For Your Eyes Only

for your eyes only red square grungy vintage isolated stamp
For Your Eyes Only (1981)

THE CAST: Roger Moore (James Bond); Carole Bouqet (Melina Havelock); Topol (Columbo); Lynn Holly Johnson (Bibi Dahl); Julian Glover (Kristatos)

THE SUPPORTING CAST: Lois Maxwell (Moneypenny); Desmond Lewellyn (“Q”); Jill Bennett (Brink); Cassandra Harris (Lisl Von Schlaff); Walter Gotell (General Gogol)

CREDITS: Produced by Albert R. Broccoli; Directed by John Glen; Screenplay by Richard Maibaum and Michael G. Wilson; Music by Bill Conti; Title Song by Sheena Easton; Filmed on location in Greece, Spain, Italy and Pinewood Studios England. Running time 2 hours and 8 minutes.


BEST LINE: “You were to question Gonzalez, not let Ms. Havelock perforate him.”

BOX OFFICE: $195,300,000 in worldwide gross; $383,157,981.03 adjusted for 1999

You`ll find a more down to earth, tough and gritty portrayal of 007 in For Your Eyes Only. Stripped away are most of the out landish and cartoonish elements that dogged Bond in Moonraker. While a scaled down version of Bond hasn`t worked in some of the other films, it does here, primarily due to Roger Moore`s standout performance.

For Your Eyes Only starts off with the sinking of one of Britian`s spy vessels, the St. George. Posing as a fishing vessel off the coast of Albania, it`s brought down by a well placed mine. All the men aboard die, and the ATAC (Automatic Targeting Attack Communicator) goes down with the men as well. ATAC contains codes to launch Britians ballistic missles , and should ATAC fall into the wrong hands, Britian`s own missles could be used to destroy her. The film then becomes a complex story of revenge, double crosses and backstabbing among Greek smugglers.

John Glen graduates from film editor to first time Bond director. He`d been with the 007 family since his time as editor of On Her Majesty`s Secret Service His knowledge and affinity for the earlier Bond films, free of gadgetry and juvenile quips, shows here, and he`s crafted a Bond film that for the most part, is a serious, plot twister of a thriller and with very little humor.

French actress Carole Bouquet took on the role of Melina Havelock, and like her novel counterpart Judy Havelock she to seeks avenge the killing of her parents at the hands of Kristatos. Bouquet was a startling 23, at the time of filming, to Roger`s 53. It seemed like the older that Bond got, the younger his women did.

Israeli actor Topol plays Colombo, a man whose honor is questioned by Kristatos. The previous year, Columbo played opposite future 007 Timothy Dalton in Flash Gordon. Lynn Holly Johnson was impressive as ice skater Bibi Dahl, a young girl whose not as innocent as her benefactor would like to believe. Mrs. Johnson played a blind ice skater two years earlier in Ice Castles.

Cassandra Harris played a vital role in `Eyes` as well as the 007 franchise as a whole. It was here on the movie set that her husband, Pierce Brosnan, came to visit. The story goes that someone pointed to Pierce and asked Cubby Broccoli who that man was. Cubby reportedly said: “If he can act, he`s our next James Bond”.

Up and coming musical superstar Sheena Easton was brought on to perform the title song. Hitting #4 on U.S Billboards Music Sales Chart, For Your Eyes Only remains one of the best Bond songs, and helped cement Mrs. Easton`s stature as a rising star on the music scene.

In many ways, For Your Eyes Only marked the beginnings of a new trend in Bond films. Bernard Lee (“M”) had died in January of `81, and in honor of Lee, the producers did not recast the character for that film. Glen would continue to mold his style of a more serious Bond film, and with the exception of A View To A Kill Glen would hold to that style. Brosnan would be spotted by Broccoli, and that intersection of destiny or fate would prove valuable 14 years later. It was a time of new foundations for later beginnings. And it was just a good film. Period.

Dr. No: a DVD review

Dr. No was reviewed using a DVD player equipped with a Dolby Pro-Logic Surround Sound system. Bonus DVD Features: Digital VideoDiscs (DVD) offer creators the chance to include bonus features impossible to implement on videocassette. These features include multiple spoken soundtracks, production notes and movie trailers. It seems natural that a Bond title would be full of hidden gadgets like these!

