Tag Archives: MGM

BlogalongaBond: On Her Majesty’s Secret Service


“FAR UP! FAR OUT! FAR MORE!” reads the poster. As a youngster I would have scoffed at this. I would act superior to my friends whenever a Bond film happened to be on TV. I would dazzle them with my knowledge of the films. And if I was ever asked what the worst film in the entire series was I would always reply – “On Her Majesty’s Secret Service, obviously”.

Why was this? There was only really one reason; George Lazenby. It was his only Bond film, he did less than everyone else and therefore it was the worst. OHMSS (as I shall refer to it from now on) was an unwelcome aberration before the jolly rebirth provided by Roger Moore. As I grew up I was taught to love and treasure Roger’s cheeky eyebrows. But now, just as You Only Live Twice has slipped since childhood from one of my favourites towards the bottom of the pile, OHMSS is one of the very best in my personal Bond canon.

This is because the dated but charming slogan on the poster was spot on for a change; you really do get far more from OHMSS than any other Bond film. Not in every department of course; the range of locations is European and perhaps ordinary by modern standards, the gadgetry is minimum and the action less frequent than some would like. But for Bond fanatics, particularly those familiar with the Bond of Fleming’s books, this is the most faithful adaptation. A film with a storyline that really lets us get to know a little of the man behind the agent, the icon and the image.

As the excellent review from Kinnemaniac (which says everything I’m going to say more amusingly and precisely) points out, it is perhaps inevitable that diehard fans pounced on the instalment least popular with the general public. OHMSS is rarely picked for Bank Holiday TV schedules like other outings from Connery and Moore. Again as Kinnemaniac points out though, OHMSS attempts a tone not seen in the franchise again until the Dalton films and then properly in Casino Royale with Daniel Craig’s Eva Green love interest. Indeed perhaps Lazenby has Craig to thank for a new generation falling with renewed vigour for his solitary outing as 007.

Producers Cubby Broccoli and Harry Saltzman no doubt fretted over replacing Sean Connery. For cinemagoers of the sixties he was THE embodiment of James Bond. Unlike audiences of today they were unaccustomed to the regular replacement of the actor playing Britain’s top secret agent now and again. The way in which they chose to tackle the casting and the whole creative process of the sixth Bond outing was bold and experimental.

Lazenby was nothing more than an Australian model, director Peter Hunt had been an editor for the early films. Or perhaps OHMSS was a safer bet than it appears. Saltzman and Broccoli might have gone back to the books through caution rather than ambition, and the whole project delayed the business of thinking about Bond’s future properly until Connery could be lured back for Diamonds are Forever. In any case the special features of my Ultimate Edition DVD reveal the bitchy arguments and distrust on set that never looked likely to form harmonious or long lasting foundations, despite frequent praise for Lazenby’s surprising ability.

Lazenby of course unavoidably remains the film’s defining feature. Nowadays I am more than happy to overlook his occasionally dodgy acting. The reason many fans of the books take to him is that he simply looks like James Bond. Rather than acting out aspects of his character, he is simply being Bond and our selective imaginations can iron out the creases in his portrayal. Re-watching OHMSS this time I noticed just how good Lazenby’s acting is on occasion though. He pulls off subtle little looks as well as the more obvious love scenes.

You hope to discover something new each time you watch a film and I found out that I like OHMSS best when Diana Rigg is on screen as Tracy with this viewing. I knew I loved the opening scene with Peter Hunt’s teasing direction of a mysterious driver, John Barry’s sublime soundtrack to the seaside action and Lazenby’s fourth wall breaching line; “this never happened to the other fellow”. And indeed I rank the scenes until Bond heads off to Piz Gloria in the Swiss Alps (surely the only base of villainy to match YOLT’s volcano?) as some of my favourites in the whole franchise. But then things simmer down with Bond undercover as Sir Hilary Bray. There’s occasional hilarity, an interestingly un-mysterious Blofeld and lots of girls, but not that same look at Bond as a man in love. When Rigg turned up again my interest was ignited again and turned up a couple notches.

Lazenby and Rigg’s chemistry is important, indeed vital for Bond’s first true love story, but the main reason I enjoy her presence on screen is because of what it does to the story. And the creative execution of the storytellers must be praised when talking about OHMSS. It’s evident for Bondians familiar with the whole series that the reins are looser here. They are telling a story rather than following a formula.

