at 2255 on 5th February 2015.

Some thoughts on Season One of the show, Through the LOOKING Glass.

With thanks to Sky Atlantic and HBO.

 

SHAKING AND STIRRING – Belvedere Vodka named as 007 and SPECTRE’s new drinking partner

I never have more than one drink before dinner. But I do like that one to be large and very strong and very cold, and very well made. I hate small portions of anything, particularly when they taste bad.”

Casino Royale by Ian Fleming, 1954

Under the apt PR guise “PROJECT TUXEDO”, the world’s luxury vodka brand Belvedere has announced its new global partnership with James Bond 007 and 2015’s SPECTRE.

“We are delighted to announce that when it comes to his martini, Mr Bond Knows The Difference” says Charles Gibb, President of Belvedere Vodka.

First created in 1993 when the taboos and trade boundaries of Cold War Russian vodka were lifting (and 007 was of course about to enter into an officially sanctioned marriage with Smirnoff – his and the Bond image’s on/off vodka of choice since 1962’s Dr. No), Belvedere Vodka has hit the ground running in its two decades tenure. Generating a new standard and thinking around vodka and its side industries and variants, Belvedere has quickly established itself as a bespoke vodka striving for excellence and distinctive character. Made in Poland from Dankowskie Rye and blended with water, Belvedere’s taste profile is a must for premium restaurants, eateries, bars, hotels and clubs. And now Bond fan gatherings, birthday lists and – yes, I asked – bachelor party libations.

In total, James Bond orders 19 vodka martinis and 16 gin martinis in Fleming’s work.

But as much as this is a cracking marketing angle for both Bond and Belvedere, there is more to this new relationship than sheer profile. Belvedere’s chief of mixology Claire Smith is ‘the first lady of vodka’. At a private demonstration of Belvedere and vodka martinis in an equally private Armed Forces private members club in London (and one with its own Ian Fleming links, of course), Smith proves not only her passion for vodka – and of course Belvedere’s new relationship with 007 – but that she wants the revival of the vodka martini to continue. According to Smith there is a momentum of interest in vodka martinis (no doubt revived by 2006’s Casino Royale and its presentation of the Vesper cocktail). People are wanting to know more from their barman, they are wanting to get that martini and their drinks right just for them. Like our evolving food tastes and knowledge, we are all wanting to know what is in our drinks. We are also moving away from that 1970s and 1980s menu of cocktails and spirits (there was no Babycham at the bar of this particular club).

SPECTRE cast banner 8

This new promotional pairing between SPECTRE and Belvedere is also about democratising the vodka martini – forever a perceived requisite of out-of-reach high-end establishments or disappointingly bad office party Bond nights with some bloke in a corner mixing drinks like Tom Cruise in Cocktail . Treated by bar consultancy and drinks wizard Joe Stokoe to three stunningly realised standards – a Dry Martini (stirred, not shaken), a Wet Martini and a Reverse Vesper – I was instantly able to discern the differences created by preparation and experience. My preference would be the Reverse Vesper (1 part Vermouth, 1 part Tanqueray and 3 part Belvedere vodka). A twist on the iconic Vesper (which is not necessarily the onscreen vodka martini Bond has always had), this Belvedere imbued cocktail was a saucy strapless dress of a glass – attention grabbing but refined with a whisper of Lillet and lemon rind.

“One medium dry vodka martini mixed like you said sir, but not stirred”

Dr. No, 1962

Claire Smith’s engaging and easy passion for mixing, presenting and augmenting vodka is all about creating “a dialogue” between the consumer and bartender. Smith spends time opening up the consumer’s confidence. She wants us to build relationships with our barman. How many of us have wanted to be James Bond and take our place at the bar with that just arrived poise only to fall at the first hurdle – confidence. One of the mainstays of Belvedere and tenets of Smith’s approach is to arm the consumer with the realisation that there are no rules. Bond’s own iconic shaken, not stirred vodka martini is itself an alleged faux-pas of ingredient-bashing excess. Some gin and martini scholars would have you believe stirring and not shaking is the end goal – that shaking can excessively aerate the core components. But Smith and Stokoe are quick to encourage “there are no rules”. What is one person’s martini foible at the end of the working day is another’s starting pistol or refreshing interlude before dinner. Know Your Martini is a recent mantra of Belvedere Vodka and one that equally applies to its marriage with Eon Productions and James Bond. The renowned vodka house wants more than just a fiscally beneficial union. “Vodka is so often overlooked as being neutral, anonymous. And vodka is so much more dynamic than that.” notes Smith. “The future of bar-tending lies in trying to find elegance and beauty and simplicity and making that compelling for the consumer to really get involved with. That’s really what I’m interested in.” Belvedere teaming up with Bond is more than commercialism. It makes bespoke, aesthetic sense.