All of MGM`s 007 titles to date were released with both wide screen and reduced “pan and scan” formats. Differences between them are like comparing James Bond 007 to Dean Martin as Matt Helm. One has a lot more treasures inside than the other does for the spy fan. Wide screen, of course, presents all the panoramic views and action on the sides of the frame, which the director originally intended to be seen. Pan and scan is a byproduct of watching films formatted to fit onto squared television screens.

Dr. No has been digitally remastered through THX. In a way, this seems odd. The movie was originally recorded in mono audio output so this DVD unfortunately is constricted to mono as well. There is no “audio surround” to the new release but to justify the re-master, however, all you need is to look at the ultra-crisp video quality. There is no grainy texture to the new print whatsoever! For the truest comparison, watch a scene from the movie then watch the added trailer, which has not been retouched. Not bad digital work on your screen for a 37-year old film!

“No” features three language tracks; French, Spanish and (thank goodness!) English. The foreign language tracks are handled better in Dr. No than in Moonraker, for example. All background speech has been translated (as far as I can tell!)! Subtitles toggle on and off with ease also. No spelling errors this time! (More than may be said for DVDs from another manufacturer.)

My favorite bonus of a Bond DVD is always the theatrical trailers section. The first Bond I remember in the theatre was “A View To A Kill” so I have seen numerous trailers in the DVD releases for the first time. The “Dr. No” trailer is most interesting with the voiceover performed by Connery himself, who outlines the plot and giving this trailer a “debriefing” feel. (I would contend that the other best was Pierce Brosnan`s teaser for GoldenEye.)

Once again, however, DVD “Direct Access to Bond Gadgets” leaves a sour taste. It does an admirable job demonstrating DVD format but grows tiresome quickly. The best use I can think of for this section is for quick settlement of trivia disputes, but even then…“No” also provides a montage entitled “007`s Greatest Moments”. As could be expected, some of the greatest escapes from all the Bonds are showcased splendidly here. MGM did a top-notch job with this section, even letting less knowledgeable fans see subtitles, identifying all the clips for trivia buffs.

The “Film Trivia” section includes items of interest about the origins of James Bond’s name and where “007” may have been derived from. If you can’t afford the DVD release, let me tell you that this corker says that Fleming saw the “007 bus line” outside a window from his home in Jamaica! The limited trivia section is still an interesting disc bonus. In summary, Dr. No is a very strong showing from MGM. The mono-only audio is disappointing but does not reflect on an otherwise superb effort. A very worthy addition to your DVD collection, 007!

Dr. No

Dr. No (1962)

The Cast Sean Connery (James Bond), Ursula Andress (Honey Rider), Jack Lord (Felix Leiter), Zena Marshall (Miss Taro), Joseph Wiseman (Dr.No)

The Supporting Cast Bernard Lee (“M”), Lois Maxwell (Moneypenny), Eunice Gayson (Sylvia Trench)

Credits Produced by Albert R. Broccoli and Harry Saltzman; Directed by Terence Young; Screenplay by Richard Maibaum , Johanna Harwood, and Berkley Mather; Music by Monty Norman; Edited by Peter Hunt

Assignment: Bond is sent to Jamaica to investigate who or what is behind the interference of American space launches from the island of Crab Key.

Locations Covered: MI6 Headquarters (London, England); Jamaica/Crab Key

Villain`s Idiosyncrasy: Steel hands.

Release dates: United Kingdom October 5th, 1962; United States May 8th, 1963

Box Office: 23 million tickets sold = $60 million worldwide ($314 million adjusted for 1999 dollars)

Best lines: Sylvia Trench:”I admire your luck, Mr?”
007: “Bond. James Bond.”

Review by: Cavan Scott

The beautiful woman announces `Banco` and her adversary across the Casino table lights a cigarette as he calmly accepts her challenge. When asked his name, he replies simply `Bond, James Bond`, his cigarette hanging loosely from his lips and the touchpaper for over thirty years of cinematic excitement is lit. Producers, Harry Saltzman and Albert R. Broccoli had long planned a series of films chronicling the adventures of Ian Fleming`s infamous secret agent, but they could never have prophesied the phenomenal success that the franchise would become. Bond had arrived and action heroes were never going to be the same again.

