Noir City DC Film Fest: “Road House” (1948) & “Desert Fury” (1947)

Hey y’all, thanks for reading (hope you also subscribe)! I missed out on blogging re: movies during #Noirvember (yup- again), BUT am gonna share w/ you the 2 films I saw at a local film fest (at AFI in Silver Spring- a FEW blocks from my place). The best part- I met TCM host Eddie Muller (looking classy and full of funny stories) and got my book (Dark City: The Lost World of Film Noir) signed!

Road House (1948) starring Ida Lupino, Cornel Wilde, Richard Widmark, & Celeste Holm

Jefty Robbins (Richard Widmark), owner of a roadhouse in a small town (near the Canadian border), hires tough-talking/world-weary Lily Stevens (Ida Lupino- who does her own singing) for a 6 wk. gig, despite the reservations of his manager/best friend, Pete Morgan (Cornell Wilde). Pete even tries to get Lily to go back to Chicago, offering her some money. Jefty is interested in Lily, as she’s “different from other girls.” He brings her breakfast in bed at her hotel. When Pete goes out of town for a fishing trip, Lily turns her charms on Pete, who is resistant. Pete usually dates the roadhouse cashier, Susie Smith (Celeste Holm). Events bring Pete and Lily closer together, until they fall in love. Lily turns down Jefty’s marriage proposal. Then, Pete and Lily have to face Jefty’s intense jealousy!

Susie: She does more without a voice than anybody I’ve ever heard!

Road House was director Jean Negulesco’s 1st film for 20th Century Fox; he had recently been fired by Warnes Bros. Darryl F. Zanuck told him, “This is a bad script. Three directors have refused it. They don’t know what they’re doing, because basically it’s quite good. Remember those pictures we used to make at Warner Bros., with Pat O’Brien and Jimmy Cagney, in which every time the action flagged we staged a fight and every time a man passed a girl she’d adjust her stocking or something, trying to be sexy? That’s the kind of picture we have to have with Road House.”

Not only was Lupino (one of Muller’s faves) a good actress, she also had a head for business (purchasing the rights to the movie for $20K). This film was a year after Widmark played a sadistic killer in Kiss Of Death. As Jefty, Widmark gets to show some of his “regular guy” side, but evolves (or devolves) into a very troubled man. Wilde’s role is as the straight man (which can be dull), but he does a good job. Wilde and Lupino have strong romantic chemistry. Holm gets the (thankless) role of the “girl next door” who’s overlooked, but she handles it well. I really liked the production design on this film; scenes in the roadhouse’s bowling alley were shot at a real alley located near the studio. Check this movie out- it’s one I think MANY will enjoy!

[1] Despite the hole-riddled ending, it’s still worth seeing because of Lupino’s and Widmark’s performances. She is great as the 2nd-rate singer (singing her own songs with a decent but obviously less than stellar voice–which was perfect for the role)… Widmark was interesting because he combined two totally different performances in one film…

[2] “Road House” is an engaging film–noir with a storyline of unrequited love and obsession. Ida Lupino has an impressive performance, singing with a wonderful husky voice. […] This film is also the third appearance of the outstanding Richard Widmark and his insane smile on the cinema. Cornel Wilde and Celeste Holm complete the dream cast of this unknown gem. 8/10

[3] Widmark’s character is by far the most interesting. A little unbalanced at the beginning, he turns crafty and bitter before he loses it altogether. There’s a good deal of pathos in the character.

-Excerpts from IMDB reviews

Desert Fury (1947) starring Lizabeth Scott, John Hodiak, Burt Lancaster, Wendell Corey, & Mary Astor

Fritzi Haller (Mary Astor) is a powerful casino owner in Chuckawalla, a small town in Nevada. Her 19 y.o. daughter Paula (Lizabeth Scott) has quit school; she returns at the same time as racketeer Eddie Bendix (John Hodiak), who left under suspicion of murdering his wife a few years ago. Paula and Eddie become involved, despite the big age gap and her being warned against him. Fritzi, a deputy/Paula’s friend Tom Hanson (Burt Lancaster) and Eddie’s companion Johnny Ryan (Wendell Corey- his film debut) try to break up the relationship. Then, Eddie’s past catches up w/ him in an unexpected way!

