LIVE AND LET DIE (1954) ***½
by Ian Fleming
This paperback edition published by Vintage, 2019, 303pp
First published by Jonathan Cape in 1954
© Ian Fleming Publications Ltd., 1954
Blurb: Mr Big is brutal, brilliant and feared worldwide. Protected by Voodoo forces and the psychic powers of his prisoner Solitaire, he is an invincible SMERSH operative at the head of a ruthless smuggling ring. James Bond’s new assignment will take him to the heart of the occult: to infiltrate this secret world and destroy Mr Big’s global network. From Harlem’s throbbing jazz joints to the shark-infested waters of Jamaica, enemy eyes watch Bond’s every move. He must tread carefully to avoid a nightmarish fate.
Comment: Ian Fleming’s follow-up to his debut James Bond novel Casino Royale is a fast-paced and entertaining read. It is also a relic of its time and the text, although softened in this version, should be taken in that context in the way it deals with its largely black cast of characters. Bond is up against Mr. Big, who is smuggling sunken pirate treasure to help fund the Russian spy network SMERSH. Bolstered by its action set-pieces – notably as Bond and Felix Leiter penetrate Mr Big’s empire resulting in Leiter “disagreeing with something that ate him” and the tense finale where Bond and Solitaire are hauled over a corral reef. The book has three settings – New York, the Florida keys and Jamaica and is the first of the books to introduce a globe-hopping element. Bond is presented as a tough and single-minded agent with little time for sentiment. Mr. Big is an impressive, if two-dimensional, villain. Themes of voodoo permeate throughout the plot, but are not fully explored. Solitaire is a little bland and her supposed powers to see into the future are underplayed as a potentially interesting character dissolves into the typical captive woman yearning for Bond to free her. Fleming was still honing his craft at this stage and better stories and plots would follow, but it remains a good example of why the series became so popular.
CASINO ROYALE (1953) ****
by Ian Fleming
This paperback edition published by Vintage, 2018, 256pp (229pp)
First published by Jonathan Cape in 1953
© Ian Fleming Publications Ltd., 1953
Introduction by Anthony Horowitz
Blurb: Le Chiffre is a businessman with expensive tastes – and SMERSH’s chief operative in France. As his dissolute lifestyle threatens to ruin him, his only hope of survival is to risk his paymasters’ money at the baccarat table. Across from him sits James Bond, the finest gambler in the British secret service. Bond’s mission: to outplay Le Chiffre and shatter his Soviet cell. midst the opulence of the Royale-les-Eaux casino, the two men face each other in a game with the highest stakes of all.
Comment: The book that started a phenomenon. Ian Flemings’ Casino Royale introduces us to Britsh spy James Bond – 007. The story is a relatively low key beginning for Bond, bearing in mind what was to follow, but that is part of the books’ charm. By pitting Bond against an enemy agent in a card game we get to delve into Bond’s character and philosophy. His attitudes, particularly to women, may seem anachronistic today but were indicative of the time the book was written. Published only a few years after the end of World War II it demonstrated how many men found it difficult to share their emotions – their sensitivities hardened by their experience by their wartime experience. The plot is fanciful in its set-up of the card game being a vehicle by which Le Chiffre urgently seeks to recover lost funds in order to redeem his benefactors. Once we have accepted the notion then we are treated to a tense battle of wills. The second half of the book deals with the aftermath of the game and includes a torture scene that has become infamous over the years and is certainly extremely sadistic – even by today’s standards. Bond’s falling for his fellow agent, Vesper Lynd, plays out alongside this and leads to a shocking finale which goes a long way to explaining Bond’s approach with women in the books that followed. Fleming’s writing is also at its tightest here and he describes the card game with a depth of knowledge. The short chapters keep the reader turning the pages by either ending on a key plot progression or mid-scene. This debut work is Fleming at his most efficient and Casino Royale remains one of the best of the series.