Compared to its 17 sequels, Dr. No is a low key adventure, which rarely rises above the melodrama of it contemporary features. Terence Young`s direction is, at best, average and Monty Norman`s score leads much to be desired, comprising mainly of variations of the lilting `Underneath the Mango Tree` and somewhat annoying repetition of the Bond Theme itself. Two elements save the picture and give it a class which its rivals of the time could only dream of.

The first reason is the film`s loyalty to Fleming`s original novel. This is the nearest that the 007 of the silver screen has ever been to the Bond of the printed page. Although the components of future trademarks are present they are only found in their infancy. Much of the dialogue is adapted directly from the novel, thus holding back the flippancy that would characterize our hero in his later missions. With the absence of Q Branch, Bond must also use his wits rather than a bag of tricks to aid him in his task, as displayed in 007 using such down-to-earth methods such as sticking hair over doors and covering his briefcase locks with talcum power to catch out potential meddlers. We are consequently presented with a grittier image of Bond and his world, which makes him far more human and therefore believable.

In just a few movies this vulnerable Bond who can take a pasting and yet still manage to struggle through despite injuries, would be replaced by a demi-god who never even gets a hair out of place in a moment of danger. No matter how much we would enjoy the future incarnations of Bond, we could never believe that anyone could hurt the agent as much as we saw in Dr No`s assault course, thus reducing the tension. An indestructible hero never has the chance to fail, and a vital dimension of the character is lost.

This is why Dr No can be seen as possibly Sean Connery`s finest performances as James. While he was not Fleming`s own choice for the role – the writer believed that the unknown actor did not possess the social grace to play his hero, favoring David Niven or even the young Roger Moore – Connery oozes confidence in every scene. Here is a man born to play Bond. He is suave and yet stuck in the chauvinistic rut of a past time. In times of crises, he is controlled and cold nevertheless fueled by a supreme of sense of justice and loyalty. The Bond of Dr. No is not a man to be trifled with.

Joining Connery is a fine cast who prove to be more than second fiddles to the star. Bernard Lee is undoubtedly the ideal candidate for M, bringing the right mixture of testiness and strength needed to play the old man, while Lois Maxwell begins her marathon run of deep sigh`s and lingering looks with tongue in cheek canniness. On the side of the devil, Joseph Wiseman`s Dr. No is just a frosty as the novel suggested, with an air of aloof detachment that chills the blood.

Yet no examination of Dr. No is complete without mention of its leading lady. Ask most movie fans what they remember most about the film and it can be guaranteed that their mind will automatically conjure up the image of Ursula Andress rising from the sea. Although she lacks the broken nose of Fleming`s Rider, the Honey of the film perfectly captures the innocence of the author`s creation. Unlike the modern Bond girls who are superficially PC and yet soon revealed to be walking center-folds ready to scream and be captured as the plot requires, Andress is at least given the dignity of playing a naive girl swept into a nightmare and able to show real bravery. She may not please some more radical critics but she is a far more satisfying character than the many token action girls who have succeeded her.

By no means the most thrilling of the Bond movies, yet somehow more adult, Dr. No was the perfect prototype for the world`s most successful film series. Simple but captivating, mundane and yet still extraordinary the cinematic debut of Fleming`s hero grabbed an era`s imagination and wouldn`t loosen its grip until future generations had also become ensnared in his exotic exploits. The adventure was only just beginning.

Diamonds Are Forever

Diamonds Are Forever (1971)

The Cast Sean Connery (James Bond), Jill St. John (Tiffany Case), Jimmy Dean (Willard Whyte), Norman Burton (Felix Leiter), Charles Gray (Blofeld)

The Supporting Cast Bernard Lee (“M”), Desmond Llewelyn (“Q”), Lois Maxwell (Moneypenny), Lana Wood (Plenty O`Toole), Bruce Cabot (Burt Saxby), Putter Smith (Mr. Kidd), Bruce Glover (Mr. Wint), Joseph Furst (Dr. Metz), Leonard Barr (Shady Tree), Margaert Lacy (Mrs. Whistler), Joe Robinson (Peter Franks), David Bauer (Morton Slumber); Trina Parks (Bambi), Donna Garrett (Thumper)

Credits Produced by Albert R. Broccoli and Harry Saltzman; Directed by Guy Hamilton; Screenplay by Richard Maibaum and Tom Mankiewicz; Music by John Barry; Theme Song performed by Shirley Bassey; Titles by Maurice Binder; Title Song lyrics by Don Black; Edited by Bert Bates and John W. Holmes; Running Time 2 hours;

Mission: Bond must investigate an unusual amount of diamond smuggling taking place from South Africa, Holland and on to Las Vegas.