This is the kind of B movie that ONLY a true fan of noir will like (or tolerate)- LOL! Seeing it w/ a audience helped, as did the intro from Muller. The music is unnecessarily dramatic, overpowering some scenes. Fans of this genre MAY be surprised to see Scott as the lead here; she was a limited actress (though V conventionally pretty w/ a distinctive/husky voice). Lancaster (looking esp. handsome w/ his tousled hair and leather jacket) has the straight-shooter role here; Tom (in his late 20s) cares for/is protective of Paula. She doesn’t have many friends in town; other kids stayed away from her b/c of her mother’s profession. The romance between Paula and Eddie isn’t as interesting as the (enigmatic) relationship between Eddie and Johnny. Corey gets a meaty role for his first role; a villain w/ many layers, Johnny is V protective over his friend.

[1] Made in 1947 in perfect glossy Technicolor to distract you from the beserkness and tawdry storyline, this is one terrific exercise in censorship busting antics that managed to fulfill it’s reputation. […] DESERT FURY is genuine queer cinema. With incest hinted, guns and car tire screeching, sinister sunglass wearing and cactus pricks everywhere…

[2] Desert Fury is one of those several films from the studio days where gay was strictly taboo yet it somehow got to the screen. That scene where Corey tells Scott how he met a ragged and hungry Hodiak at the Automat and bought him a meal and took him home sure sounded like a pickup to me. Many from the generation before Stonewall told me that the Horn & Hardart Automat was one of the great pickup places in New York. Romances and flings have started in stranger places. No way that the writers would not have known that. Corey’s devotion to Hodiak can’t be explained any other way as the story unfolds. In fact he’s the stronger of the two.

[3] The best part of Desert Fury is Edith Head’s costumes. Every single scene, Lizabeth and Mary are dressed in gorgeous dresses that will have you oo-ing and ahh-ing for the entire running length. Lizabeth is very pretty in this film, and dressing her up in such beautiful costumes only makes it more fun to watch her, even when she’s exercising bad judgement.

-Excerpts from IMDB reviews

Bond Meets Blofeld: “You Only Live Twice” (1967)

During the height of the Cold War, the US and the Soviet Union lose one spacecraft each, after they are both seemingly swallowed whole by a large UFO. The two superpowers are quick to blame one another, causing tensions to skyrocket. The UK has an alternate theory re: the disappearances; they send top spy- James Bond (Sean Connery)- to investigate in Japan. With the help of the Japanese Secret Service, Bond uncovers a plot more sinister than anyone could’ve imagined.

[James is in bed with a Ling, a Chinese woman]

Bond: Why do Chinese girls taste different from all other girls?

In the pre-credits scene, we hear one of the MOST cringe-worthy lines ever spoken in a movie! FYI: Ling is played by Tsai Chin, who had a long career in both Chinese/English language films (thus avoiding the Bond girl curse). I liked the stuff about Bond pretending to die. Henderson (Charles Gary), the British agent in Japan, has a small role (but was interesting). I learned that Blofeld’s impressive volcano lair cost $1M to create- wow! We (finally) see the super-villain Blofeld (Donald Pleasance) who has a prominent scar on his face. As even some long-time fans have said, this movie hasn’t aged well. Connery looks and sounds bored/tired; he even walks in a different way (sometimes slouching). His hairpiece doesn’t even look good! As one critic commented: “Connery is phoning it in.”

Tiger Tanaka: I must say I am disappointed with the ease with which I could pull you in. The one thing my honourable mother taught me long ago was never to get into a car with a strange girl. But you, I’m afraid, will get into anything. With any girl.

