Top Ten Favorite Movies Set in the 1930s

Below is my current list of favorite movies set in the 1930s: 

 

TOP TEN FAVORITE MOVIES SET IN THE 1930s

1. “Indiana Jones and the Temple of Doom” (1984) – In this exciting second installment of the Indiana Jones franchise, the intrepid archaeologist is asked by desperate villagers in Northern India to find a mystical stolen stone and rescue their children from a Thuggee cult practicing child slavery. Directed by Steven Spielberg, the movie starred Harrison Ford as Dr. Henry “Indiana” Jones.

2. “The Sting” (1973) – Paul Newman and Robert Redford starred in this excellent Oscar winning movie about a young drifter who teams up with a master of the big con to get revenge against the gangster who had his partner murdered. George Roy Hill directed.

3. “Death on the Nile” (1978) – Peter Ustinov made his first appearance as Hercule Poirot in this superb adaptation of Agatha Christie’s 1937 novel about the murder of an Anglo-American heiress during a cruise on the Nile. John Guillermin directed.

4. “Chinatown” (1974) – Roman Polanski directed this outstanding Oscar nominated film about a Los Angeles private detective hired to expose an adulterer, who finds himself caught up in a web of deceit, corruption and murder. Jack Nicholson and Faye Dunaway starred.

5. “Gosford Park” (2001) – Robert Altman directed this Oscar nominated film about a murder that occurs at shooting party in 1932 England. The all-star cast includes Helen Mirren, Kelly MacDonald, Clive Owen and Maggie Smith.

6. “Evil Under the Sun” (1982) – Once again, Peter Ustinov portrayed Hercule Poirot in this entertaining adaptation of Agatha Christie’s 1941 novel about the murder of a stage actress at an exclusive island resort. Guy Hamilton directed.

7. “O Brother, Where Art Thou?” (2000) – Ethan and Joel Coen directed this very entertaining tale about three escaped convicts who search for a hidden treasure, while evading the law in Depression era Mississippi. George Clooney, John Tuturro and Tim Blake Nelson starred.

8. “Murder on the Orient Express” (1974) – Albert Finney starred as Hercule Poirot in this stylish adaptation of Agatha Christie’s 1934 novel about the Belgian detective’s investigation into the death of a mysterious American aboard the famed Orient Express. Sidney Lumet directed.

9. “Indiana Jones and Raiders of the Lost Ark” (1981) – Harrison Ford made his first appearance as Dr. “Indiana” Jones in this classic movie, as he races against time to find the iconic Ark of the Covenant that contains the Ten Commandments before the Nazis do in 1936 Egypt. Steven Spielberg directed.

“Seabiscuit” (2003) – Gary Ross directed this excellent adaptation of Laura Hillenbrand’s 2001 book about the famed race horse from the late 1930s. Tobey Maguire, Jeff Bridges, Chris Cooper and Elizabeth Banks starred.

Honorable Mention: “Road to Perdition” (2002) – Tom Hanks, Tyler Hoechlin and Paul Newman starred in this first-rate adaptation of Max Collins’ 1998 graphic comic about a Depression era hitman who is forced to hit the road with his older son after the latter witnesses a murder. Sam Mendes directed.

“Adapting AGATHA CHRISTIE”

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“ADAPTING AGATHA CHRISTIE”

Ever since the release of the BBC recent adaptation of Agatha Christie’s 1939 novel, “And Then There Were None”, television viewers and critics have been praising the production for being a faithful adaptation. In fact these critics and fans have been in such rapture over the production that some of them have failed to noticed that the three-part miniseries was not completely faithful. As long as the production followed Christie’s original ending, they were satisfied.

Mind you, I thought this new production, “AND THEN THERE WERE NONE” was top notch, I have found myself growing somewhat annoyed over this attitude. Why do so many people insist that a movie/television production should be faithful to the novel it is adapting? I honestly believe that it should not matter. Not really. I believe that sometimes, it’s a good thing to make some changes from the original novel (or play). Sometimes, it’s good to remain faithful to the source novel. Sometimes, what is in a novel does not translate well to the television or movie screen.

A good example are the two adaptations of Christie’s 1941 novel, “Evil Under the Sun”. The 1982 adaptation, which starred Peter Ustinov as Hercule Poirot, made some major changes in regard to characters and a minor subplot. The 2001 television adaptation, which starred David Suchet, was somewhat more faithful . . . but not completely. In my personal view, I believe that the Ustinov version was a lot better . . . more entertaining. Why? If I have to be brutally honest, I am not a big fan of Christie’s 1941 novel. No matter how many times I tried to like it (and I tried), it simply bored me.

In regard to the adaptations of “And Then There Were None”, there are only two adaptations that I really enjoyed – Rene Clair’s 1945 adaptation and this new version. The 1945 film is actually an adaptation of the 1943 stage play written by Christie. Because the play first opened in the middle of World War II, Christie had decided to change the ending in order to spare wartime theater goers the story’s nihilistic ending. Two years later, director Rene Clair and 20th Century Fox decided to adapt Christie’s stage play, instead of the novel. Several other movie adaptations – including the 1996 and the 1974 – did the same. As far as I know, only the Russian 1987 adaptation followed Christie’s original ending.

And how do I care about these numerous adaptations? I have seen both the 1966 and 1974 movies. I am not a fan of either. Personally, I found them rather cheap. I have never seen the 1987 Russian film. As for the 1945 and 2015 versions . . . I am a big fan of both. That’s right . . . both of them. I do not care that 2015 miniseries stuck to Christie’s original novel, despite some changes, and Clair’s 1945 movie did not. I simply happen to enjoy BOTH versions. Why? Both versions were made with skill and style. And I found both versions fascinating, despite the fact that they have different endings.

I do not believe it should matter that a movie or television ALWAYS adhere to the novel it is adapting. What should matter is whether the director, writer or both are wise enough to realize whether it is a good idea to be completely faithful or to make changes . . . for the sake of the production. If producer John Bradbourne and director Guy Hamilton can make a superior adaptation of “Evil Under the Sun” by utilizing major changes to Christie’s original story and if there can be two outstanding versions of “AND THEN THERE WERE NONE” . . . with different endings, I really do not see the need for any film or television production to blindly adhere to every aspect of a novel it is adapting.

Favorite Films Set in the 1950s

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Below is a list of my favorite movies set in the decade of the 1950s:

 

FAVORITE FILMS SET IN THE 1950s

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1. L.A. Confidential (1997) – Curtis Hanson directed this outstanding adaptation of James Ellroy’s 1990 novel about three Los Angeles police detectives drawn into a case involving a diner massacre. Kevin Spacey, Russell Crowe, Guy Pierce and Oscar winner Kim Basinger starred.

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2. “Grease” (1978) – John Travolta and Olivia Newton-John starred in this entertaining adaptation of the 1971 Broadway musical about a pair of teenage star-crossed lovers in the 1950s. Randal Kleiser directed.

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3. “The Godfather, Part II” (1974) – Francis Ford Coppola directed his Oscar winning sequel to the 1972 Oscar winning adaptation of Mario Puzo’s 1969 novel. Al Pacino, Diane Keaton, Robert Duvall and Oscar winner Robert De Niro starred.

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4. “Quiz Show” (1994) – Robert Redford directed this intriguing adaptation of Richard Goodwin’s 1968 memoir, “Remembering America: A Voice From the Sixties”, about the game show scandals of the late 1950s. Ralph Fiennes, Rob Morrow and John Tuturro starred.

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5. “The Mirror Crack’d (1980) – Angela Landsbury starred as Miss Jane Marple in this adaptation of Agatha Christie’s 1962 novel. Directed by Guy Hamilton, the movie also starred Elizabeth Taylor, Rock Hudson and Edward Fox.

