BAFTA 2012: and the winners are...

The stars were out in celebration of the last 12 months of film at London's Royal Opera House in Covent Garden on February 12th 2012 for this year's BAFTAs. First and foremost, Stephen Fry has risen in my estimation. As the host for the evening, his one-liners were spot on, his dry delivery perfectly timed and his enthusiasm for film clear for all to see.

After a rousing entrance number from Tom Jones, belting out the classic Bond theme Thunderball to celebrate the Bond series' 50th anniversary this year, the awards got under way; the first of which a deserved triumph after 10 years of nominations for the Harry Potter series. Deathly Hallows Part 2, the final film in the series, picked up Special Visual Effects. Outstanding British Film went to Tomas Alfredson's adaptation of Tinker Tailor Soldier Spy, a film that had 11 nominations at this year's ceremony and would pick up a further award for Best Adapted Screenplay. Rango took the Animated film award home and Scorsese's Hugo won Best Sound and Production Design, as well as the BAFTA fellowship award for the brilliant director.

Meryl Streep's depiction of Margaret Thatcher earned her Best Actress - if she also wins the Best Actress accolade at this year's Oscars it will be the first time she has won the award since Sophie's Choice in 1983. Christopher Plummer took home Best Supporting Actor for Beginners, Octavia Spencer took home Best Supporting Actress for The Help and perhaps the biggest disappointment of the night was that Gary Oldman lost out on Best Actor to Jean Dujardin for The Artist.

In the end, the night firmly belonged to Michel Hazanavicius' remarkable silent film The Artist. Receiving 7 BAFTAs including the Best Film gong, it goes to show that original and audacious concepts are becoming ever more welcome in an industry permeated with sequels. The results of this year's BAFTAs should leave film lovers eager for the Oscars ceremony which can be seen in the UK on Sky Movies Premiere/Premiere HD on Sunday February 26th 2012.

James Bond in review - Quantum Of Solace (Marc Forster, 2008)

"I don't give a shit about the CIA or their trumped up evidence; he's my agent and I trust him!"

It was never going to be an easy task following up the unexpectedly brilliant Casino Royale, Daniel Craig's Bond debut, with the 22nd official outing in the series. Bond's heart has been broken by the woman he loved, he has been betrayed by a criminal organisation to which he has only one lead and, perhaps the toughest of all, Craig must show that's he's not a one 'Bond' hit wonder by pushing the envelope in the series' first direct narrative sequel.

Bond and Camille walking purposefully through the desert

Taking the helm on Solace is German-born Marc Forster, a director with a keen eye for character and making locations characters of their own. Solace is, in many respects, unlike any other Bond film in the series. The film is set to breakneck pace (blink and you'll miss the action) with the shortest run time of the series and the most abrupt, dynamic editing techniques are deployed. Craig's Bond is seeking vengeance and going against authority - it's Licence to Kill with Craig instead of Dalton. In fact, it's much more than that. Daniel Craig is yet to totally convince Judi Dench's ever steely M that he can be trusted out in the field; that his emotions won't interfere with his job. The pressure is definitely on Craig to nail his second performance as Bond after a decidedly brilliant debut and needless to say he surpasses expectations.

Bond and Greene fight to the death in the burning Hotel Perla De Las Lunas in the desert

Bond is essentially a bleak character by Fleming's pen and Craig personifies this better than perhaps any of his predecessors in the role. He has his brutal moments - stabbing a contact in Port au Prince and surveying him as he slowly dies, disarming MI6 guards in a lift or dispatching M's aide Mitchell in a dramatic chase. Paradoxically, we feel for this lonely character in his reflective moments - holding a dying Mathis in his arms, shielding Camille from a burning hotel. Bond is still a conflicted soul. As Camille delicately supposes, he is still imprisoned by his thoughts and feelings for Vesper.

"Take a deep breath, you only need one shot. Make it count."

In many respects, Casino Royale and Quantum of Solace work brilliantly as an introduction to 007. We have seen the violent side of the character, we have seen the brief moments of solace and comfort and we now have the chance, with Bond 23 around the corner, to see a more playful side to Craig's Bond. As a stand alone film Solace succeeds in its own merits boasting stunning locations and some fine dialogue but more importantly, as a sequel and a character progression it is a vital addition to the series. James Bond, we 'need you back'.

James Bond in review - A View To A Kill (John Glen, 1985)

"Would you be interested primarily in stamina...or speed?"
"Well a little of both would be ideal."

