Alert: What follows is just for fun. The blog wanted to make that clear following last weekend’s fiasco in The Mirror.
So, Bond 25 has some momentum following last week’s announcement of a 2019 release date.
That announcement left a number of issues unresolved. Channeling M in You Only Live Twice (“Mind you, all of this is pure guesswork, but the PM wants us to play it with everything we’ve got.”), here’s a quick look with more than a little guesswork.
Status of the story: The release date announcement also said Neal Purvis and Robert Wade were working on Bond 25’s story. That confirmed a March story by Baz Bamigboye of the Daily Mail. Thus, that story now becomes “news that hadn’t been announced yet” from the rumor category.
But how far along are Purvis and Wade? It depends on how…
View original post 350 more words
Should I even write a preface? This genre that flourished just after World War II accepted the city as a dangerous but beautiful place, demanded that women play on the same field as men so long as they were dangerous, and boasted some of the most sumptuous photography in film. I place John Huston’s first because it’s one of few formative movie experiences that hold up. Ah, the falcon…
1. The Maltese Falcon, dir. John Huston
2. Laura, dir. Otto Preminger
3. Out of the Past, dir. Jacques Tourneur
4. The Big Heat, dir. Fritz Lang
5. They Live by Night, dir. Nicholas Ray
6. Double Indemnity, dir. Billy Wilder
7. Chinatown, dir. Roman Polanski
8. The Third Man, dir. Carol Reed
9. The Long Goodbye, dir. Robert Altman
10. The Late Show, dir. Robert Benton
11. Touch of Evil, dir. Orson Welles
12. Fallen Angel, dir. Otto Preminger
View original post 87 more words
Our post the other day about the anniversary of Licence to Kill’s release got the blog to thinking about what followed: The six-year hiatus in James Bond film production.
Like the earlier post, this is more of a personal take on the events.
The thing is, in those pre-internet days, the news was much slower in getting around. During much of this period, I saw a number of items in The Wall Street Journal. I had a subscription at the time.
Also, the extent of what was going on wasn’t immediately evident.
There were reports in the trade press that director John Glen and screenwriter Richard Maibaum wouldn’t be returning to the series. This was the first indication (at least to me) that a big makeover, rather than minor tweaks, was in store.
There were occasional stories about potential new directors and screenwriters. Things got more serious when…
View original post 471 more words
July 8 is the 50th anniversary of when Robert Vaughn, the star of The Man From U.N.C.L.E., debated William F. Buckley Jr. about the Vietnam war on the program Firing Line.
Buckley, the founder and publisher of National Review, took on debate partners over more than 30 years on Firing Line.
Firing Line’s format was polite but intense. In 1967, the Vietnam War was raging and it was an intense time.
Vaughn was one of the most prominent actors who opposed the war.
Vaughn, decades later, in an interview for the Archive of American Television, described his preparation for the debate.
The actor said he “spent a month in a monastery reading everything Buckley had ever written in his life, including term papers at Yale. So I walked in as the young challenger against…
View original post 147 more words
A frequent and legitimate complaint about this blog has noted its author’s ignorance of British television, apart from a few oft-imported staples like The Prisoner and Are You Being Served? Be careful what you wish for: Here is a primer on four live and/or videotaped dramas of the sixties that remain largely unknown on my side of the Atlantic.
The Man in Room 17 (1965-1966) inverts the locked-room mystery in a clever way: it’s not the crime that occurs in the locked room, it’s the detection. It’s about two criminologists (why, one wonders, is the title of the series singular rather than plural?) whose skills are so rarefied and irreplaceable that they remain sequestered inside a chamber deep in the confines of the British government apparatus. On paper it sounds a bit like the American series Checkmate (1960-1962), which was created by a prominent British novelist, Eric Ambler, and had…
View original post 4,196 more words
For my money, there was one character type that Bogart was born to play. Gangster? Convict? Escaped Convict? Ex-pat loner struggling against the Axis powers? Naw. For me, no one could play a Private Detective wrapped up inside a Film Noir nearly as well as Bogie. Guns, dangerous women, back alley crooks, illicit affairs, hand rolled cigarettes – Bogart could juggle them all with laid back ease.
For a great breakdown of the history behind the “whys” and “hows” of Bogart’s historical place within Classic Hollywood as a Film Noir detective, you should definitely check out Sheri Chinen Biesen’s book Blackout. Not only is it a wonderful primer on Film Noir, but it goes into great detail about Biesen’s belief that Bogart’s age, wartime rationing, and a lack of leading men in Hollywood led to Hollywood’s greatest icon getting the chance to play characters like Sam Spade and Philip Marlowe.
View original post 1,074 more words
On occasion, movies actually predict the future. One such example is 1978’s Hooper.
The film concerns an aging stunt man, Sonny Hooper (Burt Reynolds) working on a James Bond-like movie being directed by a pompous, “auteur” director, Roger Deal (Robert Klein).
The star of the fictional film is Adam, played by Adam West. Apparently West is playing himself. At one point, he is also referred to as “Mr. West.”
Flash forward a couple of decades or so, and James Bond films are being directed by “auteur” style directors such as Marc Forster (Quantum of Solace) and Sam Mendes (Skyfall and SPECTRE).
Now, if you’ve ever read the credits of any movie or TV show, there’s boilerplate how any resemblance between the characters and real people living or dead is strictly coincidental. That language is intended to avoid lawsuits.
View original post 222 more words