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6. “Indiana Jones and the Kingdom of the Crystal Skulls” (2008) – Harrison Ford returned for the fourth time as Dr. Henry “Indiana” Jones in this adventurous tale in which he is drawn into the search for artifacts known as the Crystal Skulls. Directed by Steven Spielberg, the movie was produced by him and George Lucas.

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7. “Champagne For One: A Nero Wolfe Mystery (2001)” – Timothy Hutton and Maury Chaykin starred as Archie Goodwin and Nero Wolfe in this television adaptation of Rex Stout’s 1958 novel. The two-part movie was part of A&E Channel’s “A NERO WOLFE MYSTERY” series.

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8. “Hollywoodland” (2006) – Adrien Brody, Diane Lane and Ben Affleck starred in this intriguing tale about a private detective’s investigation into the life and death of actor George Reeves. Allen Coulter.

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9. “My Week With Marilyn” (2011) – Oscar nominee Michelle Williams starred as Marilyn Monroe in this adaptation of Colin Clark’s two books about his brief relationship with the actress. Directed by Simon Curtis, the movie co-starred Oscar nominee Kenneth Branagh and Eddie Redmayne as Clark.

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10. “Boycott” (2001) – Jeffrey Wright starred as Dr. Martin Luther King in this television adaptation of Stewart Burns’ book,“Daybreak of Freedom”, about the 1955 Montgomery bus boycott. Directed by Clark Johnson, the movie co-starred Terrence Howard and C.C.H. Pounder.

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Honorable Mention: “Mulholland Falls” (1996) – Nick Nolte starred in this entertaining noir drama about a married Los Angeles Police detective investigating the murder of a high-priced prostitute, with whom he had an affair. The movie was directed by Lee Tamahori.

“THE MIRROR CRACK’D (1980) Review

“THE MIRROR CRACK’D” (1980) Review

As far as I know, Guy Hamilton is the only director who has helmed two movie adaptations of Agatha Christie novels. The 1982 movie, “EVIL UNDER THE SUN” was the second adaptation. The first was his 1980 adaptation of Christie’s 1962 novel, “The Mirror Crack’d From Side to Side”.

A big Hollywood production has arrived at St. Mary’s Mead, the home of Miss Jane Marple, to film a costume movie about Mary, Queen of Scots and Queen Elizabeth I of England, starring two Hollywood stars – Marina Gregg and Lola Brewster. The two actresses are rivals who despise each other. Marina and her husband, director Jason Rudd, have taken residence at Gossington Hall, where Colonel Arthur Bantry and his wife Dolly used to live. Due to Colonel Bantry’s death, Mrs. Bantry – who is one of Miss Marple’s closest friends – has moved to a smaller home.

Excitement runs high in the village as the locals have been invited to a reception held by the movie company in a manor house, Gossington Hall, to meet the celebrities. Lola and Marina come face to face at the reception and exchange some potent and comical insults, nasty one-liners, as they smile and pose for the cameras. The two square off in a series of clever cat-fights throughout the movie.

Marina, however, has been receiving anonymous death threats. After her initial exchange with Lola at the reception, she is cornered by a gushing, devoted fan, Heather Badcock (played by Maureen Bennett), who bores her with a long and detailed story about having actually met Marina in person during World War II. After recounting the meeting they had all those years ago, when she arose from her sickbed to go and meet the glamorous star, Babcock drinks a cocktail that was made for Marina and quickly dies from poisoning. It is up to Miss Marple and her nephew, Detective-Inspector Dermot Craddock of Scotland Yard to discover the killer.

I surprised to learn that Guy Hamilton was the director of “THE MIRROR CRACK’D”. This movie was the first of two times in which he directed an Agatha Christie adaptation that placed murder in the world of show business. Frankly? I am beginning to suspect that he was more suited for this particular genre that he was for the James Bond franchise. Like the 1982 film, “EVIL UNDER THE SUN”, I enjoyed it very much. I am not a big fan of Christie’s 1962 novel. I understand that the origin of its plot came from Hollywood history, which gives it a touch of pathos. Along with the quaint portrayal of English village life and the delicious bitch fest that surrounded the rivalry between Marina Gregg and Lola Brewster, I believe that Hamilton and screenwriters Jonathan Hales and Barry Sandler in exploring that pathos in the end. There is one aspect of Christie’s story that the screenwriters left out – namely the connection between Marina and the photographer Margot Bence. Honestly, I do not mind. I never cared for it in the first place. I found this connection between Marina and Ms. Bence a little too coincidental for my tastes.

I did not mind the little touches of English village life featured in “THE MIRROR CRACK’D”. Although I must admit that I found them occasionally boring. Only when the citizens of St. Mary’s Mead interacted with the Hollywood visitors did I find them interesting. On the other hand, the rivalry between Marina Gregg and Lola Brewster was a joy to watch. And I feel that Hamilton and the two screenwriters handled it a lot better than Christie’s novel or the 1992 television movie. And to be honest, I have to give Elizabeth Taylor and Kim Novak most of the credit for the venomous and hilarious manner in which their characters’ rivalry played out on screen.

The behind-the-scene productions for “THE MIRROR CRACK’D” certainly seemed top-notch. Christopher Challis’ photography struck me as colorful and beautiful. However, there were moments when he seemed to indulge in that old habit of hazy photography to indicate a period film. Only a few moments. Production designer Michael Stringer did a solid job of re-creating the English countryside circa early-to-mid 1950s. His work was ably supported by John Roberts’ art direction and Peter Howitt’s set decorations. Phyllis Dalton did a very good job of re-creating the fashions of the movie’s 1950s setting. I especially enjoyed the costumes she created for the fête sequence. The only aspect of the production that seemed less than impressive was John Cameron’s score. Personally, I found it wishy-washy. His score for the St. Mary’s Mead setting struck me as simple and uninspiring. Then he went to another extreme for the scenes featuring the Hollywood characters – especially Marina Gregg – with a score that seemed to be a bad imitation of some of Jerry Goldsmith’s work.

“THE MIRROR CRACK’D” certainly featured some first-rate performances. Angela Landsbury made a very effective Jane Marple. She not only seemed born to play such a role, there were times when her portrayal of the elderly sleuth seemed like a dress rehearsal for the Jessica Fletcher role she portrayed on television. Elizabeth Taylor gave an excellent performance as the temperamental Marina Gregg. She did a great job in portraying all aspects of what must have been a complex role. Rock Hudson was equally first-rate as Marina’s husband, the sardonic and world-weary director, Jason Rudd. He did a great job in conveying the character’s struggles to keep his temperamental wife happy and the impact these struggles had on him. Edward Fox was charming and very subtle as Miss Marple’s nephew, Scotland Yard Inspector Dermot Craddock. I especially enjoyed how his Craddock used a mild-mannered persona to get the suspects and others he interrogated to open up to him.

I was never impressed by Agatha Christie’s portrayal of the Lola Brewster character . . . or of two other actresses who portrayed the role. But Kim Novak was a knockout as the somewhat crude and highly sexual Hollywood starlet. Watching the comic timing and skill she injected into the role, made me suspect that Hollywood had underestimated not only her acting talent, but comedy skills. Tony Curtis certainly got a chance to display his comedic skills as the fast-talking and somewhat crude film producer, Martin Fenn. And I rather enjoyed Geraldine Chaplin’s sardonic portrayal on Ella Zielinsky, Jason Rudd’s caustic-tongued secretary, who seemed to be in love with him. The movie also featured solid performances from Charles Gray, Wendy Morgan, Margaret Courtenay and Maureen Bennett. And if you look carefully, you just might spot a young Pierce Brosnan portraying a cast member of Marina’s movie.