The James Bond novels of Ian Fleming:
Casino Royale (1953) ****
Live and Let Die (1954) ***½
Moonraker (1955) ****½
Diamonds Are Forever (1956) ***
From Russia with Love (1957) ****
Doctor No (1958) ****
Goldfinger (1959) ***½
For Your Eyes Only (1960) (short stories) ***
Thunderball (1961) ****
The Spy Who Loved Me (1962) **
On Her Majesty’s Secret Service (1963) *****
You Only Live Twice (1964) ****
The Man with the Golden Gun (1965) ***
Octopussy and the Living Daylights (1966) (short stories) ***
THE MAN WITH THE GOLDEN GUN (UK, 1974) ***
Distributor: United Artists Corporation; Production Company: Eon Productions; Release Date: 19 December 1974; Filming Dates: 18 April 1974 – 23 August 1974; Running Time: 125m; Colour: Technicolor; Sound Mix: Mono | 3 Channel Stereo (London premiere print); Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.66:1; BBFC Cert: PG – Contains moderate violence.
Director: Guy Hamilton; Writer: Richard Maibaum, Tom Mankiewicz (based on the novel by Ian Fleming); Producer: Albert R. Broccoli, Harry Saltzman; Associate Producer: Charles Orme; Director of Photography: Ted Moore, Oswald Morris; Music Composer: John Barry; Film Editor: Raymond Poulton, John Shirley; Casting Director: Weston Drury Jr., Maude Spector; Production Designer: Peter Murton; Art Director: John Graysmark, Peter Lamont; Costumes: Elsa Fennell; Make-up: Paul Engelen; Sound: Gordon Everett; Special Effects: John Stears; Visual Effects: Roy Field (uncredited).
Cast: Roger Moore (James Bond), Christopher Lee (Scaramanga), Britt Ekland (Goodnight), Maud Adams (Andrea Anders), Hervé Villechaize (Nick Nack), Clifton James (J.W. Pepper), Richard Loo (Hai Fat), Soon-Tek Oh (Hip), Marc Lawrence (Rodney), Bernard Lee (‘M’), Lois Maxwell (Moneypenny), Marne Maitland (Lazar), Desmond Llewelyn (‘Q’), James Cossins (Colthorpe), Yao Lin Chen (Chula), Carmen Du Sautoy (Saida), Gerald James (Frazier), Michael Osborne (Naval Lieutenant), Michael Fleming (Communications Officer).
Synopsis: Bond is led to believe that he is targeted by the world’s most expensive assassin and must hunt him down to stop him.
Comment: Moore’s second outing as 007 starts well, with little reliance on gadgets, but later descends into increasingly outlandish set-pieces – Lee’s flying car being a particular low point. Lee actually makes for a strong villain and Villechaize a memorable henchman, but the plot is lacking in any wider threat than that to Bond himself – the climate crisis theme of the subplot maybe even more topical today but is treated here in a tokenistic way. Again, cashing in on cinematic trends of the day the film shifts locale from that in Fleming’s novel (Jamaica) to the Far East – introducing elements of martial arts to cash in on the then-recent glut of movies inspired by Bruce Lee. The fun-house scenes that bookend the film are well shot and tense and it’s nice to see Barry return to score the films – even if the theme song is one of the series’ poorest. There are elements of the vintage Bond classics here but too often they are undermined by an increasing desire to be cute – witness the impressive car jump stunt which is totally weakened by a supposedly humorous sound effect – worse was to follow in later entries. Followed by THE SPY WHO LOVED ME (1977).
LIVE AND LET DIE (UK, 1973) ***
Distributor: United Artists Corporation; Production Company: Eon Productions; Release Date: 27 June 1973 (USA), 5 July 1973 (UK); Filming Dates: 13 October 1972 – 15 March 1973; Running Time: 121m; Colour: Colour; Sound Mix: Mono; Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.66:1; BBFC Cert: PG.
Director: Guy Hamilton; Writer: Tom Mankiewicz (based on the novel by Ian Fleming); Producer: Albert R. Broccoli, Harry Saltzman; Director of Photography: Ted Moore; Music Composer: George Martin; Film Editor: Bert Bates, Raymond Poulton, John Shirley; Casting Director: Weston Drury Jr.; Art Director: Syd Cain; Set Decorator: Simon Wakefield, Frederic C. Weiler (both uncredited); Costumes: Julie Harris; Make-up: Paul Rabiger; Sound: Ken Barker, John W. Mitchell; Special Effects: Derek Meddings; Visual Effects: Charles Staffell.