MONTAGE

 

Of course the panic-peddlers and naysayers will all have their headlines primed about 007 selling out and movie producers taking product placement too far. The Heineken usage in 2012’s Skyfall was scorned by easy headline makers, but when a secret agent is in a backpackers beach bar in Turkey I am kind of assuming ordering a “vodka martini, shaken not stirred” is not quite going to cut it as much as a cold beer. It is worth noting too that Ian Fleming himself would drop in names and products – because they were part of his world and hence 007’s, but also because there is an immediacy and westernised reality about labels. Our homes and daily technology are bound by labels and familiar monikers. Why should 007 the character be  exempt from that? And why should 007 the film franchise not seek out and align itself with the finer leanings of a house like Belvedere? Belvedere join a rich array of Bond beverage “co-stars” including Bollinger, Absolut Vodka, Smirnoff, Macallan and Finlandia.

Head of Belvedere Charles Gibb is a quietly proud man right now. “It’s the size and scale of everything that is James Bond” – he notes – “This union is unique because an integral part of our brand and Bond’s character meet in this wonderful intersection called the Martini. The fact that Ian Fleming and Bond are credited with re-energising the building of what is today the modern-day Martini – and the vodka martini – I think that’s a very unique partnership, you don’t often find something with such a unique crossroads.”

And there is no fear of this business fit not finding the same enthusiasm and knowledge within the Bond family camp. “They certainly know their history of vodka“, remarks Gibb. “They certainly know their history of the martini. And they certainly know their way around a vodka bottle”. 

Belvedere Vodka 007 Launch Day 15-12-14 (23) (c) Mark O'Connell 2014 (1)

Gibbs continues – “the thing for me is we’re going to create our own advertising around it. What that looks like, how that looks is at the moment probably subject to another discussion“. Of course Gibbs, EON and Belvedere are being tight-lipped about just how their vodka will be incorporated into SPECTRE and maybe beyond (I tried to ask of the long term relationship, but ex-Army officer Gibbs is not going to spill this particular bottle of insight and, to be fair, 007 and Belvedere are merely at hand-holding first base right now).

BV_007_Silver Saber

Belvedere will produce two custom-made, limited edition bottles to celebrate Bond’s shaken, not stirred vodka martini and this new partnership with SPECTRE. A 007 twist has been added to Belvedere’s quite beautiful Silver Sabre bottles (they have their own light switch and vague hints of snow-globe flakes inside – I know, right!). The famous Belvedere Palace blue bottles and emblem will be replaced by that of MI6’s Vauxhall headquarters and in February 2015 a marketing campaign will launch with a focus on “on-premise establishments and retail stores” across the globe. Dwight Caines, Theatrical Marketing for Sony Pictures says, “James Bond’s cool attitude and stylish sophistication have always gone hand in hand with his choice of vodka martini. Belvedere is a perfect match“.

MONTAGE 2

To officially launch Bond’s new bond with Belvedere, a “smart and chic” party was held at Covent Garden’s Bond In Motion exhibition in December 2014. With Charles Gibbs, the CEO of Moët Hennessy Christophe Navarre in attendance (Belvedere is part of the LVMH group – Louis Vuitton Moët Hennessy), representatives from EON Productions and more in attendance the night was a slick and charming way of toasting 007’s newest marriage to the Polish house of vodka. The music decks were manned by one Tinie Tempah and the likes of Douglas Booth, Pixie Geldof,  Kim Hersov, Lily Cole and this Bond fan lent some star appeal to proceedings (I didn’t lend star appeal at all, despite sporting a suit in DB5 silver).

Tinie Tempah spinning / clicking some tunes (c) Mark O’Connell / 2014

Joe Stokoe was also on hand again to keep an eye on three martini bars spread amidst Bond’s car heritage, and various plinth-proud bottles of Bond vodka stood tall. Each bar had a theme – Wet/Dry, Shaken/Stirred and Reverse Vesper. Glimpsed was a new SPECTRE edition of Belvedere as well as the rarest of the rare – edition number ‘007’ of Belvedere’s Palace bottle. In true Elliot Carver launch style, Gibbs and Christophe Navarre unveiled the bespoke bottle just as Tempah filled the room with Kanye West’s Diamonds Are Forever (Diamonds From Sierra Leone).