I liked the setting and scenery; also, the mini-helicopter (Little Nellie) was pretty cool. the Japanese Secret Service members are portrayed in a (mostly) positive manner. Tiger Tanaka (Tetsuro Tanba) is in charge; he’s affable and professional. Aki (Akiko Wakabayashi) is the agent who falls for Bond; she has a (very cool) death scene. Too bad that Bond doesn’t even have a minute to mourn her though-ugh! Helga Brandt (Karin Dor) is the assassin who captured Bond for a time, but he (of course) managed to disarm her. Kissy Suzuki (Mia Hama) is the agent posing as a village woman who Bond pretends to be married to. In the last act, Kissy is ONLY wearing a small white bikini. He also pretends to be Japanese for a time and trains to be a ninja- part of Tanaka’s plan.

Blofeld: James Bond. Allow me to introduce myself. I am Ernst Stavro Blofeld. They told me you were assassinated in Hong Kong.

Bond: Yes, this is my second life.

Blofeld: You only live twice, Mr. Bond.

[1] While I grudgingly will admit that the Roald Dahl (yes, THAT Dahl–the “Willie Wonka” guy) script is very exciting and high on the “cool factor”, it is also silly and ridiculous throughout.

[2] This time out, perennial Bond villain Ernst Stavro Blofeld is portrayed by Donald Pleasence in a spirited performance that would provide the inspiration for Dr. Evil in “The Spy Who Shagged Me”, courtesy of Mike Myers. Some of the antics in this picture are pretty ridiculous, like Little Nellie with Bond at the controls taking out four attack helicopters, and James Bond (Sean Connery) himself becoming a Ninja master after three days of training!

[3] Ever since Mike Myers mercilessly mocked You Only Live Twice in Austin Powers, International Man of Mystery, it’s been impossible to take this particular Bond adventure seriously; but to be honest, the film was always pretty ridiculous in the first place, stretching plausibility further than ever before in an effort to up the ante in terms of crowd-pleasing spectacle.

-Excerpts from IMDB reviews

“Star Trek III: The Search for Spock” (1984)

[first lines]

[Spock’s dying words, repeated from the previous film]

Capt. Spock: Don’t grieve, Admiral. It is logical. The needs of the many outweigh…

Kirk: …the needs of the few.

Capt. Spock: Or the one. I have been and always shall be your friend. Live long and prosper.

Spock died (in Star Trek II: The Wrath of Khan). We cried- hey, it was really emotional. Then we learned that Spock could be alive- whoa! In the opening credits, there is an extra long pause between Shatner and Kelley’s names, where Nimoy’s name would normally be. Nimoy takes on the role of director; Nicholas Meyer (who directed the previous 2 films) refused b/c he thought that Spock’s death should’ve remained final. (Meyer would return to direct Star Trek IV: The Voyage Home and Star Trek VI: The Undiscovered Country).

[their first look at the USS Excelsior]

Uhura: Would you look at that.

Kirk: My friends, the great experiment: The Excelsior. Ready for trial runs.

Sulu: She’s supposed to have transwarp drive.

Scotty: Aye. And if my grandmother had wheels, she’d be a wagon.

Kirk: Come, come, Mr. Scott. Young minds, fresh ideas. Be tolerant.

Admiral Kirk (William Shatner) and the Enterprise crew return to Earth for some essential repairs to their ship. When they arrive at space dock, they’re shocked to discover that the Enterprise is to be decommissioned. Dr. McCoy (DeForrest Kelley) begins acting strangely. Scotty (James Doohan) is re-assigned to another ship. Suddenly, Ambassador Sarek (Mark Lenard) comes to visit Kirk to see if he holds Spock’s spirit (katra). Once Kirk realizes that McCoy hold the katra, he decides to steal back the Enterprise and travel to the Genesis planet to retrieve the body of Spock. The body must be taken to Mt. Seleyah on Vulcan so it can be joined w/ its katra. Meanwhile, some Klingons are planning to steal the secrets of the Genesis device for their own deadly purpose!