June 27th 1984 – the once proudly erected 007 stage at Pinewood Studios, built to house the massive super tanker interiors for The Spy Who Loved Me is on fire. The Bond crew are preparing pre-production on Bond’s 14th adventure and Roger Moore’s last, A View To A Kill. Couple the devastation and personal loss of the stage with the fact that Moore, coming into his 7th Bond film, looks old enough to play James Bond’s dad, and there is justifiable reason to think that Bond 14 is doomed before the cameras have even begun to roll.

Christopher Walken and Grace Jones as Zorin and May Day

With the building of the new stage and the reliability of a series stalwart like Moore leading the film, the crew optimistically begin working on A View To A Kill and like a number of Moore’s Bonds it has its moments. There are some thrilling sequences like the burning of City Hall and some great characters, particularly Christopher Walken giving one of the most sadistic and wholly memorable villainous performances of Moore’s Bond tenure. For the good points there are the obligatory duff ones: Willoughby Gray as the bumbling Herr Dr Mortner/Hans Glaub; a character whose identity and methods are discovered by Bond but a character that is so underdeveloped and shoddily played it’s almost pantomimic. Then there’s the two main female characters of the piece. Tanya Roberts is whiny and frustrating as Stacey – she is given a theme of her own by John Barry which is far more than the character deserves: it’s no wonder Moore explains in the DVD commentary that there was no chemistry between Roberts and himself. Then there is Grace Jones as May Day who, despite giving a better performance than Roberts comes off as too over the top even for a Moore Bond film. Placing her and Moore in each others arms in bed together is one of the most alarming scenes in Bond history!

Moore joked that bedding Grace Jones was one of the hardest things for him to do

Kudos to Moore for deciding with A View To A Kill that it was finally time to hang his hat on Moneypenny’s stand for good. At nearly 60 he still remarkably brings good humour and an enthusiastic air to proceedings. As Moore expresses to Zorin himself in the film, “I’m almost speechless with admiration”. The one thing you can say for A View To A Kill as with each of the remaining 6 Moore Bonds is that it is entertaining to watch. The plot may be recycled, the one liners may be ludicrously corny but this is the 14th Bond and Moore’s 7th – give the writers a break. It is also still an entertaining film, more so than Octopussy. It is still uncomfortable however having Moore unzip the young Mary Stavin's top before the film’s opening credits in that predatory fashion – he looks old enough to be her grandfather!

A toast - to Roger Moore as James Bond 1973-1985

Ultimately, despite the misfires – Nick Nack, Miss Goodnight, Bond in space, Moore’s contribution to the series cannot be overstated. His films were also responsible for bringing us some series highs – the parachute jump in the pre-credits of The Spy Who Loved Me and kicking Locque’s car off the edge of the cliff in For Your Eyes Only to name two of the best. He is the actor to have played the part the most times of all to date and as former United Artists publicist Jerry Juroe has recognised he has done more publicity for the Bond series than anyone else. While A View To A Kill is most certainly not the best film for Moore to make his final bow it still remains a testament to all that he brought to the world of James Bond on the big screen. As Moneypenny states “Your dedication [...]is most commendable..." James Bond will return, in the guise of Timothy Dalton.

James Bond in review - Thunderball (Terence Young, 1965)

"You seem to be unbeatable Mr Bond!"

Over the ensuing years following its 1965 release, Thunderball has been divided amongst Bond fans. Some see it as laboured with underwater sequences and lacking the style and sophistication of the previous three films, others see it the way many saw it on its release – as the biggest Bond of all. The thing that surprised me the most, upon rewatching the film, is that despite a sometimes overly complex plot and some labouring moments, Thunderball is one of the more entertaining of the Bond films, perhaps the most entertaining of the Connery films.

Paula, Domino and Fiona chill out on the Thunderball Bahamas coastline

The elements all gel – the villains are excellent, we get to see one of the only group meetings of SPECTRE agents plotting their schemes in the series, the Bond girls are some of the best in the series – and most beautiful – and Sean Connery actually feels at ease in the role, relishing the humour and the sun of the Bahamas. Add to this mix the return of Terence Young as director and another terrific score from Bond veteran John Barry and Thunderball looks and sounds brilliant. The cynics of Thunderball all latch onto the length of the underwater scenes in the film. It’s surprising therefore to discover that these scenes make up less than 25 minutes of the two hour screen time. The scenes themselves, in particular the climactic underwater battle – Bond versus Largo – is brilliantly filmed and draws the film to a fine conclusion. Domino ultimately defeating her tormenter is a nice touch and the frenetic editing on the Disco Volante adds to the excitement.