The two key architects are John Barry and Peter Hunt. I’ve already mentioned my admiration for the scene that introduces us to Tracy and reveals Lazenby as Bond. It just might be my personal favourite out of all the films. But aside from my preferences it’s the perfect illustration of Barry’s musical talent and Hunt’s ahead of his time direction.

The OHMSS soundtrack was one of the first that I bought. Its got a brilliant title theme, along with a gorgeous mix of thrilling synthesised ski chase accompaniments and romantic themes inspired by the sublime We Have All the Time in the World by Louis Armstrong. And then there’s Hunt’s evident ambition as both an editor and director.

Supposedly Lazenby got the role as Bond after he demonstrated his aptitude for fight scenes. The punch ups in OHMSS swing between the comical and the innovatively magnificent. Long before the creators of the Bourne films would claim that Craig’s Bond copies their style, Hunt and Lazenby filmed frantically paced and edited brawls in hotel rooms and the froth and spray of Portuguese waves. There may be the odd inadvertently funny grunt or strange bit of camerawork but Lazenby’s exciting physical Bond foreshadows Craig’s by almost forty years.  If Hunt were working today his action scenes would be hailed as visceral and hard hitting. But back then change wasn’t embraced.

Even this fresh, frenzied approach to fisticuffs came back to underlining OHMSS’s USP; Bond is a man! He may still be a dapper chap with a trio of ladies actually making appointments to pull his trigger but now and then he’ll need to smother a man into submission rather than K.O. him with a single swipe. And his heart is as prone to silly somersaults as the rest of us male apes. Haters of Lazenby’s emotional depths though will not have long to wait for Bond to haul his armour back on. Within two years he’ll be protected by a 70s haircut, pink tie and drawling Scottish accent.

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Paul Merton’s Birth of Hollywood proves that the likes of Transformers: Dark of the Moon won’t save 3D


Last night I watched the last in the series of Paul Merton’s Birth of Hollywood on BBC 2. I actually watched it on TV! You can watch it here on iPlayer:

http://www.bbc.co.uk/iplayer/episode/b011vmsd/Paul_Mertons_Birth_of_Hollywood_Episode_3/

I really enjoyed it and will be trying to see the first two episodes somehow. This episode chronicled the death of silent cinema, which Merton shows to be at the height of its creative powers when the technology for talkies arrived. Silent films starred ingenious performers, and were shot in inventive, imaginative and inspiring ways. They could afford to make classic escapism for the masses as well as experimental pictures, which also more often than not turned into hits by capturing the public’s lust for the cinema in new ways.

Talkies, Merton argues, brought the quality and the standards crashing back to basic levels. Yes audiences could hear the tinny voices of their beloved stars but they lost much of the magic of cinema when it was silent. They lost the live musical performances accompanying the pictures in theatres. They lost the moving camera angles, zooming in and out to visually dazzle and excite. They lost the cults of intoxicating mystery that grew up around actors, as soon as they heard their ordinary or often foreign accented voices. Instead there was wooden dialogue in front of static cameras. Imaginations were stifled and limited.

It’s impossible not to compare the arrival of the talkies with that of 3D films in the 21st century. In my view it’s obvious that the shift is not so dramatic. Sound is a far bigger leap forward than three dimensions. This seems an odd thing to say; when in theory 3D should mean the action literally happening in front of you. But we know the reality of 3D is mostly gimmicky after seeing the offers of studios in cinemas.

This might suggest that greater efforts are needed to improve the technology, so it’s truly as transformative an experience as listening to sound for the first time in a movie theatre. However Merton’s documentary focuses on the ability of good storytellers to adapt. Irving Thalberg, who died in his 30s, was the extraordinary man at the centre of last night’s episode.

A German immigrant, Thalberg grew up in New York, after being born with a weak heart. He spent long periods of his childhood mollycoddled and stuck in bed through illness. During this time he read classic literature, plays and autobiographies. And followed the fortunes of the film business.