Kirk: You’re suffering from a Vulcan mind-meld, doctor.

McCoy: That green-blooded son of a bitch! It’s his revenge for all the arguments he lost.

The film’s villains were intended to be Romulans, but the studio wanted Klingons to be used (as they were better-known aliens). The Romulan warship was already built and they didn’t want the expense of replacing it. Since TOS had established that Klingons and Romulans had shared tech/ships (for real-world cost-cutting reasons), the idea of Klingons using a Romulan warbird wasn’t a problem. Edward James Olmos was Nimoy’s first choice for the role of Kruge; producer Harve Bennett preferred Christopher Lloyd. Nimoy cast Lloyd b/c he came across as more operatic and physically intimidating. Of course, this could be funny to those who know Lloyd as Doc Brown in the Back to the Future movies. We also see John Larroquette as Maltz, the quiet/thoughtful Klingon.

Kruge: I’ve come a long way for the power of Genesis, and what do I find? A weakling human, a Vulcan boy, and a woman!

Saavik: My lord, we are survivors of a doomed expedition. This planet will destroy itself in hours. The Genesis experiment is a failure.

Kruge: A failure? The most destructive force ever created? You will tell me the secret of the Genesis torpedo.

Saavik: I have no knowledge.

Kruge: Then I hope pain’s something you enjoy.

Production was endangered by the large fire at Paramount Studios. Shatner helped fight the fire and rescue a crew member before firefighters arrived- wow! Shatner said he was concerned re: staying on schedule, as he also had to shoot his TV show- T.J. Hooker. The quiet (yet powerful) scene in where Kirk stumbles back into his captain’s chair after hearing of the death of David was an improvisation by the actor. Shatner was told by Nimoy to do whatever reaction he wanted to do. It’s too bad that Kirk (and we) didn’t get to know David much.

[Kirk and party have commandeered Kruge’s Bird-of-Prey]

Kirk: [to Maltz] You! Help us or die!

Maltz: I do not deserve to live!

Kirk: Fine, I’ll kill you later!

[later, once safely in warp speed]

Kirk: Take care of the prisoner.

Maltz: Wait! You said you would kill me!

Kirk: I lied!

There are some light/humorous scenes in this movie. We learn that Scotty always exaggerated how long it’d take to repair something on the ship. And who didn’t laugh when McCoy tried to do the Vulcan nerve pinch at the alien bar? Scotty told off the talking transporter on the Excelsior. Sulu (George Takei) gets to beat up a (big) security guy. Uhura (Nichelle Nichols) pulled a phaser on the young lieutenant who’d made ageist comments (Mr. Adventure), then she transported her crewmates away.

Sarek: Kirk, I thank you. What you have done is…

Kirk: What I have done, I had to do.

Sarek: But at what cost? Your ship. Your son.

Kirk: If I hadn’t tried, the cost would have been my soul.

The dramatic finale on Vulcan really makes this movie! Judith Anderson was 87 y.o. when she appeared as the Vulcan High Priestess; she was encouraged to take this role by her nephew (who was a big fan of TOS). The scenes on the Genesis Planet were shot on the same soundstages used by Cecil B. DeMille in  The Ten Commandments (1956); Anderson played the slave who knew the secret re: Moses’ heritage.

[1] Leonard Nimoy takes the director’s helm and while he does a competent job it is somewhat workmanlike and his experience in TV and not-so-much-experience in feature films shows, loved the focus on the characters and their relationships but it could have been more expansive.

The music by James Horner… It is bombastic and rousing at times but also swelling in romance and sensitivity and beautiful orchestration, the heavy representation of the percussive and dissonant theme for the Klingons was also effective.

‘The Search for Spock’ does have an intelligent script that develops the characters very well indeed…

[2] It seems a lot of people are split on Lloyd but I thought he was pretty good here. I liked seeing him under all the make-up and thought he did a good job even if the role itself wasn’t the greatest. The special effects here are certainly a step up from the previous movie and I’d also say that battle sequences are much better directed.

