James Bond in review - From Russia With Love (Terence Young, 1963)

"Take it easy '07. My escape route's only for one!"

After President Kennedy confirmed From Russia With Love among his top ten reads, producers Broccoli and Saltzman decided to follow the successful Dr No with an adaptation of Fleming's 5th Bond novel. Remarked by Connery himself as high on intrigue and light on technology and gadgetry, From Russia is perhaps the greatest Bond film in the series to date. Though many would disagree, opting instead for the following film Goldfinger, it is arguably with the second Bond adventure that plot and characterisation gel so effectively without the necessity of having grandiose set pieces and ridiculous names that serve humourous purposes.

Bond and Tatiana meet and soon get to know each other very well, oblivious to the fact that they are being watched by Grant and Klebb

The plot is intricately woven and the actors play their characters to perfection with absolute conviction - yes, I'm talking about Robert Shaw's unbeatable Bond baddie Donald Grant. Connery is on brilliant form in his first three Bond films in particular but he clearly relished making this film and it shows on screen. It couldn't have been too bad a shoot to have the creator himself, Mr Fleming, on set to give Connery the seal of approval and to offer his advice on adapting his novel for the screen. Connery appreciated the intricate plot and having Bond rely on instincts rather than gadgetry, a move that the producers seem just as happy to develop with the recent 'it could actually happen' ethos of the Daniel Craig Bonds.

The greatest Bond face-off with Robert Shaw's deliciously evil Red Grant on the Orient Express

Everything is close to perfection here. Peter Hunt's editing is incredible and in certain scenes that need no introduction (look at the image above), groundbreaking. John Barry gives us the pleasure of the alternative 007 Theme for the first time; his dynamic and versatile score lending the film musical class and furthermore enhancing the viewing pleasure. Terence Young returns to the director's chair and remains the best and most able Bond director the series has seen so far and series stalwart Desmond Llewellyn gives birth to the gadget master Q that he will continue to play for a further 16 films in the series. Add to this intoxicating mix the first pre-credits teaser sequence that has become a motif of the series ever since and Robert Brownjohn's brilliant titles screened over the undulating bodies of belly dancers and you have a Bond film that stands the test of time and makes for one of the most intriguing stories in the series.

James Bond will return.....

The second James Bond gun barrel in sparkly HD

James Bond in review - Dr No (Terence Young, 1962)

"If you carry a 00 number it means you're licenced to kill, not get killed

[...] You'll carry the Walther"

It's that age old thing. When you're beginning what will inevitably become a film franchise, just how do you begin in style? A good director's guide would be to study the attention to detail, panache and charming subtlety brought to the proceedings in this first film adaptation of Ian Fleming's world famous secret agent. Dr No is the perfect cocktail of elegance, sophistication and glamour, with some great humour thrown in for good measure. When asked what were the three main ingredients of Dr No, director Terence Young was later quoted as saying "Sean Connery, Sean Connery, Sean Connery" which in all honesty is the general fan consensus. The truth however is that Connery was a relatively unknown actor prior to Bond; his biggest film, which producer Broccoli and his wife saw prior to casting him, was Darby O'Gill and the Little People in 1959. Fast forward just three years and Connery begins what will undoubtedly be the most profitable years of his career as the 007 that a generation remembers. From unknown to world famous character. It was Terence Young who was to thank for modelling Connery to fit Fleming's character persona of the novels. The man is debonair, a womaniser and utterly charming and this is well evidenced on screen.

Sean Connery introducing himself at the Chemin de Fer table with the immortal line

It is fair to say that films were not like this in the years preceeding its 1962 release. Women were not presented as provocatively as Miss Taro draped across a bed wearing only a towel or displayed with such vivacity as Ursula Andress' Honey Ryder, the benchmark for Bond girls to come, emerging iconically from the sea sporting that indelible multi purpose white bikini. Bond broke new filmic ground and the success of the first few Connery films is largely the reason for the massive popularity of Bond nearly half a century later. All the characters are very well rounded and nothing is over the top, especially where humour and lavish sets are concerned, as they would become in later entries in the series. Connery's portrayal of Bond is, at times, a little timid and unassured in his debut outing but that is understandable - the success or failure of the film would ultimately rest on his head, the protagonist, the man with his face on all the billboards. Connery manages to make an indelible mark on audiences and it's no real surprise that the film, made on what can only be described today as a shoestring budget of £1 million, made around 50 times this in ticket sales.

Ursula Andress is still the woman to beat as the beautiful Honey Ryder

Dr No is ultimately a pleasure to watch, particularly if you are watching it in its new HD transfer from Lowry. The quality is crisp, the style is quite inimitable and the passion of the filmmakers is infectious. Every penny was clearly well spent in making sure that Bond would live to 'die another day.' Bond mania was about to begin and it hasn't given in yet, thankfully.

James Bond will return... (in the next review)

Bob Simmons, stunt performer, doubles for Connery to achieve the first opening gun barrel shot of the series