Then he got his big break and headed to Hollywood as a secretary to the head of Universal Studios. He was unexpectedly promoted to Head of Production, because of the qualities he showed his employer, where he established a reputation in his early twenties, before moving to MGM in the same role. His influence transformed MGM‘s studios into a vast dream factory with all manner of storytelling resources on site. He handpicked films for suitable directors, mixing traditional stories with bolder projects. He ensured that before release all his films were screened to members of the public, which led to scenes being re-shot frequently. A modest man, his name never appeared on any posters.

Thalberg’s MGM was at the top of its game when talkies arrived, courtesy of rivals Warner Brothers. But before his death Thalberg oversaw a successful transition to sound, with that same focus on good storytelling. As a producer he called the shots, made decisions in the company’s financial interests, but never compromised a good story.

3D audiences have been declining and champions of the technology pin their hopes on Michael Bay’s third Transformers movie, Dark of the Moon. In press previews the 3D is said to be cutting edge, mind blowing and the best yet. But as this Guardian writer, Ben Child, points out, Bay’s films are so loud and bombastic that they simply become tedious. And the only real hope for 3D is that someone, a great individual of Thalberg’s ilk, can steer a truly great and inventive film project to fruition. One that makes the best of 3D‘s unique assets but one that, above all, tells an unbelievably good story.

http://www.guardian.co.uk/film/filmblog/2011/jun/10/transformers-dark-of-the-moon-3d

Battle of the Bonds: Michael Fassbender vs. Daniel Craig


Ok so I know technically Michael Fassbender isn’t a Bond but there was no way I was calling this anything else. If you’ve seen the new X-Men film you’ll know Fassbender essentially gives a super powered performance of our favourite suave secret agent. My review points out as much here.

Critics up and down this green and pleasant land are saying they’d like to see Fassbender play Bond in future. Some are even calling for the head of Daniel Craig now, just two films after Craig successfully rebooted cinema’s longest running franchise to acclaim from commentators and audiences alike. But the problem is Casino Royale was almost six years ago. Since then we’ve had the action packed disappointment of Quantum of Solace, in which Craig was still good but hampered and limited by a mostly naff script. We’ve also had the crisis of MGM delaying the release of Bond 23. All the while Craig has been ageing, the poor thing.

I am a huge fan of Craig’s interpretation of Bond but even I have to admit that he’ll be under pressure if Bond 23 doesn’t vastly improve on Marc Forster’s Quantum of Solace. Sam Mendes is at the helm and the signs are good but then most of us Bond fans were saying that on the web about the last one. Forster was supposedly a director who could tell a story but we were left with some decent action at the start, which felt like it was still part of Casino Royale, followed by a disappointing story with flashes of average action that was an unsatisfying epilogue to the reboot at best.

Because of the delays then, as well as the unstoppable onslaught of human decay, Fassbender has the edge on youth. His career is also shifting into a top gear; at a time when Craig’s is also attracting big enough projects that could tempt him away from Bond should the 23rd instalment prove be a sinking ship.

 Enough build up. Let’s compare a few necessary requirements for an actor playing a 00 agent. Bonds do battle.

FILMOGRAPHIES

Fassbender:
                                                                                                       
300 (2006)
Eden Lake (2008)
Hunger (2008)
Town Creek (2009)
Fish Tank (2009)
Inglorious Basterds (2009)
Centurion (2010)
Jonah Hex (2010)
X-Men: First Class (2011)
Jane Eyre (2011)

Craig:

Casino Royale (2006)
The Invasion (2007)
The Golden Compass (2007)
Flashbacks of a Fool (2008)
Quantum of Solace (2008)
Defiance (2008)
Cowboys and Aliens (2011)
Dream House (2011)
The Adventures of Tintin: The Secret of the Unicorn (2011)
The Girl with the Dragon Tattoo (2011)

Round 1 – Acting Chops

Going from both men’s biggest hits and breakthroughs to the mainstream in 2006 (300 and Casino Royale) to the present day, it’s probably Fassbender with the more impressive list. There were meaty roles for him in Hunger, Fish Tank and the upcoming Jane Eyre. Hunger in particular alerted directors everywhere to his talent. The film carries a 90% rating on Rotten Tomatoes and is “anchored” by Fassbender’s performance, according to Empire Magazine. Working with Quentin Tarantino is no bad thing for a CV either.