Villain`s Idiosyncrasy: Love of white cat with diamond necklace.

Locations covered: Holland; South Africa; Las Vegas, Nevada; Baja California

Release dates:U.S December 17th, 1971; U.K. December 30th, 1971

Box office:$116 million worldwide ($476,228,153.10 in 1998 dollars)

Best Lines: Mr. Kidd, as her body is being pulled from an Amsterdam canal:”Mrs. Whistler did want some pictures of the canals for the children.”

Mr. Kidd: `I must say, Ms. Case is certainly attractive. For a woman.`

Bond: “I`ve smelled that aftershave before, and both times i`ve smelled a rat.”

Plenty O`Toole: “Hi, I`m Plenty.” Bond: “But of course you are.”

Willard Whyte, on Burt Saxby whose just been shot to death: “Saxby? Burt Saxby? Tell him he`s fired!”.

Review by Michael Kersey

Connery`s last film as 007 in the EON/United Artist series. Connery seems to be sleepwalking through this role, and with his unprecedented salary for returning as Bond one last time, you`d be forgiven for expecting more out of him.

Looking old, out of shape, haggard and tired, Connery picks up where Lazenby`s Bond left off…avenging Tracy. But you`d hardly guess that Bond was bent on revenge at the beginning of this film by the way everyone plays their scenes. Connery acts as though avenging his wife is as casual as driving through a pick up window at McDonalds. No mention is made of Tracy.

The real story though is Bond, hot on the heels of diamond smugglers. A certain amount of smuggling is accepted by the British in their South African mines, but lately an alarming amount is leaving the area and not being sold on the black market. MI6 is concerned that someone may be stockpiling diamonds in an effort to create economical havoc. Bond is assigned to infiltrate the smuggling pipeline and find out where it leads and for what purpose.

That pipeline begins with Peter Franks. He`s about to be detained in Amsterdam so that Bond can take his place and follow the pipeline. He meets up with Tiffany Case, an expert diamond smuggler who gives him his first shipment: 50,000 karats worth of diamonds. Franks manages to escape his captors and tries to meet up with Tiffany, but Bond intercepts him and kills him, placing his own wallet on Franks` body to make it look like he just killed James Bond. They then shove the diamonds up Franks` backside and send the body off to Las Vegas, where Bond pretends to be the brother of the deceased victim, here to pay his last respects. Hot on his tail is Mr. Wint and Mr. Kidd.

Bond figures he`ll be double crossed somewhere down the line, so the diamonds that he was supposed to place in an urn at Morton Slumber`s funeral home are fakes. When he gets the real cash, he tells everyone, they`ll get the real diamonds.

Tiffany catches up with Bond in his bedroom and together they conspire to leave the real diamonds at the airport and see who picks them up. A Dr. Metz picks up the diamonds and Bond jumps in the back of Metzes van, which drives off to a secret, underground laboratory in the Nevada desert. There, Bond sees Metz work on a top secret satellite dish encrusted with diamonds. There he begins to realize that the diamonds may serve a higher purpose other than reeking economical havoc on the West. He begins to suspect elusive multimillionaire Willard Whyte is involved in the scheme, as it is his laboratory that is funding the project. But it is soon discovered that Whyte has been kidnapped, and in his place, Blofeld has been running the show.

The return of Connery to the role was the drawing power of this film, but it`s really the cast, other than Bond, that is the real backbone of the film. Wonderfully written characters dot the `Diamonds` landscape. Charles Gray, with a full head of hair, takes over the Blofeld duties, and is much better than his predecessors. There`s a certain camp factor involved with this Blofeld, and though you hardly feel any danger around him, he is quite fun to watch squaring off against Bond. Wint and Kidd, and Bambi and Thumper are great tag-team villains, with the films best lines always going to Mr. Kidd

A return for nostalgia`s sake is not enough of a reason to make a film if the actor doesn`t get to the root of the character. For the most part, Connery nor Bond resemble our first look at him in Dr. No. Connery seemed distracted and uninterested at times and he`s actually more of a passenger in this film than the driver, as the camp humor and cheesy dialogue foreshadow the films to come.