Largo, SPECTRE agent number 2

The real treat of the film is undoubtedly Luciana Paluzzi’s Fiona Volpe. She is one of the best villainesses in the series and clearly relishes the role. It seems ridiculous to even try to picture her as Domino, the heroine of the film, the role that she originally auditioned for. She is so perfectly sadistic in the role of Largo’s right hand woman and gets all the best dialogue – “do you like wild things Mr Bond James Bond?” is perhaps one of the most rhetorical questions in the series and one of the best humorous moments.

Bond and Domino

Connery’ s 4th Bond is an entertaining romp. Some great characterisations, one of the most sadistic villains brought to life in a brilliantly sly manner by Adolfo Celi and a narrative that flows well, keeping the audience excited. With Goldfinger and Thunderball, the mid-60s saw the launch of Bond mania. A coffin with the initials JB teasingly opens the film playing on the notion of Bond’s death and two hours later he once again saves the day and gets the girl. It is easy, on reflection, to see how Thunderball is one of the biggest Bond box office successes. His name’s James Bond and for nearly 50 years we’ve been “admiring [his] form.”

James Bond in review - Live And Let Die (Guy Hamilton, 1973)

"I know who you are, what you are and why you have come.
You have made a mistake. You will not succeed."

Quite the opposite in fact. After the cold reception afforded Connery's last outing as Bond in the frightful Diamonds Are Forever, Bond's die hard fans had to prepare themselves for a new Bond - the third in the space of 10 years. Enter Roger Moore with his tongue in cheek, English gentleman approach to the role, as far apart from both Connery and Lazenby's interpretations of the character as possible...and rightfully so.

Moore's Bond faces interrogation from crime lord Mr Big

Live and Let Die marks a controversial entry in the series for many reasons, the principal one being the abundance of black actors cast in villainous roles. It is an engaging and very entertaining eighth outing for the secret agent and Moore takes to the proceedings with plenty of smirks and a clear sense of a man on a mission to make this his own Bond (he would eventually have 12 years to show the world that his Bond was the Bond to remember). Let Die boasts an atmospheric, sometimes intense story centering on drug profiteering and voodoo curses. Yaphet Kotto proves a formidable match for Bond and one of the more surprising of the Bond villains. Geoffrey Holder's Baron Samedi grabs the audience's attention and there is a great shroud of mystery surrounding his character - giving him the film's final shot is an inspired stroke of genius of the filmmakers - and Jane Seymour is also more than competent in her first lead film role as the virginal heroine Solitaire. In summarising Live and Let Die it would be wrong not to commend George Martin's frenetic score which seems to fit the tone of the film perfectly and most importantly Paul McCartney and The Wings' title song for the film, one of the very best of the series, over some of Maurice Binder's most creative title graphics of skulls and fire.

One of the more intriguing bit characters in the Bond series', the mysterious Baron Samedi

There are a lot of similarities between Connery and Moore's first outings as Bond. Dr No sees Bond at an airport before embarking on his mission, as does Moore in Live and Let Die. Both are "taken for a ride" in two "death" cabs, Quarrel Junior is Bond's ally in Live and Let Die; it was his father Quarrel who assisted Bond in Dr No, and there was also a rumour around the time of release that Ursula Andress would return as Honey Ryder in the film as a cameo! Both Connery's debut and Moore's debut stand up as two of the most engaging Bond adventures.

Live and Let Die ultimately grabs the viewer by the jugular from the get go. Although it takes Moore nearly 25 minutes before he projects the now world famous line "The name's Bond...James Bond", audiences accepted the face of the new Bond with open arms and we welcomed Roger Moore to the hot seat. As Moore insists in the film, "let's just wing it!"

James Bond in review - Goldeneye (Martin Campbell, 1995)

"Bond... come back alive"

It's June 1994 and it has been almost five years since audiences were last treated to a Bond adventure. Timothy Dalton has kissed goodbye to his three picture Bond contract after two films and the world has changed. The Berlin wall has fallen, communism has disintegrated and the Cold War is over. With John McClane, Rambo and so many other action heroes permeating the genre, many felt that Bond had had his day. Goldeneye, thankfully, proved the naysayers wrong. The task was for Michael Wilson and Barbara Broccoli (the producers, taking over from an ailing Cubby Broccoli) to reinvent Bond for the nineties audience. The public welcomed Pierce Brosnan as 007 number five and within a year he would be deemed 'the best Bond since Connery'. Whether this is true or not it is undeniable that Brosnan's debut as Bond is as assured a return for Fleming's secret agent as anyone could have hoped for.

