One for the Weekend...

Continuing my look at the best on the box this week with Stephen Daldry's The Reader (2008) which gets its premiere on Channel 4/4HD this Sunday January 15th 2012 at 9pm.

This drama, set in post-war Berlin, focusses on the story of Michael Berg (David Kross and Ralph Fiennes) as he begins a secret relationship with an older woman, living alone, who seeks company and his storytelling. After going off to study criminlogy years later and observing the Nazi War crime trials, Berg learns the shocking truth of Hanna Schmitz' (Kate Winslet) involvement in the concentration camps. A powerful drama with unsurprisingly brilliant performances particularly from Winslet who, after having been nominated 5 times for various Best Actress Oscars, was finally granted with the golden statue for this film. Highly recommended.

If you're looking for something a little lighter, you can't go wrong with Entrapment (Jon Amiel, USA, 1999), a cat and mouse thriller with Sean Connery and Catherine Zeta Jones which, though often implausible, is great entertainment. This can be seen on Channel 4/4HD on Sunday 15th January 2012 at 3.15pm.

Failing that, if screwball comedy is your cup of tea, give one of Jim Carrey's zaniest films a whirl. Ace Ventura: Pet Detective (Tom Shadyac, USA, 1993) is full of laughs and good Sunday afternoon fun. This is showing on Sunday 15th January 2012 on Channel 5/5HD from 5.00pm.

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 - You Only Live Twice (Lewis Gilbert, 1967)

"The things I do for England!"

It's 1966 and the height of the US Space Race coverage is dominating the news. Sean Connery is about to return in what will be his fifth and almost final 007 adventure, You Only Live Twice. Producers Broccoli and Saltzman have been wanting to film Fleming's On Her Majesty's Secret Service ever since Goldfinger in 1964; it was even promised as the next film in the end credits of the film. Due to the need for winter locations and the desire to film Thunderball instead, the plan was scrapped. Broccoli and Saltzman are next intrigued by one of Fleming's final Bond novels, first published in 1964, that begins with the haiku poem:

You Only Live Twice,
Once When You Are Born
And Twice When You Look Death In The Face

Fleming was uncommonly fascinated in death for this particular novel and it proved to be one of the most challenging films to produce in Bond history.

The death of James Bond?

The positive points to make about the mixed bag of Bond number five include the hiring of director Lewis Gilbert to bring the story to the screen. Gilbert had just finished working with Michael Caine on the successful 1966 Brit flick Alfie and he would bring a good natured feel to the Bond crew through the long process of adapting one of Fleming's most depressing Bond adventures. The other big thing this film has on its side is the genius production designer Ken Adam who was responsible for designing the mammoth volcano set on the Pinewood stage. The set itself reportedly used more steel in its entire construction than was used to build the Hilton Hotel! The set is still inspiring more than 40 years later and proves to be the most spectacular moment in an otherwise run of the mill, formulaic Bond outing.

With Bond reaching fever pitch with Goldfinger and Thunderball, the two previous films in the series, by the time of release of You Only Live Twice it was acceptable to audiences simply to see a gadget here, a maniacal scheme there, and a massive set being blown up for good measure. Sadly, this would become the formula that many future Bond films would adopt; opting for extravagance over true espionage. Long gone are the gritty Dr No and From Russia With Love and where Bond had to rely on his wits and nerve to get out of trouble, now he just has Q and Little Nellie on stand by. That said, audiences would not have to wait long to see a more human side to Bond and a genuinely intriguing story in 1969's On Her Majesty's Secret Service.

Bond and Donald Plesance's Blofeld face off in the volcano

Let it be said that far from discrediting You Only Live Twice it is actually not the worst film in the series. There is some superb dialogue, often spouted from Connery as sardonic one liners that are presented surprisingly naturally. There is also Tetsuro Tamba's Tiger Tanaka, a character lifted straight from Fleming's pages, who becomes a great resource to Bond and one or two obligatory beautiful girls. Mie Hama and Akiko Wakabayashi were both very popular ladies in Japan prior to the film's release and whilst they don't come across as the most conventional Bond girls, by stereotype, they actually commit themselves well to their roles. Charles Gray performs much better here in his brief role as the ill fated Henderson than he does as Blofeld to Connery's Bond in Diamonds are Forever. John Barry's score is also beautiful for You Only Live Twice with oriental lilts and the gorgeous sound of Nancy Sinatra singing the title theme that still remains a favourite with fans and would even be riffed by Robbie Williams some 30 years down the line. Maurice Binder also creates a stunning title sequence for the film. Japan itself, fairly alien to Western civilizations in the sixties, is additionally a treat on the eyes under the cinematographic eye of Freddie Young.

As the film and the series as a whole advocates, Bond manages to return from the dead to live again and brighten our mundane lives with two hours of mindless entertainment. Leave your brains at the door and let your minds be filled with bald men (!), white cats, volcanoes and ninjas! Connery may look like he's had enough but for most fans 1967 was another golden year for 007. If it can inspire the creation of Mike Myers' Dr Evil and his "volcano layyyer!" then it's good enough for me!!

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