Cast: Roger Moore (James Bond), Yaphet Kotto (Kananga / Mr. Big), Jane Seymour (Solitaire), Clifton James (Sheriff Pepper), Julius Harris (Tee Hee), Geoffrey Holder (Baron Samedi), David Hedison (Leiter), Gloria Hendry (Rosie), Bernard Lee (‘M’), Lois Maxwell (Moneypenny), Tommy Lane (Adam), Earl Jolly Brown (Whisper), Roy Stewart (Quarrel), Lon Satton (Strutter), Arnold Williams (Cab Driver 1), Ruth Kempf (Mrs. Bell), Joie Chitwood (Charlie), Madeline Smith (Beautiful Girl), Michael Ebbin (Dambala), Kubi Chaza (Sales Girl), Brenda Arnau (Singer).
Synopsis: 007 is sent to stop a diabolically brilliant heroin magnate armed with a complex organization and a reliable psychic tarot card reader.
Comment: Moore’s debut appearance as 007 continues the series’ shift toward a tongue-in-cheek style initiated in DIAMONDS ARE FOREVER with its glib, sometimes dismissive, approach. Comedic overtones begin to emerge at the expense of suspense, notably in the flying school action sequence. James’ Sheriff JW Pepper proved popular with cinemagoers, if not serious Bond fans, and would return in the next film in the series. This is also the point at which the Bond films started to follow trends rather than set them. The Blaxploitation genre had exploded by this time and the themes, locations and characters presented here capitalise on this. Kotto makes for a more down to earth and formidable villain than had been the case in those 60s Bonds, but as a result, the threat seems more subdued. The film does at least boast one of the series’ strongest theme songs (courtesy of Paul & Linda McCartney) and a well-staged, if slightly overlong, boat chase. Followed by THE MAN WITH THE GOLDEN GUN (1975).
Never Say Never Again (1983; UK/USA/West Germany; Technicolor; 134m) ∗∗∗ d. Irvin Kershner; w. Lorenzo Semple Jr.; ph. Douglas Slocombe; m. Michel Legrand. Cast: Sean Connery, Barbara Carrera, Klaus Maria Brandauer, Max von Sydow, Kim Basinger, Edward Fox, Bernie Casey, Alec McCowen, Michael Medwin, Ronald Pickup, Pamela Salem, Rowan Atkinson, Valerie Leon, Milos Kirek, Anthony Sharp. A SPECTRE agent has stolen two American nuclear warheads, and James Bond must find their targets before they are detonated. Whilst it is good to see Connery return as 007, this production lacks the style and production values of the official series. There are moments of effective humour, but the action sequences are only adequately handled. Carrera and Brandauer are excellent as the SPECTRE agents, but forget Fox as M and Atkinson in an unfunny cameo. Remake of THUNDERBALL (1965). [PG]
Skyfall (2012; UK/USA; Colour; 143m) ∗∗∗∗½ d. Sam Mendes; w. Neal Purvis, Robert Wade, John Logan; ph. Roger Deakins; m. Thomas Newman. Cast: Daniel Craig, Judi Dench, Javier Bardem, Ralph Fiennes, Naomie Harris, Bérénice Marlohe, Albert Finney, Ben Whishaw, Rory Kinnear, Ola Rapace, Helen McCrory, Nicholas Woodeson, Bill Buckhurst, Elize du Toit. James Bond’s loyalty to M is tested as her past comes back to haunt her. As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost. Engrossing and emotive, this is one of the best of the series with Craig delivering his strongest performance to date as Bond and Dench having a much greater involvement as M. Whishaw debuts as a geeky young Q. Bardem stays the right side of caricature in a delicious turn as the villain of the piece. Thrilling, explosive finale at Bond’s ancestral home in the Scottish Highlands. Production credits are all top notch and Deakins’ cinematography is sumptuous. Oscar winner for Best Song (“Skyfall” by Adele and Paul Epworth) and Sound Editing (Per Hallberg and Karen Baker Landers). Based on characters created by Ian Fleming. 