Pierce Brosnan sets the screen alight as 007 number six

Daniel Kleinman has modified the traditional Maurice Binder gun barrel to give it a 3D effect and created a memorable title sequence playing on the fall of Communist Russia and dictatorship whilst taking care to incorporate the titillating images of scantily clad women with guns now synonymous with the world of the Bond titles. It is Eric Serra's score that proved most controversial with its electronic synthesizers arguably tearing the traditional Bond theme to shreds in favour of sporadic melodies and musical jumps that feel somewhat out of place in the Bond universe. There are some classic action cues but the best thing about the music in Goldeneye is the brilliant Tina Turner belting out Bono and The Edge's lyrics in the title song in true fashion reminiscent of the mighty Shirley Bassey in the early Bond years.

Bond and his ally 006 (Sean Bean) in the pre-titles sequence

First and foremost, Pierce Brosnan gives a strong debut performance as the secret agent. He has the wit and self deprecating nature of Bond to a tee even if he does at times appear a little young to play the spy - Brosnan was 42 in Goldeneye though you would never guess it! Backing up Brosnan are the strongest supporting cast of any of his Bond films. Famke Janssen is a brilliant femme fatale and Izabella Scorupco is a gorgeous and resourceful leading lady who is crucial to the story and forms a strong relationship with Bond. There was a time when I felt Sean Bean's portrayal of 006 Alec Trevelyan and Janus was a 'play it safe' performance but on further viewing it is clear that he plays this assertive, conflicted character with great nuance and vengeance. Brosnan and Bean work very well together on screen - the break in to the Arkangel plant in the pre-credits demonstrates their buddy relationship brilliantly which makes the betrayal all the more convincing in the film's second half. The only weak casting link is Alan Cumming, hamming up the unnecessary role of Boris Grishenko. The character is played for laughs and comic relief but rarely generates either.

The film's two leading ladies - Onatopp (Famke Janssen) and Natalya (Izabella Scorupco)

The star of the picture is both the sparkling dialogue from Michael France - particularly between Bond and the new M (played effortlessly by Dame Judi Dench) and in the graveyard confrontation between Bond and Janus, but also New Zealand-born director Martin Campbell. Here is a man who it would be hell to work with due to his no nonsense approach to directing and short fuse but nevertheless a man with a keen eye and enough understanding of the Bond character that he can reinvent the wheel with a new Bond not once but twice, most recently in 2006 with Daniel Craig's Bond debut in origin story Casino Royale. Both are conflicted Bonds - Brosnan's for the guilt in watching Trevelyan 'die' and then in having to hunt him down, as well as adapting to changes in society in the nineties, Craig's in falling in love and being betrayed by the woman he was prepared to give up his life for.

With Goldeneye fans could ultimately relax. Quite the antithesis to M's insistence that Bond is a "relic of the Cold War", 007 ignited the box office on release in November 1995 making more than $350 million domestically, the best Bond film gross since Thunderball 30 years previously. James Bond had returned, and in hindsight, Cubby must be smiling from the grave. An impressive debut for Brosnan and a welcome return for the world's greatest secret agent. It is perfectly justifiable to say that had Goldeneye failed at the box office we would not now be nearly celebrating half a century of James Bond. 'The trick is to quit while you're still ahead" suggests Onatopp. "That's one trick I've never learned" quips Bond. Quite!

James Bond in review - For Your Eyes Only (John Glen, 1981)

"The Chinese have a saying. Before setting out on revenge, you first dig two graves."
"I wouldn't expect you to understand, you're English. But I'm half Greek, and Greek women, like Elektra, always avenge their loved ones."

After the mildly entertaining but hardly engrossing Moonraker, Cubby delivered to fans that which he had promised at the close of The Spy Who Loved Me; that James Bond would return in For Your Eyes Only. Thankfully the wish of so many Bond fans craving a harder edged, more realistic Bond was fulfilled and audiences could hardly be disappointed. Lifting moments from Fleming's Live And Let Die (the thrilling shark keel hauling sequence) and elements of short story Risico, Moore is launched into action as Bond in the 12th adventure, and his 5th. Notably beginning to show his age, Moore gives ironically his best performance as Bond. John Glen, a trusted second unit director and editor most notable for his work for On Her Majesty's Secret Service and The Spy Who Loved Me is given his chance to display his directing skills and what a brilliant job he manages. The principal cast are all terrific and the story is sped along at a sensible pace, ensuring that audiences can enjoy the film as well as be thrilled at the same time.