Casino Royale: Sinking or Swimming After All These Years?

007Forever is proud to present this sneak preview article from the April 2000 edition of Bright Lights Film Journal. James Bond fan Robert Von Dassanowsky is Director of Film Studies at the University of Colorado, Colorado Springs and founding Vice President of the Austrian American Film Association. A producer, television writer and literary critic, he is a contributor to The International Dictionary of Films and Filmmakers and is currently penning a book on Austrian Cinema.

His insights on “CR” may indeed change the way you feel about the oft forgotten film–that some fans remember with fondness for its panache and high swingin’ 60’s style, not to mention provocative performances by David Niven and Peter Sellers, among countless other actors and artists. Perhaps the most despised Bond film yet made, Casino Royale has a fan base today whose voices proclaim it a triumph and merely the most subtle and misunderstood Bond film ever…

By Robert Von Dassanowsky:

It was a coup that Columbia Pictures had banked on: the one 007 property that got away from Broccoli and Saltzman`s cash cow series. Producer Charles K. Feldman had hoped to equal or better the popularity of his Woody Allen-scripted “mod” bedroom farce of two years earlier, “What`s New Pussycat?” and trotted in a dozen stars and their star friends for the occasion. David Niven had already suggested cinematic mayhem in Life`s 1966 multipage color spread by admitting that it is “impossible to find out what we are doing,” and the magazine claimed the film was a runaway mini-Cleopatra at a then outrageous 12 million dollar budget. Despite all the rumors and delays, the film seemed to have its finger on the pulse of psychedelia, the swinging London myth, and it would beat the real Bond entry, You Only Live Twice, to the box office in a March 1967 release. It was popular enough with audiences and received mixed critical reaction, but has since unfairly been labeled as one of the flops of the era. After more than 30 years, it is high time to ask why this film continues to be a nearly poisonous topic among “serious” film scholars and what it has to say about the world that created it.

In his provocative exposé “The Life and Death of Peter Sellers”, author Roger Lewis insists that the actor`s career decline was first signaled by his self-indulgence in Casino Royale, in particular, his inability to stick to the script(s) and his desire to turn the flattery of the role (love scene with Ursula Andress and a hefty sum) into a long-sought Cary Grant-type image. His lack of discipline and his demands caused several more rewrites in an already plot-du-jour concept that employed Wolf Mankowitz, John Law, and Michael Sayers as credited writers (with uncredited fragments by Woody Allen, Ben Hecht, Joseph Heller, and Billy Wilder, among others) and five directors to helm the various segments of the film: John Huston, Ken Hughes, Val Guest, Robert Parrish, and Joseph McGrath. The multitudinous talent here did more than mimic the Bondian shifts in the plot and locale. What emerged was a kaleidoscope that utilized the original “serious” Ian Fleming novel, already given television treatment in 1954, as the core of a fabricated frame of plots and subplots that reduce the showdown between Bond (Sellers) and Le Chiffre (Orson Welles) at Casino Royale into the single dramatic moment of the opus.
Casino Royale is thus a metafilm on the process of the “real” Bond cinema, which, beginning with Goldfinger and You Only Live Twice, updated and altered Fleming`s original novels until only character names and vague plot directions were employed. Ultimately, even the titles ran out, but this 1967 film is far more “Weltanschauung” than spy narrative. Feldman, in his belief that he could make a Bond to break all banks, went to extremes to cover up the lack of two major elements in this “Bond” film–Sean Connery and the James Bond theme. Instead, the film was stocked with in-stars, in-jokes, and an in-style that would surpass not only the grandeur of the original series and its penchant for outrageous cold-warrior escapades, but in turn, influence the megalomania of the “real” Bond series.

Bond purists have always loathed the film, while others have preconceived notions of a spy parody and miss the point. The mistake has been to buy into the publicity propaganda and the original sell of the film as a new “trippy” Bond, a funny Bond. This was bound to cause dissension, since a parody cannot be parodied, and the series was already there. The only true mocking of the Broccoli/Saltzman productions occurred in their own series during the tenure of Roger Moore, as that sophomoric silliness made Casino Royale`s deadpan humor and sophistication seem more like the original Fleming by comparison. The film is also an ill fit among Bond imitators like the Flint series or Matt Helm, or even Saltzman`s own Harry Palmer.