Moet Hennessy's CEO Christophe  Navarre & Belvedere's Charles Gibb unveil the new MI6 bottle

Moet Hennessy’s CEO Christophe Navarre and Belvedere’s Charles Gibb unveil the rare ‘007’ edition of the equally limited MI6 bottle. (c) Mark O’Connell / 2014

Though one SPECTRE vehicle was sadly absent from Bond In Motion on the night. Resigned to the cloakroom for probable safety where it was surrounded by coats and satchels, SPECTRE and Blofeld’s Bath-o-Sub from Diamonds Are Forever was kept out of harm’s way and sadly didn’t get to see just how the new SPECTRE agents conduct themselves. Quite right too.

For more photos of the launch night and more go to Catching Bullets on Facebook.

With special thanks to Belvedere Vodka, Charles Gibb, Claire Smith, Remmert Van Braam, Joe Stokoe, EON Productions, Sony Pictures Entertainment and the Mission team.

www.belvederevodka.com

BV-ECMB-300

 

 

THE REWIND BENEATH MY EWINGS – don’t shoot DALLAS just yet

dallas

There’s not, I think, a single episode of Dallas that I didn’t see

Abba, The Day Before You Came, 1982

I’ve met Lucy Ewing. Oh yes. Her alter-ego Charlene Tilton was strutting like a Texan Babs Windsor to a theatre in Guildford that just happened to be where my mum and I would park for our ‘half-term look around the shops’ treat. For this fan of the Texan Greek tragedy that was Dallas seeing Lucy Ewing was the best half-term holiday anecdote I had for quite a while. I was quickly crushed when friends’ non-interest curtailed that encounter from even being an “anecdote” at all. So when I recently read a few years back ago over breakfast that Dallas was coming back (which was apt as show matriarch Miss Ellie was always receiving bad news over breakfast), I was somewhat guarded. The dying embers of the show’s final seasons saw remaining cast members themselves having to direct, write and set the patio wind machine to “full”, subsequent 1990s TV movies had drowned in the Southfork pool and a movie notion of John Travolta as JR and Shirley Maclaine as Miss Ellie and turning the show that was all about hairspray into some Hairspray II mistake was – unlike that petrol tanker that nearly wiped out Pam Ewing – thankfully avoided.

Beginning in 1978, David Jacobs’ landmark soap was the very definition of riding the moment. Denver rival Dynasty had yet to launch and find its camp feet and the 1980s was ideal for Dallas to ride through bareback with its oil, glamour, wealthy perms and pool parties. If Dynasty was the camp sister-in-law, then Dallas was the masculine ranch-hand flanked by a few drag queens passing off as women. In a time before box-sets and spoilers (the episode reels were flown to Heathrow under armed guard when the UK discovered Who Shot JR ages after America did), Dallas was a weekly treat – a romp of a saga whose heroes and villains would pinball their allegiances at the drop of a Stetson as long as everything ended on a freezeframe cliff-hanger at 50 minutes. But would any of this overcast millarkey ever find new favour in a dusty television landscape of Mad Men, over-concepted sci-fi mysteries and Danish detective heroines in misshapen sweaters?

New show-runner Cynthia Cidre certainly knew her oil. And her TV. Wisely pitching the revival as a continuation rather than a dreaded “reboot”, the new Dallas coyly straddled the worlds of oil and – may Jock Ewing not spin in his grave – renewable energies. Oil is not the quite the story allure it used to be. BP and global warming saw to that (though how delicious would it have been for the new show producers to attribute BP’s woes to a bad JR Ewing deal?). But the greatest renewable energy on show here is easily in the programme’s writing. Whereas the original series – like Bobby Ewing’s famous exit and reappearance – became a bad dream that saw the Ewings petering off to Paris, Moscow and chain gang prison sentences, the new show opted for a smaller family tree with Southfork as hub once again. Death and egos have put many of the original cast at bay, but Cidre’s masterstroke was retrieving Patrick Duffy, Linda Gray and Larry Hagman from the Where Are They Now show circuit. Without balancing the show’s dynamic on the nostalgia casting of this trio (though it was always more interesting when they took centre stage), new Dallas realised that the Ewing kids John-Ross and Christopher are where this show has to now work. Just like Bobby and JR back in the day, John-Ross (Josh Henderson) and Christopher (Jesse Metcalfe) are oil and water, but only so long as the plots allow and their pecs allow. And of course they are rather lovely to look at – with Henderson inching ahead on who this writer would like to wake up to discover having an end-of-season cliffhanger shower in my apartment. Yes, the allegiances and back-stabbings pinball around the plots with scant grace. But wasn’t that – like the windy garden parties, signature canary yellow awnings and revelations around the driveway – the original show’s appeal? Isn’t that why it became a global sensation – because first and foremost it was entertaining?