One of the most famous Moore Bond poses as he pursues Locque's car to the top of the cliff face

That For Your Eyes Only was the highest grossing Bond movie of the 1980s is no surprise - this is a tight story with beautiful touches to Bond's past adventures (see the pre-credits graveyard visit to Diana Rigg's Tracy Bond - We have all the time in the world) and the somewhat less successful dispatching of a bald villain stroking a cat who fans can only assume is Blofeld, though this is never explicitly stated. This scene aside, the humour is less obvious which is a great thing considering the implausibility and double-entendre-heavy previous Moore Bond outings and there are no gigantic set pieces: everything is simple yet startlingly effective.

One of the most beautiful actresses to be a Bond girl and later a model, Carole Bouquet

Alongside The Spy Who Loved Me, this is Roger Moore's best Bond because firstly it is very watchable and secondly because the characters are well rounded, particularly the vengeful Melina. It is a brilliant directorial debut for Bond veteran John Glen and safe assurance for the fans that the 1980s would be another exciting decade for 007, even if it would later feature a 58 year old Moore trying to bed Grace Jones and dressing up in a clown outfit! The only thing that is still puzzling is why For Your Eyes Only is so under regarded by critics and glossed over by many a Bond fan. You want Moore's closest depiction of Fleming's Bond, then look no further people. Forget Octopussy, For Your Eyes Only is Moore's 'All Time High.'

James Bond in review - Moonraker (Lewis Gilbert, 1979)

" I'm tempted to say yes immediately!"

After the superb showcase of the Bond formula from the series' newly appointed sole producer, Cubby, for The Spy Who Loved Me, the decision to take Bond "beyond" was met with trepidation by ardent fans of Fleming's gritty novels. Would Bond make a mistake by entering the newly world-popular sci-fi genre? Alternatively, would Moonraker exemplify the big budget, escapist fantasy adventure ethos that audiences have come to expect with each new Bond release? The answer proved to be a little bit of both.

Richard Kiel pops up for another bite as Jaws

Having shown sparing regard for Bond's 11th mission in the past, it was somewhat refreshing to return to 'that one where Bond goes to space and Jaws becomes a goodie!' The film was never going to get awards for Christopher Wood's often disjointed screenplay but it deservedly received an award for the special effects, which, contrary to Associate Producer William Cartlidge's views on the DVD commentary, look tremendously advanced even now over 30 years on. Moore, in his 4th appearance as Bond, is now perfectly at home in the role, providing just the right tongue in cheek comments without going overboard. He is also clearly the best character in Moonraker.

Bond and Miss Goodhead venture into space and dispatch Drax

Bond's conquests total four in this film, space included! The ladies themselves are one of the weakest set in the series. Lois Chiles commits herself fairly well to the role even if her character's persona works completely against her outrageous name, Holly Goodhead. Corinne is played well by French actress Corinne Clery; the death sequence at the mercy of Drax's vicious Dobermans against the dark hues of a forest is one of the most haunting sequences in the Bond series. It is Bond's aide Manuela, played with just the right amount of naivety by the lovely Emily Bolton that remains the film's best Bond girl, even though her screen time is unforgivably limited. Michael Lonsdale's thesping approach to the role of Hugo Drax undermines the character and thus provides Moore's Bond with a fairly easy match as the film's central villain. It is Chang, Drax's bodyguard, that provides far more physical threat to Bond - the centrifuge scene being a standout action sequence and his demise, laced with the wonderful Casablanca reference "play it again Sam" is played nicely by Moore.

Moonraker is one of the most quotable films in the Bond canon and that is all thanks to the level of humour exuded throughout the proceedings. Where else would you get away with unbelievable irony in Moore's line "There's never a 70 year old around when you need one!" Time to look in the mirror mate. You're not the most athletic you've ever been, but then again, you are in your 50s playing a secret agent. To summarise, Moonraker is harmless fun. If, like me, you have your misgivings for Bond's mission in space, put the DVD on and analyse it for what it is: escapist entertainment. Bond is fantasy after all. It is not quite Moore's weakest Bond entry but it is also far from the best. That accolade goes to Spy or For Your Eyes Only, the two films incidentally either side of this. Regardless of this, 30 years on, Moonraker is far from a disaster and it still holds up fairly well. Let Bond "take [you] around the world one more time" - you may just enjoy it!

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