Overall, I enjoyed “THE MIRROR CRACK’D”. I thought Guy Hamilton did an excellent job in creating a enjoyable murder mystery that effectively combined the vibrancy of Hollywood life and the quaintness of an English village. He was assisted by a first-rate crew, a witty script by Jonathan Hales and Barry Sandler, and a very talented cast led by Angela Landsbury.

“EVIL UNDER THE SUN” (1982) Review

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“EVIL UNDER THE SUN” (1982) Review

For many years, I tried to pretend that Agatha Christie’s 1941 novel, “Evil Under the Sun” was a personal favorite of mine. I really tried to accept this opinion, knowing that it was a popular favorite of many Christie fans. But for some reason, any deep interest in the novel’s plot failed to grab me.

Produced by John Bradbourne and Richard Goodwin, and directed by Guy Hamilton; this “EVIL UNDER THE SUN” is basically about Belgian-born detective Hercule Poirot’s investigation into the murder of a famous English stage star, while on holiday in the Adriatic Sea. The movie begins with an unidentified female hiker reporting her discovery of a murdered woman named Alice Ruber on the Yorkshire moors. The story jumps to London, where Poirot is asked to investigate the circumstances of a millionaire’s diamond that turned out to be fake. Poirot’s investigation leads him to millionaire Sir Horace Blatt, who had originally given the diamond to his former lover – stage actress Arlena Stuart Marshall. After receiving the diamond, she eventually dumped him and married another. Sir Horace reveals that Arlena and her new husband plan to visit Daphne’s Island, an Adriatic Sea island resort owned by former showgirl Daphne Castle. During his holiday there, Poirot eventually discovers that there are others who have a grudge against Arlena:

*Daphne Castle – a former professional rival of Arlena, who had fallen in love with the famous actress’ husband, before he met the latter

*Kenneth Marshall – Arlena’s wealthy new husband, who is unhappy over Arlena’s extramarital affair with another guest and her bitchy treatment of his daughter; and who is also in love with Daphne

*Linda Marshall – Arlena’s stepdaughter, who detests her

*Patrick Redfern – a school teacher, who also happens to be Arlena’s current lover

*Christine Redfern – Patrick’s mousy wife, who resents Arlena’s affair with her husband

*Odell and Myra Gardener – husband and wife stage producers, desperate to cast Arlena in their new play

*Rex Brewster – a witty writer and theater critic who had written an unauthorized biography of Arlena

After two days on the island, Arlena sets out on her own for a private boat ride around the island. She is found strangled to death on one of the island’s secluded beaches, nearly two hours after Poirot saw her depart on a small paddle-boat. Daphne recruits Poirot to unveil the murderer before the local police can begin their own investigation.

I recently watched the 2001 television adaptation of Christie’s novel. Aside from some changes, the movie more or less followed the literary version. This 1982 version, which starred Peter Ustinov as Poirot, featured more changes to Christie’s tale. Screenwriters Barry Sandler and Anthony Schaffer (who had also co-written 1974’s “MURDER ON THE ORIENT EXPRESS”and written 1978’s “DEATH ON THE NILE”) changed the story’s location from the coast of Devon to an exclusive island resort in the Adriatic Sea (filmed in Majorca, Spain). Linda Marshall’s age was reduced from sixteen years old to at least twelve to thirteen years old. Although this reduction in age made it impossible for Linda to be considered a genuine suspect, she still played a major role in Poirot’s investigation. Sandler and Schaffer also glamorized the movie’s setting by allowing some of the suspects to reflect Arlena’s show business background. The Gardeners were transformed from mere American tourists to theater producers. The screenwriters transformed spinster Emily Brewster into writer/theater critic Rex Brewster, with the theatricality and wit of Noel Coward. Horace Blatt went from a slightly wealthy braggart to the garrulous self-made millionaire industrialist Sir Horace Blatt. Dressmaker Rosamund Darnley transformed into former showgirl-turned-royal mistress-turned resort owner Daphne Castle. And characters such as Stephen Lane and Major Barry were completely written out of the story . . . thank goodness. If I must be brutally honest, Schaffer and Sandler’s revamp of Christie’s novel made the story a lot more interesting and entertaining for me.

“EVIL UNDER THE SUN” was not perfect. It had a few flaws that either confused me or I found unappealing. One, I never understood why the insurance papers regarding the Alice Ruber case were in Poirot’s possession during his stay at Daphne’s Island. I understood that he was investigating Sir Horace’s fake diamond on behalf of the same insurance company. But why bring along the files for another case . . . even if that case proved to have a connection to Arlena’s killer? Although I enjoyed most of Anthony Powell’s colorful costume designs, there were a few selections I found either mind boggling or extremely tasteless. In one scene, both Maggie Smith and Diana Rigg wore outfits with material from the same source – white something with gaudy, colorful baubbles. Take a look:

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And in another scene, Sylvia Miles wore the following costume:

Costume Anthony Powell 1982

A black evening gown with reddish-pink and white polka dots, a plunging neckline and puffy sleeves? What on earth was Powell thinking when he created this costume for the actress? However, I still enjoyed the rest of Powell’s creations, which perfectly captured the movie’s comedic and slightly campy tone. I especially enjoyed the salmon-colored gown Rigg wore during Poirot’s second evening on the island and the black-and-white number that Miles wore during the detective’s first evening. And the costumes for the men – especially the evening wear – struck me as well tailored. Powell’s costumes were not the only artistic contributions to the film that I enjoyed. Christopher Challis’ photography of Majorca, Spain; which stood for the French Riviera and Daphne’s Island; struck me as colorful, sharp and very beautiful – a perfect reflection of sunshine elegance. And music arranger John Dalby make great use of various Cole Porter tunes in the movie

Most of my observations regarding “EVIL UNDER THE SUN” are definitely positive. It is one of my top favorite Agatha Christie adaptations of all time. Thanks to Schaffer and Sandler’s revisions in Christie’s tale and Guy Hamilton’s elegant, yet lively direction, “EVIL UNDER THE SUN” proved to be the wittiest Christie movie I have ever seen hands down. Nearly every character – including Emily Hone, who must have been in her early teens at the time – had some juicy lines. And I consider it to be twice as entertaining and superior to the 1941 novel. Between the show biz background of some of the characters – including Arlena Marshall, the witty dialogue and the movie’s exclusive setting; “EVIL UNDER THE SUN” managed to beautifully recapture the ambivalence of the cafe society between the 1930s and 1950s that included celebrated wits, actors and actresses, musicians, writers, and well-known high society figures. This was especially apparent in scenes that featured the evening gatherings of the guests in the hotel’s main drawing room. The apex of these scenes featured an entertaining and rather funny rendition of Cole Porter’s “You’re the Top” by Diana Rigg (along with an interruption or two from Maggie Smith).

As for the murder mystery itself, it does not have the same emotional resonance as “MURDER ON THE ORIENT EXPRESS” or“DEATH ON THE NILE”. There is no real emotional connections between the victim and the killer. This does not mean that I regard the 1982 movie inferior to the other two. “EVIL UNDER THE SUN” is simply a different kettle of fish. The murderer is too cold-blooded and the victim is too self-absorbed for any emotional connection. And the movie has a comedic, yet elegant style that makes it a lighter fare than its two predecessors – like a delicious, yet fulfilling souffle.