If anything, this new incarnation was better paced and possibly less ridiculous. It is certainly better directed with Patrick Duffy leaving behind that Texan-mulleted heartthrob nonsense to age into a reassuring patriarchal Jock Ewing figure and the show’s conscience. His new wife and First Lady of Southfork Ann Ewing (played by Brenda Strong) was not only channelling the dignity of Barbara Bel Geddes’s Miss Ellie, she was pitched too with grace, sympathy and a fortunate love of horses. Thankfully Ann Ewing remembered the time-honoured Dallas trope of endlessly brushing horses as everyone else tries to save the family firm. And of course there’s Sue-Ellen’s on/off quaffing of the Bourbon (which even in New Dallas made for some glorious hip-flask clutching cliff-hangers).

And of course there is Larry Hagman, the show’s villain and chief protagonist. Hagman was clearly ailing throughout shooting Season One. But never once did the onscreen results lose that spark, that utter conviction in his character and the show. In an age of unending memes and ugly-fonted wisdom, it was refreshing to get back to the show that invented the putdown, with Hagman still afforded a rich oilfield of one-liners – “Like my Daddy always said – where’s there’s a way, there’s a will”, “You’re just like your Daddy – all hat and no cattle”, “Son, never pass up a good chance to shut up” and “Angry Birds? Honey, I don’t need any more angry birds in my life”. And when he passed on, enter Judith Ryland (Judith Light) – the best TV bitch the small screen has seen since, well, Dallas and Dynasty first came to an end.

American culture cannot get its head round the British pantomime. But Dallas is the only pantomime the Americans ever got right, with Bobby as Buttons, a whole carousel of Ugly Sisters and Harris Ryland poised as chief villain. Old characters cameo back and forth to please the purists (go on – give us Katherine Wentworth), but they take no prisoners with backstory. There was scant pandering here to any newcomers in the audience when Ray Ewing (Steve Kanaly), Lucy Ewing (Charlene Tilton), Gary Ewing (Ted Shackleford), Valene Ewing (Joan Van Ark), Cally (Cathy Podewell) and Afton Cooper (Audrey Landers) drop by. You either watched the show before or you didn’t. Yes Cynthia Cidre and her team of writers spray on some brief exposition and allusions to the show’s past – but that is more to reward those that did watch, not those that didn’t.

Whether new Dallas continues is now questionable. Hagman’s passing was not signposted and ratings have lessened. As a television show it survived the loss of JR. That ”riding the moment” luck has maybe not quite happened for the new show. But it doesn’t need it. It pitched itself as a continuation of the show’s original pulse and drives, in which it has wholly succeeded. Just put Lucy Ewing doing that sassy turn to camera back in the opening titles!

BIGGER THAN LIFE – KEN ADAM’S FILM DESIGN exhibition to open in Berlin

Ken-AdamThe art, craftsmanship and genius of production designer Ken Adam cannot be overlooked. Of course his legacy and links with the Bond films goes without question, but so too does the grip and influence he has to this day on film and public architectural design (London’s Canary Wharf is allegedly modelled on the Ken Adam style).

ken adam 2Opening in December and continuing until May 2015, BIGGER THAN LIFE – KEN ADAM’S FILM DESIGN is a new exhibition housed at Berlin’s Deutsche Kinemathek. In 2012 Adam gave his entire artistic output to the Deutsche Kinemathek – including more than 4000 drawings, personal documents, sketches and designs for such titles as GOLDFINGER, THE SPY WHO LOVED ME and MOONRAKER plus his non-Bond work including BARRY LYNDON, THE MADNESS OF KING GEORGE (for which Adam won the Oscar), ADDAMS FAMILY VALUES, DR STRANGELOVE and unused artwork for PLANET OF THE TITANS (which became STAR TREK THE MOTION PICTURE) and more.

“When you do a scribble and everything seems to work … that is the most exciting part“ – Ken Adam

A full catalogue accompanies the exhibition featuring essays by renowned authors on a diverse range of previously unexamined aspects of Adam’s career – such as the artistic roots of his Gesamtkunstwerk and his influence on art, design and architecture. The catalogue will be available to buy.

BIGGER THAN LIFE – KEN ADAM’S FILM DESIGN

Deutsche Kinemathek / Dec 2014 – April 2015

For more on the Deutsche Kinemathek, click here.

Deutsche Kinemathek
Museum für Film und
Fernsehen
Potsdamer Str. 2
10785 Berlin

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