Quantum of Solace (2008; UK/USA; Colour; 106m) ∗∗∗ d. Marc Forster; w. Paul Haggis, Neal Purvis, Robert Wade; ph. Roberto Schaefer; m. David Arnold. Cast: Daniel Craig, Olga Kurylenko, Mathieu Amalric, Judi Dench, Giancarlo Giannini, Gemma Arterton, Jeffrey Wright, David Harbour, Jesper Christensen, Anatole Taubman, Rory Kinnear, Tim Pigott-Smith, Joaquín Cosio, Fernando Guillén Cuervo, Jesús Ochoa. Seeking revenge for the death of his love, secret agent James Bond sets out to stop an environmentalist from taking control of a country’s valuable resource. Disappointing follow-up to CASINO ROYALE suffers more from comparison to the film it follows than to the rest of the franchise. The exceptionally tough action sequences are too frenetically shot and edited thus rendering them breathless as well as incomprehensible, save for one excellent sequence shot at the opera during a performance of “Tosca.” The characters and the plot are given little room to breathe as a result of Forster’s seeming insistence in prioritising style over substance, but Craig does continue to impress as 007. 
Casino Royale (2006; USA/UK/Germany/ Czech Republic; Colour; 144m) ∗∗∗∗∗ d. Martin Campbell; w. Neal Purvis, Robert Wade, Paul Haggis; ph. Phil Meheux; m. David Arnold. Cast: Daniel Craig, Eva Green, Mads Mikkelsen, Judi Dench, Jeffrey Wright, Giancarlo Giannini, Caterina Murino, Simon Abkarian, Isaach De Bankolé, Jesper Christensen, Ivana Milicevic, Tobias Menzies, Claudio Santamaria, Sebastien Foucan, Malcolm Sinclair. In his first mission, James Bond must stop Le Chiffre, a banker to the world’s terrorist organizations, from winning a high-stakes poker tournament at Casino Royale in Montenegro. Craig makes an excellent debut as 007 in arguably the best Bond movie. The action is fast and furious in the opening and closing sequences whilst the engrossing plot carries us through the centre of the film. All the elements are there but this is a tough, rugged entry in a series that has rebooted itself in some considerable style. Based on the novel by Ian Fleming. 
Die Another Day (2002; UK/USA; Colour; 133m) ∗∗ d. Lee Tamahori; w. Neal Purvis, Robert Wade; ph. David Tattersall; m. David Arnold. Cast: Pierce Brosnan, Halle Berry, Toby Stephens, Rosamund Pike, Rick Yune, Judi Dench, John Cleese, Michael Madsen, Will Yun Lee, Kenneth Tsang, Emilio Echevarría, Mikhail Gorevoy, Lawrence Makoare, Colin Salmon, Samantha Bond, Madonna. James Bond is sent to investigate the connection between a North Korean terrorist and a diamond mogul who is funding the development of an international space weapon. After a strong first half this overblown adventure descends into some of the worst excesses seen in a Bond film since MOONRAKER – not least the invisible car. Berry is the film’s main asset in a lively turn, but a weak and increasingly unbelievable premise along with some appalling CGI ultimately sink the film. 
World Is Not Enough, The (1999; UK/USA; Colour; 128m) ∗∗∗½ d. Michael Apted; w. Neal Purvis, Robert Wade, Bruce Feirstein; ph. Adrian Biddle; m. David Arnold. Cast: Pierce Brosnan, Sophie Marceau, Robert Carlyle, Denise Richards, Robbie Coltrane, Judi Dench, Desmond Llewelyn, John Cleese, Maria Grazia Cucinotta, Samantha Bond, Michael Kitchen, Colin Salmon, Goldie, David Calder, Serena Scott Thomas. James Bond uncovers a nuclear plot when he protects an oil heiress from her former kidnapper, an international terrorist who can’t feel pain. A return to form with this outing having more depth than most recent Bonds. There is a better balance between plot development and action sequences. Brosnan gives his best performance as 007 and Marceau is excellent as the vulnerable heiress, whilst Carlyle makes an edgy villain. Richards, however, may be the least believable nuclear scientist in screen history.