As for the cast . . . ah, the cast! How I adore every last one of them. Every time I watch “EVIL UNDER THE SUN”, I am constantly surprised by the chemistry between James Mason and Sylvia Miles, who portrayed the producing husband-and-wife team, Odell and Myra Gardener. It still amazes me that two performers with such different backgrounds and acting styles should click so well on screen. Jane Birkin, who had appeared in “DEATH ON THE NILE” with both Peter Ustinov and Smith, did an excellent job as the cuckolded wife, Christine Redfern. She managed to effectively combine Christine’s mousiness and penchant for nagging with great ease. I have a confession to make. I was never that impressed by Nicholas Clay’s performance as Sir Lancelot in 1981’s “EXCALIBUR”. But I really enjoyed his performance as the charming and slightly roguish Patrick Redfern, who loved his wife, but enjoyed having a good time with Arlena. This was the second time I have seen him portray an adulterer. And honestly? He was a lot sexier in this film. Denis Quilley, who was stuck in a one-dimensional role in “MURDER ON THE ORIENT EXPRESS”, had a better opportunity to shine as Arlena’s dignified, yet cuckolded husband, Kenneth Marshall. And he also had a nice chemistry with Smith. Like Quilley, Colin Blakely had a better role in “EVIL UNDER THE SUN” than he did in “MURDER ON THE ORIENT EXPRESS”. He was deliciously sardonic and earthy as the slightly embittered Sir Horace Blatt, the millionaire whom Arlena had made a chump.

The bitchfest between Maggie Smith’s Daphne Castle and Diana Rigg’s Arlena Marshall turned out to be a moviegoer’s dream. Both were absolutely delightful as the warm and pragmatic Daphne and the arrogant and self-absorbed Arlena, the former rivals who resumed their conflict with delicious verbal warfare and one-upmanship. Roddy McDowell’s portrayal of writer/critic Rex Brewster turned out to be the biggest bitch on the island. The actor had some of the best lines in the film. His response to the Gardeners’ suggestion that he go play with himself had me in stitches for at least two to three minutes. Surprisingly, novice actress Emily Hone engaged in her own bitchfest with McDowall’s Brewster . . . and did a great job in the process. I was surprised by her ability to hold her own with the actor and other members of the cast despite her age and lack of experience. Pity that “EVIL UNDER THE SUN” proved to be her only work in films.

Peter Ustinov returned for a second time as Belgian detective Hercule Poirot and seemed better than ever. Mind you, I was very impressed by his performance in “DEATH ON THE NILE”. But in this film he seemed more relaxed . . . enough to include more of his personal style in the role. Like the rest of the cast, he had his own memorable lines. But the one sequence in which he really impressed me proved to be the one in which Poirot revealed the murderer. The murderer revelation scenes have always been among my favorites in any Christie adaptation. But Ustinov really outdid himself in the one for “EVIL UNDER THE SUN”. I was so impressed by the actor’s pacing and use of both the dialogue and his voice that this movie ended up featuring my favorite murderer revelation scene of all time.

“EVIL UNDER THE SUN” is not my favorite Christie adaptation movie. And I found a few flaws in both the screenplay and Anthony Powell’s costumes that has left me scratching my head. But I cannot deny that the 1982 movie is among my top five favorite Christie movies. From my point of view, I would attribute this to Anthony Schaffer and Barry Sandler’s witty screenplay, Guy Hamilton’s well-paced direction and hilariously outstanding performances from a cast led by the very talented Peter Ustinov. I could watch this movie over and over again.

Favorite Movies Set in LAS VEGAS

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Below is a list of my favorite movies set in Las Vegas, Nevada: 

 

FAVORITE MOVIES SET IN LAS VEGAS

1 - Ocean Thirteen

1. “Ocean’s Thirteen” (2007) – In this third entry of Steven Soderbergh’s OCEAN’S TRILOGY, Danny Ocean and his co-horts plot a heist against casino owner Willy Bank, after he double-crosses one of the original eleven, Reuben Tishkoff. George Clooney, Brad Pitt, Matt Damon and Al Pacino starred.

2 - Casino

2. “Casino” (1995) – Martin Scorsese directed this adaptation of Nicholas Pileggi’s non-fiction book about the clash between a professional gambler and a mobster sent to operate a mob-controlled Las Vegas casino. Robert De Niro, Joe Pesci and Sharon Stone starred.

3 - The Hangover

3. “The Hangover” (2009) – Todd Phillips produced and directed this hilarious comedy about four friends who to Las Vegas for a bachelor party. The groom-to-be ends up missing the following morning, and the three remaining friends search all over town to find him, despite having no memories of the previous night. Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha and Heather Graham starred.

4 - Bugsy

4. “Bugsy” (1991) – Warren Beatty and Annette Bening starred in this biography of mobster Ben Siegal during his time in Los Angeles and Las Vegas. Directed by Barry Levinson, the movie co-starred Harvey Keitel and Ben Kingsley.

5 - Ocean Eleven

5. “Ocean’s Eleven” (2001) – This remake of the 1960 movie also served as the first entry of Steven Soderbergh’sOCEAN TRILOGY. In it, Danny Ocean and a group of thieves plot the heist of three Las Vegas casinos owned the current boyfriend of Ocean’s ex-wife. George Clooney, Brad Pitt, Matt Damon, Julia Roberts and Andy Garcia starred.

6 - Rush Hour 2

6. “Rush Hour 2” (2001) – Jackie Chan and Chris Tucker re-teamed in this sequel to their 1998 hit, in which they go up against a counterfeit ring that takes them from Hong Kong to Los Angeles and finally Las Vegas. Brett Ratner directed.

7 - Diamonds Are Forever

7. “Diamonds Are Forever” (1971) – Sean Connery starred as James Bond in this adaptation of Ian Fleming’s 1956 novel. The British agent investigates a diamond smuggling operation that leads him to the crime organization SPECTRE and arch nemesis Ernst Stravos Blofeld. Directed by Guy Hamilton, the movie co-starred Jill St. John and Charles Gray.

8 - Viva Las Vegas

8. “Viva Las Vegas” (1964) – Elvis Presley and Ann-Margaret lit up the screen in this musical about a race car driver forced to find a way to raise money to enter a race in Las Vegas, while romancing a hotel swim instructor. George Sidney directed.

9 - Miss Congeniality Armed and Fabulous

9. “Miss Congeniality: Armed and Fabulous” (2005) – Sandra Bullock stars in this sequel to 2001’s “MISS CONGENIALITY”, as the now famous F.B.I. agent Gracie Hart. When two of her friends – Miss United States and pageant commentator Stan Fields – are kidnapped, she recruits the help of fellow agent Sam Fuller to help her. Directed by John Pasquin, Regina King and William Shatner co-starred.

10 - Honeymoon in Vegas

10. “Honeymoon in Vegas” (1992) – Nicholas Cage starred in this comedy about a man who loses a great deal of money to a professional gambler, while in Vegas to marry his girlfriend. The gambler agrees to clear the debt in exchange for a weekend with the girlfriend, who reminds him of his late wife. Directed by Andrew Bergman, the movie co-starred Sarah Jessica Parker and James Caan.

New Ranking of JAMES BOND Movies

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With the recent release of the new James Bond movie, “SKYFALL”, I have made a new ranking of all the Bond films produced and released by EON Productions (do not expect to find 1967’s “CASINO ROYALE” or 1983’s “NEVER SAY NEVER AGAIN” on this list) from favorite to least favorite:

 

NEW RANKING OF JAMES BOND MOVIES

1-On Her Majesty Secret Service

1. “On Her Majesty’s Secret Service” (1969) – The only film to feature Australian George Lazenby, this adaptation of Ian Fleming’s 1963 novel has James Bond’s search for master criminal Ernst Stravos Blofeld affecting his private life. Directed by Peter Hunt, the movie also stars Diana Rigg and Telly Savalas.