[3] …I put “The Search for Spock” on a par with my favorite episode of the original Star Trek TV series. That would be ‘Amok Time’ which examined Vulcan rituals and customs, and interestingly, pitted Spock (Leonard Nimoy) against his captain and best friend, James T. Kirk (William Shatner) in a battle to the death. The return to Spock’s home planet in this film was a cool way to bring the story back around to his Vulcan roots and add to the mythology of Star Trek by introducing such concepts as the Fal-tor-pan (the refusion of Vulcan legend), and the soul essence of Vulcans called the ‘katra’.

The battle of wits between Kirk and Kruge brought to mind another favorite TV episode, ‘The Corbomite Maneuver’, a story in which Captain Kirk seemingly made up all that business about a destruct sequence to thwart an overpowering enemy. Apparently it was a good enough idea to incorporate into Star Trek lore as a legitimate way of dealing with an enemy who got the upper hand.

-Excerpts from IMDB comments

James Bond is Back: “From Russia with Love” (1963)

James Bond AKA 007 (Sean Connery) is on the search for a Russian decoding machine- Lektor. Bond needs to find this machine before the evil S.P.E.C.T.R.E. organization discovers it. While being romantically linked w/ a young Russian K.G.B. agent, Tatiana Romanova (21 y.o. Daniela Bianchi), Bond works his way around Istanbul, while S.P.E.C.T.R.E. agents tries to kill him, incl. blonde/beefy Donald “Red” Grant (Robert Shaw) and redheaded/petite ex-K.G.B. agent Col. Rosa Klebb (Lotte Lenya). I learned that Klebb is one of the few female villains in the Bond franchise.

JFK listed Ian Fleming’s book as among his top 10 fave novels; this list was published in Life Magazine on March 17, 1961. Possibly as a result, the producers decided to make this the 2nd Bond movie. This was the last movie JFK ever saw (in a private screening in the White House) on November 20, 1963. This movie broke box-office records, and was responsible for launching Connery as a major star. Producers Albert R. Broccoli and Harry Saltzman didn’t want the main enemy to be Russian; they decided on the fictitious criminal organization (S.P.E.C.T.R.E.) was seeking revenge for the death of their operative (Dr. No). The S.P.E.C.T.R.E. training school was inspired by the gladiator school from Spartacus (1960).

Bond: [in atypical self-effacement] Suppose when she meets me in the flesh I-I don’t come up to expectations?

M: Just see that you do.

Three beauty pageant queens are actresses in this movie: Bianchi (who is confident/natural onscreen), Martine Beswick, and Aliza Gur. Bianchi (Italy) and Gur (Israel) were roommates at Miss Universe 1960, in which Bianchi was 1st runner-up. Gur and Beswick (a former Miss Jamaica) play the the gypsy (Romany) women who fight over the same man. Beswick (who had a British father and Japanese/Portuguese mother) would return as Bond’s assistant (Paula) in Thunderball. M (Bernard Lee) and Moneypenny (Lois Maxwell) are back, of course. This is the last appearance of Sylvia Trench (Eunice Gayson); she was intended to be Bond’s girlfriend, but producers decided otherwise. We meet a new version of Major Boothroyd AKA Q (Desmond Llewelyn); he’d go on to appear in several films in the series. We also meet Bond’s spy/friend in Istanbul, Ali Karim Bey (Pedro Armendariz- a veteran Mexican-American actor); he has many sons (who work for him), a big/fun personality, and can fight/shoot (when needed).

Special permission was granted to film in St Sophia’s Mosque which had never granted permission before. Over 3,500 people went to the Sirkeci Railway Station in Istanbul to see the filming, which caused delays. Director Terence Young had stuntman Peter Perkins create a distraction by hanging upside down from a balcony nearby- LOL! Several years earlier, Alfred Hitchcock had been considered to direct; the helicopter chase scene is an homage to his cropduster sequence in North by Northwest (1959). As one of the hosts on the Now Playing podcast commented: “It was like the trashy version of North by Northwest.” LOL! Product placements, brand, and promos included: Rolex, Taittinger Blanc de Blanc champagne, a billboard advertising another movie made by producers Saltzman and Broccoli (Call Me Bwana) starring Anita Ekberg and Bob Hope, and Bentley.