Craig on the other hand followed up his cold and commanding debut as Bond with the critically panned The Invasion with Nicole Kidman and average kids film The Golden Compass, which was supposed to launch an all conquering series to rival Harry Potter. Flashbacks of a Fool was a favour to directing friend Baillie Walsh, in which he gave a performances as a washed up actor fallen from grace. It was good but not the main role in the film, as the rest was told in flashbacks to childhood and in any case it wasn’t a big hit. He pulled off an impressive accent in Edward Zwick’s Defiance and generally convinced as a leader. Only recently has Craig got some really appetising projects on the go though, working with the likes of Spielberg for Tintin, David Fincher for Dragon Tattoo and Harrison Ford and Jon Favreau for Cowboys and Aliens.

Verdict: Even with that lull for Craig, it’s difficult to separate the abilities of these two.

Round 2 – Sex Appeal

I am definitely the wrong person to ask about this. But there’s no doubt that Bond has to be able to inspire a certain longing in the ladies, with a mere gesture or flirtatious glance. Both actors have charisma and cool credentials. Fassbender dresses up smart in the latest X-Men, as well as donning casual hard man leather jackets and camp superhero costume, cape and all. In Fish Tank his character’s raw masculinity was irresistible to mother and daughter alike. Inglorious Basterds saw him with slick and precise hair and a uniform. After starring as Mr Rochester as Jane Eyre later this year, further legions of women will join the ranks of his swooning admirers, with the earliest recruits hooked by the sight of his muscular and barely clothed physique in 300.

From what I’m told Craig is not a bad catch either. Certainly upon news of his casting as Bond and following the first viewings of those notorious blue Speedos, the females in my social circles could talk of nothing else in fits of giggles for days. Perhaps they’ll like the sight of him in a Cowboy hat.

Verdict: I really don’t know, they both seem to be handsome chaps and I imagine it comes down to personal preference. However if I had to make a decision, I’d say that Fassbender’s mixed Irish/German heritage makes him more exotic. Plus he seems taller. I hear that’s good.

Round 3 – Who would win in a fight?

Fassbender fought like a lion on speed in 300. And as I’ve said he had very little on. That’s impressive and a Spartan warrior takes some beating. However Bond doesn’t fight with swords, well not very often. He’s got to be able to beat a man to death with his fists, win shootouts and take out bad guys in witty ways. Fassbender did a lot of grunting and killing in 300 but where were the one liners? And in Inglorious Basterds he got shot almost immediately after some lengthy chit chat. Bullets are meant to swerve to avoid 007.

Or in Craig’s case, merely puncture his huge pecs. Craig has proven himself already as Bond, especially physically. His stunts and fight scenes have brought the series up to date. Some have criticised the mimicking of Bourne-esque action, which is valid for Quantum of Solace but off the mark for Casino Royale. In the past Craig has blown up enemies of Israel in Munich and taken on the Nazis in Defiance. Judging by the trailers he’s going to kick some Cowboy/Alien ass this summer too.

Verdict: Fassbender needs more time to learn the ropes but unless he’s got his metal moving powers still, looks like Craig will knock him out.

Round 4 – Staying true to Ian Fleming’s original

In X-Men: First Class Fassbender proves he can speak menacingly in Spanish, French and German. He is ruthless and suave and all action. He has a taste for the ladies and strong principles which he stands by. He is loyal. All of these qualities and more that Fassbender displays as the young Magneto, travelling the globe conducting his own private espionage, are those of Ian Fleming’s original spy. If Bond producers Barbara Broccoli and Michael G. Wilson were ever bold enough to take Bond back in time, Fassbender would be perfect for another reboot. His British officer look in Inglorious Basterds, combined with his Magneto, creates a pretty cool version of James Bond licence to kill.

It’s unlikely the producers will ever take Bond into the past and a Cold War world again because they feel that would tarnish the earlier films which covered that ground already. Bond needs to find a way to carry on in the modern world whilst retaining the best elements of the original. And Daniel Craig’s version of the character found that path with Casino Royale. His more human and more brutal portrayal took Bond back to his literary roots with tremendous results.

Verdict: Impossible to split. Fassbender has the potential to be a classic Bond as Fleming imagined him but Craig has already proven himself as a Bond inspired by the books as well as the films.