2-Casino Royale

2. “Casino Royale” (2006) – Daniel Craig made his debut as James Bond in this adaptation of Fleming’s 1953 novel about Bond’s efforts to beat a banker for a terrorist organization at a poker tournament, in order to force the latter to provide information about the organization. Directed by Martin Campbell, the movie co-stars Eva Green, Mads Mikkelsen and Judi Dench.

3-The Living Daylights

3. “The Living Daylights” (1987) – Timothy Dalton made his debut as Bond in this partial adaptation of Fleming’s 1966 short story in which Bond’s efforts to stop a Soviet sniper from killing a defector leads to a revelation of a conspiracy between the defector and an American arms dealer. Directed by John Glen, the movie co-stars Maryam D’Abo, Joe Don Baker and Jeroen Krabbe.

4-For Your Eyes Only

4. “For Your Eyes Only” (1981) – Based on two Fleming short stories from 1960, the movie has Bond searching for a missing missile command system, while becoming tangled in a web of deception spun by rival Greek businessmen and dealing with a woman seeking revenge for the murder of her parents. Co-starring Carole Bouquet, Julian Glover and Topol; the movie marked the directing debut of John Glen.

5-From Russia With Love

5. “From Russia With Love” (1963) – Terence Young directed this adaptation of Fleming’s 1957 novel about Bond’s efforts to acquire the Soviet’s Lektor machine, unaware that he is being set up by SPECTRE. The movie starred Sean Connery as Bond, along with Daniela Bianchi, Lotte Lenya, Robert Shaw and Pedro Armendáriz.

6-Octopussy

6. Octopussy” (1983) – A fake Fabergé egg and a fellow agent’s death leads James Bond to uncover an international jewel smuggling operation, headed by the mysterious Octopussy, being used by a Soviet general and an Afghan prince to disguise a nuclear attack on NATO forces in West Germany. Directed by John Glen, the movie stars Roger Moore as Bond, Maud Adams, Louis Jordan, Steven Berkoff and Robert Brown in his debut as “M”.

7-Thunderball

7. “Thunderball” (1965) – Adapted from Fleming’s 1961 novel, this movie has Bond and CIA agent Felix Leiter attempting to recover two nuclear warheads stolen by SPECTRE for an extortion scheme. Directed by Terence Young, the movie stars Sean Connery as Bond, Claudine Auger, Adolfo Celi and Luciana Paluzzi.

8-Goldeneye

8. “Goldeneye” (1995) – Pierce Brosnan made his debut as Bond in this tale about the agent’s efforts to prevent an arms syndicate from using Russia’s GoldenEye satellite weapon against London in order to cause a global financial meltdown. Directed by Martin Campbell, the movie co-stars Sean Bean, Izabella Scorupco, Famke Janssen and Judi Dench in her debut as “M”.

9-The Spy Who Loved Me

9. “The Spy Who Loved Me” (1977) – Taking its title from Fleming’s 1962 novel, this movie has Bond and Soviet agent Anya Amasova investigate the disappearances of British and Soviet submarines carrying nuclear warheads. Directed by Lewis Gilbert, the movie starred Roger Moore as Bond, Barbara Bach, Kurt Jurgens and Richard Kiel.

10-Quantum of Solace

10. “Quantum of Solace” (2008) – Taking its title from a Fleming short story, this movie is a follow up to “CASINO ROYALE”, continuing Bond’s investigation into the terrorist organization Quantum, while dealing with the emotional effects of a tragic death. Directed by Marc Foster, the movie starred Daniel Craig as Bond, Olga Kurylenko and Mathieu Amalric.

11-License to Kill

11. “License to Kill” (1989) – Directed by John Glen, this movie has Bond resigning from MI-6 in order to seek revenge against the Latin American drug lord that maimed his best friend, Felix Leiter. The movie starred Timothy Dalton as Bond, Carey Lowell, Robert Davi, Talisa Soto and Don Stroud.

12-The World Is Not Enough

12. “The World Is Not Enough” (1999) – Directed by Michael Apted, the movie has Bond uncovering a nuclear plot, when he protects an oil heiress from her former kidnapper, an international terrorist who cannot feel pain. The movie starred Pierce Brosnan as Bond, Sophie Marceau, Robert Carlyle and Denise Richards.

13-A View to a Kill

13. “A View to a Kill” (1985) – Taking its title from one of Fleming’s 1960 short stories, this film has Bond investigating an East-German born industrialist with possible ties to the KGB. Directed by John Glen, the movie starred Roger Moore as Bond, Tanya Roberts, Christopher Walken and Grace Jones.

14-You Only Live Twice

14. “You Only Live Twice” (1967) – Loosely based on Fleming’s 1964 novel, the movie has Bond and Japan’s Secret Service investigating the disappearance of American and Soviet manned spacecrafts in orbit, due to the actions of SPECTRE. Directed by Lewis Gilbert, the movie starred Sean Connery as Bond, Mie Hama, Akiko Wakabayashi, Tetsurō Tamba and Donald Pleasence.

15-Die Another Day

15. “Die Another Day” (2002) – A failed mission in North Korea leads to Bond’s capture, fourteen months in captivity, a desire to find the MI-6 mole responsible and a British billionaire with ties to a North Korean agent. Directed by Lee Tamahori, the movie starred Pierce Brosnan as Bond, Halle Berry, Toby Stephens, Rosamund Pike and Will Yun Lee.

16-Live and Let Die

16. “Live and Let Die” (1973) – Roger Moore made his debut as Bond in this adaptation of Fleming’s 1954 novel about MI-6’s investigation into the deaths of three fellow agents who had been investigating the Prime Minister of San Monique.

17-Moonraker

17. “Moonraker” (1979) – Based on Fleming’s 1955 novel, this movie features Bond’s investigation into the disappearance of a space shuttle on loan to the British government by a millionaire with catastrophic plans of his own. Directed by Lewis Gilbert, the movie starred Roger Moore as Bond, Lois Chiles, Michel Lonsdale and Richard Kiel.

18-Tomorrow Never Dies

18. “Tomorrow Never Dies” (1997) – Bond and a Chinese agent form an alliance to prevent a media mogul from creating a war between Britain and China in order to obtain exclusive global media coverage. Directed by Roger Spottiswoode, the movie starred Pierce Brosnan as Bond, Michelle Yeoh, Jonathan Pryce and Teri Hatcher.

19-The Man With the Golden Gun

19. “The Man With the Golden Gun” (1974) – Loosely based on Fleming’s 1965 novel, this movie has Bond sent after the Solex Agitator, a device that can harness the power of the sun, while facing the assassin Francisco Scaramanga, the “Man with the Golden Gun”. Directed by Guy Hamilton, the movie starred Roger Moore as Bond, Britt Ekland, Christopher Lee and Maud Adams.

20-Dr. No

20. “Dr. No” (1962) – Based upon Fleming’s 1958 novel, this movie kicked off the Bond movie franchise and featured Sean Connery’s debut as the British agent, whose investigation into the death of a fellow agent leads him to a Eurasian agent for SPECTRE and their plans to disrupt the U.S. space program. Directed by Terence Young, the movie co-starred Ursula Andress and Joseph Wiseman.

21-Skyfall

21. “Skyfall” – Directed by Sam Mendes, this film has Bond’s loyalty to “M” tested, when her past comes back to haunt her in the form of a former agent, who initiates a series of attacks upon MI-6. The movie starred Daniel Craig as Bond, Judi Dench, Javier Bardem and Naomie Harris.

22-Diamonds Are Forever

22. “Diamonds Are Forever” (1971) – Based on Fleming’s 1956 novel, this movie has Bond’s investigations into a diamond smuggling ring lead to another conflict with SPECTRE and Ernst Stravos Blofeld. Directed by Guy Hamilton, the movie starred Sean Connery as Bond, Jill St. John and Charles Gray.