Bond: Red wine with fish. Well, that should have told me something.

Grant: You may know the right wines, but you’re the one on your knees. How does it feel old man?

The villains make this movie much more interesting than Dr. No; they get time to have some character development and seem like they could be a threat to Bond. The man in charge of S.P.E.C.T.R.E. (Blofeld) is shown stroking a white cat, but his face is hidden. I wasn’t that interested in the gypsy camp section (until the baddies burst in); in one case, Grant ended up saving Bond’s life. Did the Anglophiles notice this faux pas on the train? Grant (who some referred to as “a shadow Bond”) addressed Bond as “old man” when pretending to be Capt. Nash. He was also calling Bond as “sir”, so odd to use “old man” (when he’s not a friend or of same rank). The big fight between Bond and Nash inside the train compartment was tense and exciting; I think it holds up well even today! After reading the script, Shaw called it “rubbish” (trash), but his wife convinced him to reconsider. At that time, he was working in the London theater, and also had a young family to support. If you’ve never seen a Bond film, give this one a try!

[1] I loved From Russia With Love. If I had one minor problem with the film, it would be that I did find the film slow in places. But I cannot deny it is a tightly plotted and well acted James Bond thriller with superb action to boot. The film looks amazing, with wonderful cinematography and stunning locations, and the action is constantly fast paced and the stunts jaw dropping. The music score from John Barry is one of the more memorable scores in any Bond movie, with its brilliant main theme my favourite.

[2] Shaw is terrifying in his role and the fact he did it without much use of a voice that was one of the best in the English language, testifies to his ability as an actor. His confrontation with Connery on the Orient Express is one of the great fight scenes ever done on film.

[3] One thing I liked a lot was the inclusion of more comedy than in the previous adventure, which Bond’s one-liners being consistently amusing and lots of little odd touches (like Bond realising that Shaw is an impostor when he orders red wine with fish, of all things).

-Excerpts from IMDB reviews

The 1st Bond Movie: “Dr. No” (1962)

There’s no question that this first entry in the still running series is a pure classic as it pretty much set-up every superhero/secret agent movie that would follow. Director Francois Truffaut gave an interview in 1979 stating that he believed this film helped ruin cinema as he felt movies were meant to tell a story so that people would believe it. I don’t agree with Truffaut but I can see how some might be put off by this film since it, in many ways, does play out like a guy’s fantasy. Bond is certainly the character any guy would want to be as he’s smooth talking, tough, gets all the ladies and in the end he always wins. With that said, I’m sure Truffaut shouldn’t have taken the film too seriously as the goal was probably just to deliver an entertaining movie. 

-Excerpt from IMDB review

This is the 1st Bond movie; it is based on the writings of Ian Fleming (who was himself a former British spy). Perhaps some of your parents recall seeing it (or some of the following films in the franchise) in theaters in their youth. I think I saw all of the films (starring Pierce Brosnan) in theaters w/ my family. My parents saw From Russia with Love several times when it aired on TV; this was likely in the mid-1970s in England. My dad commented that he liked Roger Moore’s version of Bond. I don’t know too much re: Bond films; many consider them to be “fantasy wish fulfillment,” while others feel they are “problematic.”

James Bond AKA 007 (Sean Connery)- Britain’s top agent- is on a mission to solve the mysterious murder of a fellow agent. The task sends him to Jamaica, where he joins forces w/ Quarrel (John Kitzmiller) and a C.I.A. Agent, Felix Leiter (Jack Lord). While dodging a tarantula, “dragon,” and “three blind mice” assassins, Bond meets beautiful Honey Ryder (Ursula Andress) and goes face to face w/ the evil Dr. No (Joseph Wiseman).