So at the end of that battle we know nothing new. It’s a draw on points. Basically Fassbender might be a good Bond when Craig steps aside but for now he’s doing a good job. What happens next all rests on Bond 23.

What do you think? Would Fassbender make a better Bond than Craig?

James Bond will (FINALLY) return…


Big news. Bond is back. Well he’s on his way. After all the financial uncertainty surrounding the fall from grace of MGM, the 23rd Bond adventure, and Daniel Craig’s third outing as the suave secret agent, will be released on the 9th of November 2012. Yup it’s still quite the wait for 007 fanatics, myself included. But on the plus side a larger gap between films in the past tends to produce more satisfying results.

The recent road has undoubtedly been rocky for the seemingly unsinkable franchise. Few ever seriously feared it was the end of Bond forever, but it was looking a real possibility that Daniel Craig might not get the chance to make amends for the disappointments of Quantum of Solace in the famed tuxedo. The actor who kicked 007 back into shape with a leaner, moodier spy in 2006’s Casino Royale reboot, following Pierce Brosnan’s dismal, ludicrously fantastical final straw Die Another Day in 2002 (complete with invisible car), has been in great demand and taking on heaps of work. This year Cowboys vs Aliens is an anticipated release and Craig is also due to play a key role in David Fincher’s reworking of Scandinavian hit The Girl With The Dragon Tattoo.  He’s now finally confirmed to reprise his role as Bond to the relief of most fans.

Elsewhere production problems have also hit the most important ingredient; the script. Peter Morgan, writer of Frost/Nixon and The Queen, was signed to work on the 23rd adventure last year, only for his involvement to end before it really began due to the MGM crisis. Now attached to the project are regular scribes Neal Purvis and Robert Wade, as well as new addition American John Logan. Logan was responsible for the script for Edward Zwick’s Tom Cruise epic The Last Samurai and also helped with Ridley Scott’s Gladiator screenplay. He’ll replace Paul Haggis, who’s been the third contributor for the first two Craig movies. The fan community will have mixed reactions to the departure of Haggis. On the one hand he seemed to make a real difference for getting back Bond’s Ian Fleming roots in Casino Royale. But recently he’s only masterminded turkeys as a director in Hollywood and has sought to take his new emotional additions to Bond too far, with rumours of his preference for a plot involving a baby and lost son in 2008’s Quantum of Solace, which were rejected.

Most of the blame for Quantum of Solace is now pinned on director Marc Forster. He talked a good game about the importance of story prior to the film’s release, only for the 22nd film to look great and start well, but to ultimately lead to a disappointing villain and rushed plot. The criticisms aimed at him are probably too harsh and a recent article in The Telegraph makes a good point that Bond is not a director’s franchise; the producers, the writers and the cast are more influential to a film’s success. However considerable interest and opinion was still inevitably generated by the eventual confirmation of Sam Mendes as director for Daniel Craig’s third Bond picture. Mendes too was in doubt after initially agreeing to direct the picture, due to other work commitments, with an adaptation of Ian McEwan’s On Chesil Beach starring Carey Mulligan rumoured in the press and fuelled by comments from the author. Many Bond fans view Mendes as too arty like Forster and would rather see the film in the hands of a seasoned action director like Martin Campbell, who helmed Goldeneye and Casino Royale.

Having said this most fans recognise the franchise needs to continue along the new path set by Craig’s Casino Royale, whilst being considerably better than Quantum of Solace. The problem now is the lack of original Ian Fleming source material to work from, which leads to weaker, predictable plots. There’s a difference of opinion as to the best way of overcoming the weaknesses of Quantum: does the franchise return to a more classic format with a dastardly villain hatching world domination, to coincide with the 50th anniversary of first Dr No in 2012, or do something new again? Whatever the answer, with a release date now firmly set in stone, the rumour mill will once again start churning at full speed. So far the only concrete casting rumour is that of Simon Russell Beale in a “good guy” role. But these shall only multiply until every attractive actress around is linked to the untitled film. And of course that’s the biggest question of all; what will the latest 007 adventure be called? Only a handful of Fleming story titles remain unused; The Property of a Lady? Risico? My money’s on the former. Bring on 2012!