23-Goldfinger

23. “Goldfinger” – Based on Fleming’s 1959 novel, this movie has Bond investigating a German-born gold magnate, who harbors plans to destroy the U.S. gold supply at Fort Knox. Directed by Guy Hamilton, the movie starred Sean Connery as Bond, Honor Blackman and Gert Frobe.

“THE MAN WITH THE GOLDEN GUN” (1974) Review

“THE MAN WITH THE GOLDEN GUN” (1974) Review

What can I say about 1974’s “THE MAN WITH THE GOLDEN GUN”? It is not the worst James Bond movie I have ever seen. I can think of at least two or three of which I have a lower opinion. But I do believe that it is the worst Roger Moore film in the franchise.

Apparently screenwriter Tom Mankiewicz believed the same. He made the decision to bow out of adapting Ian Fleming’s 1965 novel, before the script could be finished. The plot for “THE MAN WITH THE GOLDEN GUN” focused on the Solex Agitator – a device which can harness the power of the sun. Before Bond could investigate the death of scientist who was thought to be in possession of information crucial to the creation of the Solex Agitator, he has to find out why hitman Francisco Scaramanga had sent a golden bullet to him.

It turns out that Scaramanga’s long-suffering mistress, Andrea Anders, had sent the bullet to Bond, hoping that he would kill the hitman. Eventually, Bond teams up with MI-6 agents Mary Goodnight and Lieutenant Hip against Francisco Scaramanga – The Man with the Golden Gun and his employer, billionaire Hai Fat. Eventually Scaramanga kills Hai Fat and become the sole possessor of the Solex Agitator. He also kills Andrea and kidnaps Goodnight. Bond tracks Scaramanga to an island of mainland China, where the action finally culminates in a duel between the two men – Bond’s Walther PPK against Scaramanga’s Golden Gun.

I must admit that the movie’s plot seemed interesting. It certainly did not seem like the disappointment that “LIVE AND LET DIE” turned out to be. I thought it was a lot better than the plot created by Fleming for his 1965 novel. The problem with “THE MAN WITH THE GOLDEN GUN” is that it was so poorly executed . . . especially by director Guy Hamilton. There seemed to be a lack of style or substance in how the movie was directed.

Roger Moore’s performance did not help matters. After his impressive debut in his previous movie, many Bond fans made a fuss over the fact that Moore’s Bond seemed nothing like Connery’s Bond. Which led to Moore being forced to attempt a recapture of Connery’s style. And it did not work. He came off as false and almost wooden. Only two scenes saved Moore’s performance from being a complete bust – his encounter with the Macao gunsmith, Lazar (“Speak now or forever hold your piece.”) and the Bond/Scaramanga confrontation during luncheon on the assassin’s island when Bond expresses his dislike of Scaramanga’s suggestion that the British agent is nothing more than a fellow assassin.

Speaking of Scaramanga, EON Productions had the good fortune to cast Christopher Lee (the future Count Dooku and Sarauman) as the movie’s main villain, expert assassin Francisco Scaramanga. The scene that featured Scaramanga’s recollection of a pet elephant produced a very poignant performance from Lee. In fact, only Lee and South Korean actor, Soon-Tek-Oh (who portrayed MI-6 agent Lieutenant Hip) seemed to be the only two cast members who gave consistently excellent performances throughout the entire film.

I certainly cannot say the same about the other supporting cast members. Herve Villachaise (four years before “FANTASY ISLAND”) simply annoyed me. Maud Adams seemed to be her usual wooden self. Britt Ekland, although a good actress, had the bad luck to portray the annoyingly clumsy Mary Goodnight. Bernard Lee seemed a bit over-the-top in his constant annoyance toward Bond and Hip. Even worse, I never understood M’s willingness to blame an innocent Bond for the death of government scientist Dr. Gibson. Desmond Llewellyn’s portrayal of Q struck me as equally annoying as M seemed to find him. I do not even recall the quality of Lois Maxwell’s brief performance as Moneypenny.

I must admit that cinematographers Ted Moore and Oswald Morris beautifully captured the exotic allure of Southeast Asia. It seemed a pity that John Barry could not produce a memorable score and that Don Black wrote what I consider to be the second worst Bond theme song (performed by Lulu) in the franchise’s history. Oh well. Nothing is perfect. Unfortunately for“THE MAN WITH THE GOLDEN GUN”, it was far from perfect.

“LIVE AND LET DIE” (1973) Review

 

“LIVE AND LET DIE” (1973) Review

Between 1967 and 1972, EON Productions spent a chaotic five years trying to find one man to settle down portray James Bond following Sean Connery’s decision to retire from the role. Nineteen sixty-eight found Australian model, George Lazenby in the role. But after one movie, the excellent ”ON HER MAJESTY’S SECRET SERVICE”, Lazenby decided that he did not want to continue the role. Connery came back for one last movie – ”DIAMONDS ARE FOREVER”, but did not bother to stick around. Then in 1972, Broccoli and Saltzman hired Roger Moore (famous for the TV series,”THE SAINT”) to portray the British agent. And Moore went on to play the role for the next 12 years. But he had to start somewhere and he did with 1973’s ”LIVE AND LET DIE”. This was the very first Bond movie I had ever seen. Although I have a great sentimental attachment to it, I do not really consider it to be amongst the finest in the franchise. Nor is it a personal favorite of mine.

Following the murders of three MI-6 agents (in New York, New Orleans and the fictional island of San Monique), Bond is assigned by M to investigate their deaths. His investigations in New York leads him to a Harlem gangster named Mr. Big. But as it turns out, Mr. Big is also San Monique’s foreign minister. Bond eventually learns that Kanaga/Mr. Big plans to use the heroin grown in the San Monique opium fields to flood the current heroin market and gain complete control of the U.S. drug market. He killed the three British agents, because apparently they were in danger of stumbling upon his scheme.

I am going to be frank. As much as I like ”LIVE AND LET DIE”, I have never been impressed by its screenplay, adapted by Tom Mankiewicz from Ian Fleming’s 1954 novel. It never made any sense to me that the British government would be interested in the activities of a diplomat from an island that had obviously been a former French colony, or an American gangster. If the three agents and Bond had been French, I could see them working with CIA agent Felix Leiter on this case. But there you have it. And Bond’s San Monique showdown with Kanaga had always struck me as being rather disappointing. Another aspect of the movie I found disappointing was the leading lady – namely Jane Seymour as Kanaga’s Tarot card seer, Solitaire. I have nothing against Seymour’s performance. She seemed to be her usual competent self. But other than predicting Bond’s arrival in New York and later, at Kanaga’s San Monique estate, and warning Bond about Rosie Carver (via a Tarot card); I found nothing impressive about Solitaire’s role in the story. Especially since she eventually became nothing more than a moaning damsel-in-distress. And Geoffrey Holder as Baron Semedi did not really do much for me, but his ghostly appearance at the end of the movie was memorable.

Fortunately, ”LIVE AN LET DIE” had its virtues. Roger Moore’s long experience with action roles in television (”MAVERICK””THE SAINT”, and ”THE PERSUADERS”) allowed him to segued into the Bond role with great ease. He already seemed very comfortable in the role and without any problems, managed to establish his own style. Unfortunately, very few people appreciated this. And Yaphet Kotto created an impressive villain in an interesting duel role as the smooth and intelligent Kanaga/the bombastic Mr. Big. To this day, Julius Harris’ TeeHee remains one of my favorite Bond henchmen of all time. All I can say was that the man was perfect – humorous, yet very menacing. David Hedison’s friendship with Moore proved to be very effective in his first outing as CIA agent, Felix Leiter. The warmth and easy between Leiter and Bond seemed more apparent than in any other Bond film. And I rather enjoyed Gloria Hendry’s performance as the amusingly clumsy, yet treacherous Rosie Carver. And let us not forget the hilarious and unforgettable Clifton James as the long-suffering Southern lawman, Sheriff J.W. Pepper. James’ peformance was so impressive that the producers brought him back to reprise his role in 1974’s ”THE MAN WITH THE GOLDEN GUN”.