Connery won the role of Bond after producer Albert R. Broccoli attended a screening of Darby O’Gill and the Little People (1959)- no joke! He was particularly impressed w/ the fist fight Connery has with a village bully; Broccoli later had his wife Dana see the movie and confirm his sex appeal. Fleming didn’t originally like the casting of Connery. Bond was English, but Connery was Scottish (his accent pops out often); Bond was from an upper-class background, but Connery was working-class; Bond was refined/educated, and Connery was rugged. Fleming served in British Naval Intelligence during World War II; he was acquainted w/ David Niven, then a Major with the British Commandos. Niven was Fleming’s first choice to play Bond. Director Terence Young called Connery “a diamond in the rough;” he spent time to polish him up, such as introducing him into British high society and getting him a new wardrobe.

The opening credits to Dr. No are wacky: flashing lights, dancing people, then three blind men walking around. Then we have the (now iconic) opening created by Maurice Binder almost at the last minute. It is the sequence where an assassin tracks Bond (played by Connery’s stuntman Bob Simmons), but he turns and shoots the assassin, all seen through the assassin’s gun barrel. The James Bond theme originated from a song Good Sign, Bad Sign composed by Monty Norman for a musical that was never produced. John Barry arranged and orchestrated Norman’s theme to produce the theme as it is known worldwide. The introduction of Bond is an homage to a technique from William Dieterle’s Juarez (1939): a series of close-ups of the character w/o revealing the face, cross-cutting w/ the other characters in the scene and the gambling table, then the face is revealed as Bond states his name. The filmmakers didn’t know that the way that Bond introduces himself would become iconic; he was jokingly speaking the way Sylvia did!

[James Bond’s first scene, winning a game of chemin-de-fer]

Bond: I admire your courage, Miss…?

Sylvia: Trench. Sylvia Trench. I admire your luck, Mr…?

Bond: Bond. James Bond.

Do clothes make the man? Well, many feel that all men look better in suits or tuxedos (which are worn rarely in today’s society). Connery’s suits were made by Saville Row (as Bond says in the movie); the tailor Anthony Sinclair stated that a truly great bespoke suit would be able to stand up to a good deal of abuse (such as grabbing by the lapels) and still look great afterwards. This is one of only 3 times when we see Bond’s apt. Though the film was low budget (est. at $1M), Ken Adam’s created sets which impressed Stanley Kubrick. The young director hired Adams to be production designer on Dr. Strangelove (1964).

[Professor Dent tries to kill Bond, but his gun is out of bullets]

Bond: That’s a Smith & Wesson and you’ve had your six.

[Bond shoots Dent twice]

As a movie critic noted, Bond (unlike most screen heroes before him) is a sexual being. Well, maybe this is a BIT too much for some viewers? Seriously, I don’t know if his (casual) attitude on relationships reflected what was happening in the early 1960s. We meet the first “Bond girls,” who’d become a staple of the series; of course, these female characters have evolved over the decades. Sylvia Trench (Eunice Gayson) is the woman who Bond meets while gambling. Lois Maxwell (Miss Moneypenny) was actually Canadian; she plays the loyal/classy secretary to M, Moneypenny isn’t a prude, as she obviously enjoys flirting w/ Bond. However, the woman who made the biggest impression was Honey Ryder (Ursula Andress- who was Swiss-born and new to movies). Her salary for the film was only $6,000 Both Gayson and Andress had their voices dubbed; Andress had a thick accent when she spoke English. Andress’ bikini top was made from an underwire bra sold from a Saks in NYC. Costume designer Tessa Welborn ordered 3 of theses bras, covered them in cotton, and refined the design. The belt for the bikini was made from a white webbing Army belt, w/ brass fittings and a scabbard.

It’s a mystery. All I did was wear this bikini, not even a small one, and whoosh! Overnight, I made it.

-Andress