Also among ”LIVE AND LET DIE”’s virtues was its smooth direction by Guy Hamilton, which included a rather fun boat chase through the Louisiana bayou, fine performances and the rich atmosphere of New York’s Harlem and New Orleans. Cinematographer Ted Moore did much to contribute to the film’s atmosphere. But it is the movie’s score by George Martin and theme song by Paul McCartnery and Wings that seemed to be the movie’s most impressive virtue . . . other than Moore, Kotto and James’ performances. Although ”LIVE AND LET DIE”’s story remains unimpressive to me, it still turned out to be a rather entertaining film.

“DIAMONDS ARE FOREVER” (1971) Review

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”DIAMONDS ARE FOREVER”  (1971) Review

I might as well be frank. After my recent viewing of ”DIAMONDS ARE FOREVER”, I have come to the conclusion that it just might truly be the worst Bond movie ever released by EON Productions. I certainly view it as an unworthy follow-up to the superb ”ON HER MAJESTY’S SECRET SERVICE”. Yet, despite my low opinion of the movie, I also found it to be very funny.

The movie’s pre-credits started the movie out with a montage featuring Bond’s search for Ernst Stravos Blofeld, head of SPECTRE and the man responsible for the brutal murder of the agent’s wife of a few hours, Teresa Bond. And yet . . . the movie had never clearly stated that Bond wanted revenge for his wife’s death. Rather curious. I suppose that Broccoli and Saltzman wanted the audience to forget about ”OHMSS” . . . and at the same time, remember that Bond had a reason to seek revenge against Blofeld. The movie eventually unfolded a tale featuring a diamond smuggling operation from South Africa to Amsterdam and finally to Las Vegas. Apparently, the operation seemed to becoming to an end, since two assassins – the very funny Mr. Wint and Mr. Kidd, played by Bruce Glover and Putter Smith – seemed to be killing every courier/link that formed the smuggling ring. Her Majesty’s government, worried that the stability of the diamond market might be threatened if all the hoarded diamonds are released at the same time, ordered MI-6 to investigate. M assigned Bond to investigate the matter. At first, the British agent (along with diamond smuggler Tiffany Case, Felix Leiter and the CIA) discovered that a reclusive American millionaire named Willard Whyte might be behind the smuggling operation and the murders. But this proves to be a red herring and Bond finally realized that Blofeld (whom he thought he had killed in the pre-credit sequence) had taken control of Whyte’s business operation to use the diamonds to create a satellite with a powerful laser on board in order to blackmail the world. And of course, Bond destroyed Blofeld’s operation before the villain could blow up Washington D.C.

What is it about ”DIAMONDS ARE FOREVER” that made it such a terrible Bond movie? One of the main culprits had to be Richard Maibaum and Tom Mankiewicz’s screenplay. Their first mistake came in the form of Bond’s search for Ernst Stravo Blofeld in the movie’s pre-credit sequence. It all seemed so vague . . . almost pointless. In fact, it seemed as if the screenwriters and producers Cubby Broccoli and Harry Saltzman had been torn between a desire to make fans forget about ”OHMSS”’s tragic ending and a fear that those same fans might not forget. Which would explain why the movie’s opening found Bond traveling from one location to another in search of Blofeld. He even managed to nearly strangle one contact with her bikini top, titillating certain fans of the franchise. Yet, not once did Bond ever mention his late bride or her murder – obviously the main reason behind his search for SPECTRE’s leader. I could not help but conclude that the entire sequence was nothing but a cop-out.

And the story had failed to improve following the opening credits. I never could understand why Her Majesty’s government had deemed it necessary for MI-6 to investigate a diamond smuggling operation. Why not seek the assistance of an agency like Interpol or something? And why would the CIA be interested in such a case? Both MI-6 and CIA’s interest all came about before the revelation of Blofeld using the diamonds to create a weapon to extort the major superpowers. And I never could understand this.

Bond’s investigation took him to Amsterdam, impersonating one of the links in the smuggling operation – Peter Franks. From this point forward, a serious of implausible moments appeared in the story. After a fight with the real Peter Franks, who had appeared at Tiffany Case’s Amsterdam apartment, Bond planted his own wallet in the dead smuggler’s jacket. Tiffany discovered the wallet and expressed dismay at the idea of someone killing ‘James Bond’. Could someone please explain how a diamond smuggler would know about a MI-6 government agent, yet have no knowledge of Blofeld or the fact that he had been her actual boss? And there are more implausible moments to follow:

-After Mr. Slumber prevented Bond from being incinerated, Bond accused him and Shady Tree of giving him bad money (they saved him, because he had switched the real diamonds for fakes). Yet, he pocketed the ’bad money’and used it at one of the Vegas hotel/casinos.
-Bond and Tiffany found dead prostitute Plenty O’Toole in the latter’s Vegas swimming pool. Apparently, there had been a scene in which Plenty (who had been dumped out of Bond’s hotel room and into a swimming pool by gangsters working for Tiffany) had returned to Bond’s room and found Tiffany’s purse. If this is true, I can see why this scene had been cut, because it lacked sense. But why had EON Productions failed to cut the scene featuring the discovery of Plenty’s body, as well?
-The stunt featuring Bond’s two-wheeler driving of Tiffany’s Red Mustang through a narrow alley seemed . . . questionable.
-Why on earth did Bond bother to wear a tuxedo in order to break into Willard Whyte’s penthouse?
-Since Blofeld had left instructions to Bond (impersonating as SPECTRE minion, Burt Saxby’s voice) over the telephone to kill Willard Whyte, how did Saxby learn of the assignment in order to appear at Whyte’s house to do the job?
-Why would Tiffany be suspicious of a Blofeld in drag and tail him, when she never knew how he looked in the first place? And I doubt that she knew about the cat.

”DIAMONDS ARE FOREVER”’s script had ended in a rather disappointing showdown on a SPECTRE-controlled oil rig off Baja California. Come to think of it, Blofeld’s “death” and Bond’s showdown with Mr. Wint and Mr. Kidd seemed equally lame.

The movie had also marked Sean Connery’s last appearance as the agent in an EON Productions’ Bond film. He returned following George Lazenby’s decision not to continue with the Bond role. Granted, Connery’s performance had its moments. He seemed to be at his funniest in this movie, displaying a true flair for comedy. And his elevator fight with Joe Robinson (portraying Peter Franks0 made it apparent that he had not lost his touch with action films, following a four-year hiatus from the Bond franchise. And yet . . . I could not help but wish that Lazenby had continued his tenure as James Bond, following ”OHMSS”. Perhaps the Australian’s presence could have guaranteed a more serious follow-up to Tracy Bond’s death. Then again . . . perhaps not. And despite Connery’s comedic touch, he seemed to have lost some of the fire that had made his earlier performances as Bond so memorable. In fact, he seemed to have sailed through the entire movie without any true depth.

There seemed to be a split opinion amongst fans regarding Jill St. John’s performance as smuggler Tiffany Case. Some viewed the red-haired Tiffany as a funny, smart and sassy woman. Others regarded her as nothing more than a bubble-headed bimbo. Personally, I agree with both views. I liked St. John’s sharp portrayal of Tiffany in the movie’s first hour or so. She portrayed the smuggler as a sharp-tongued woman who was shrewd enough to keep Bond’s paws off of her, until she needed him for her advantage. And she helped Bond infiltrate Willard Whyte’s desert laboratory. But once Blofeld was revealed to be alive, Tiffany became this idiot bimbo who allowed herself to get caught by Blofeld; and who helped Bond on the oil rig and later against Wint and Kidd with great ineptitude. Her character seemed to have lost its steam by the movie’s last half-hour.

Charles Gray, who had been last seen as a murdered MI-6 agent in ”YOU ONLY LIVE TWICE”, became the third actor to portray SPECTRE leader Ernst Blofeld on screen. I have to give points to the British actor for being the wittiest villain in the franchise’s history. Although he had spent most of his on-screen time in the movie’s second half, more witticism streamed out of Gray’s mouth than any other actor or actress. And as funny as he was, this abundance of witticism had also lessened his impact as a villain, I am sorry to say. This seemed rather odd for an actor like Gray, who has proven to be more intimidating in other roles.

”DIAMONDS ARE FOREVER”’s supporting cast had seemed at best, a mixed blessing. Not many Bond fans have been impressed by Norman Burton’s gruff performance as CIA agent Felix Leiter. Frankly, I found his gruffness rather amusing. Speaking of gruffness, Bernard Lee seemed downright acerbic and hostile during his brief appearance as M. Neither Lois Maxwell and Desmond Llewellyn as Moneypenny and Q, respectively, came off as memorable in this movie.

Marc Lawrence and Sig Haig had portrayed two of the gangsters who popped up during Bond’s first day in Las Vegas. Unfortunately, they came off as movie gangsters from a 30s crime melodrama, instead of modern day thugs. Donna Garratt and Trina Parks portrayed Willard Whyte’s bodyguards, Bambi and Thumper. I must admit that they were memorable, although Ms. Parks had struck me as a bit of a drama queen. Lana Wood (Natalie Wood’s younger sister) portrayed the unfortunate Plenty O’Toole. And honestly? I now feel that Ms. Wood was one of THE WORST actresses to appear in a Bond movie. Okay, make that the second worst. I consider Marguerite Le Wars, the actress who played the photographer in ”DR. NO” to be the worst.

Speaking of bad acting, who on earth had the bright idea to cast Country-Western singer, Jimmy Dean, as Willard Whyte? No wonder he had never pursued a movie career. Dean must have been the biggest ham in the movie, considering his tendency to bellow nearly every word that came out of his mouth. Hollywood star Bruce Cabot (”KING KONG” [1933]) seemed like a waste of time in his role as Blofeld minion, Burt Saxby. What a shame, especially since ”DIAMONDS ARE FOREVER” was his last film. The movie’s bright spot came in the forms of Bruce Glover and Putter Smith as Blofeld’s assassins, Mr. Wint and Mr. Kidd. Glover and Smith portrayed these two hitmen (and possible lovers?) with wit, style and a delicious touch of menace. It seemed a shame that they were killed off in one of the lamest action sequences of any Bond film.

I am trying to think of a Bond movie directed by Guy Hamilton that has really impressed me. So far, I cannot think of one. ”DIAMONDS ARE FOREVER” is certainly not that movie. Granted, it has its bright points – the witty humor, a sassy Tiffany Case in the film’s first half, a great fight scene between Connery and Robinson; along with Bruce Glover and Putter Smith. I would also like to add that I also enjoyed the film’s musical score by John Barry and the theme song, performed by Shirley Bassey. Granted, the song lacked the excitement and brashness of ”GOLDFINGER” and the lyrical beauty of ”MOONRAKER”, but I still managed to enjoy it. But considering some of the second-rate performances found in this movie, along with poor editing and piss poor writing by Maibaum and Mankiewicz, ”DIAMONDS ARE FOREVER” strikes me as being the complete nadir of the Bond franchise. And that is saying something about a movie that I still enjoy watching . . . much to my continuing surprise.

Memorable Lines

Mr. Wint: The scorpion.
Mr. Kidd: One of nature’s finest killers, Mr. Wint.
Mr. Wint: One is never too old to learn from a master, Mr. Kidd.

Sir Donald Munger: Tell me, Commander, how far does your expertise extend into the field of diamonds?
Bond: Well, hardest substance found in nature, they cut glass, suggest marriages, I suppose it replaced the dog as the girl’s best friend. That’s about it.
M: Refreshing to hear that there is one subject you’re not an expert on!

Mr. Kidd: Well, they’re both aboard, and I must say Miss Case seems quite attractive…
[Mr. Wint glares at him]
Mr. Kidd: …For a lady. [pause] Heh heh heh heh!

Plenty O’Toole: Hi, I’m Plenty.
Bond: But of course you are.
Plenty O’Toole: Plenty O’Toole.
Bond: Named after your father perhaps?

[Plenty O’Toole is thrown out of the window by some goons perhaps from the 10th floor, and lands in the middle of the hotel’s swimming pool]
Bond: [looking down] Exceptionally fine shot.
Slumber Inc. Attendant: I didn’t know there was a pool down there.

[to a rat]
Bond: Well, one of us smells like a tart’s handkerchief.
[sniffs]
Bond: I’m afraid it’s me. Sorry, old boy.

“Listen, you can drop me off at the next corner. This whole thing is getting a little out of hand. No regrets, but when you start stealing moon machines from Willard Whyte, GOOD bye and GOOD Luck!” – Tiffany Case

Blofeld: Tiffany, my dear. We’re showing a bit more *cheek* than usual, aren’t we?
[Tiffany takes the cassette out from her bottom and hands it to Blofeld]
Blofeld: [to the guards] Take her below and lock her up with Mr. Bond.
[the guards take her to a cell]
Blofeld: What a pity, such nice cheeks too. If only they were brains.

Tiffany: Oh, James.
Bond: Oh, yes. What were you about to ask me?
Tiffany: James, how the hell do we get those diamonds down again?

[Bond tastes the Mouton Rothschild wine served]
Bond: The wine is quite excellent. Although for such a grand meal I would have expected a claret.
Mr. Wint: But of course. Unfortunately our cellar is poorly stocked with clarets.
Bond: Mouton Rothschild IS a claret. And, I’ve smelled that aftershave before, and both times – I’ve smelled a rat.

“Making mud pies, 007?” – Blofeld

Bond: What do you intend to do with those diamonds?
Blofeld: An excellent question. And one which will be hanging on the lips of the world quite soon. If I were to break the news to anyone it would be to you first, Mr. Bond, you know that.

Blofeld: You killed my only other double, I’m afraid. After his death, volunteers were understandably… rather scarce.
Blofeld Double: Such a pity. All that time and energy wasted, simply to provide *you* with one mock, heroic moment.

Bond: Saxby!
Willard Whyte: Burt Saxby? Tell him he’s fired!

Bond: Surely, sir, there’s no need to involve our section on a relatively simple smuggling matter.
M: Sir Donald has convinced the PM otherwise. May I remind you 007, that Blofeld is dead. Finished! The least we can expect from you now is a little *plain*, *solid*, *work*.

“Well go on, go on, it’s merely a lift. Or should I say elevator? In any event I’m sure you’ll find it far more convenient than mountaineering about outside the Whyte House.” – Blofeld

Tiffany: “Well, that’s a switch!”
Bond: “What’s that?”
Tiffany: “The wolf being guarded by the three little pigs!”

“I expected at least one head of state… Your pitiful little island hasn’t even been threatened!” – Blofeld

“As you see, Mr Bond, the satellite is, at present, over Kansas. But if we destroy Kansas, the world may not hear about it for years.” – Blofeld

3/10