Casino Royale`s relationship to Bond is only emblematic; it is a prismatic translation of Fleming`s milieu, not a linear adaptation. And it remains, even today, a wry and provocative sociopolitical satire. The often criticized inconsistencies of the film`s multiple James Bonds, including the banal 007 of Terence Cooper, brought in to cover Sellers’s unfinished characterization, intentionally work to confuse the issue of Bond, to overwork the paradigm until it has no value. As Walter Benjamin in his influential essay “Art in the Age of Mechanical Reproduction” would have it, the original artwork, with its auratic value, has been replaced by accessible but worthless copies. Here, the most unique icon of the era is intentionally made common–a fashion, a fad, a façade: the multiple Bonds are all copies of a first copy, Connery`s Bond. Moneypenny, Hadley, and Mata Bond are all mirror-image copies of their much more substantial parents. These facsimiles are then joined by the “thousand doubles” Dr. Noah has created to replace the “world`s most important figures in culture, politics and the arts.” Although three major world leaders have already been replaced, no one seems to notice. As yet another female James Bond remarks: “Oh, well, that explains a lot of things.” So much for the conspiracy theories of the 1960s. By the release of Goldfinger everyone wanted to be Bond; now everyone was. Like Andy Warhol`s canvas of multiple Marilyns, the original is mythic and its copies are a poor but stand-in fantasy for an era that so floundered between faith and cynicism.

The subversion of the modern ubermensch is already apparent before the credits, when Bond films customarily feature a spine-tingling mini-adventure on skis or in the sky. Sellers` Bond, however, is simply picked up by a French official in a pissoir. Casino Royale clearly turns its back on the contemporary and enshrines the icon of David Niven, as the retired, legendary Sir James Bond. “Joke shop spies” is how Sir James reacts to the technology of Cold War agents, and indeed, Vesper Lynd`s (Ursula Andress) billions and Dr. Noah`s (Woody Allen) confused attempt to gain global control through germ warfare/robot master race/nuclear threat are no match for Sir James`s stiff upper lip. Like a demonstration of the failed theories of limited nuclear war, the power-hungry are annihilated in attempting to make the world safe for themselves. Woody Allen`s sex-hungry schlemiel persona may have already been standard expectation in 1967, but here, garbed in a Mao suit, he suggests the infantile psychosexual complexes behind the vengeful modern warlord. Allen detests the film and takes little pride in his creation of Dr. Noah, but his own Third-World farce Bananas, and the futuristic totalitarian satire Sleeper, seem to spring from the still edgy political black comedy of his self-written role in Casino Royale.

To understand Casino Royale as a courtly adventure–Niven`s Sir James as Siegfried, Arthur, Barbarossa, or Parsifal, a figure the German Romantics called the Welterzieher–the knightly poet who is fated to lead the world to a new golden age–is to see the chivalric genealogy of the idealism surrounding the James Bond phenomenon. Without the use of Connery`s modern update however, Casino Royale taps directly into the messianic concept at the root of 007: Sir James is resurrected to save a blundering world with its collective fingers on the nuclear button, but extinguishes himself in the final battle, one that might lead humanity to a new beginning. The film has a heavy medieval, even biblical feel: the brilliance of Richard Williams`s illuminated-manuscript titles; the testing of Sir James’s purity at the debauched castle of M`s impersonated widow (Deborah Kerr); the Faustian redemption of Vesper because she has “loved”; the representatives from the world`s powers (here it is the four Kings) who beg for the grace and wisdom of a knight of the (black) rose. M (John Huston), like post-Profumo scandal Britain, is a façade of majesty resigned to his own inadequacy. LeGrand of the French Cinquieme Bureau (Charles Boyer) is obsessed with absurdity. Ransome (William Holden) is a source of arrogant and undecipherable CIA double-talk, and KGB head Smernov (Kurt Kasznar) spews Marxist jargon as he cowers from the monarchist symbolism of a lion. That these pathetic emissaries are unknowingly helping evil, aiding Dr. Noah`s wish to expose and destroy his childhood idol–or as Sir James puts it, “to make up for feelings of sexual inferiority”–is a subtext engineered to hold the ever-more-distant plot stations (and Sir James`s Stations of the Cross) together into a consistent whole. And the film, with all its ideas, directions, and visions, seems to relish its own sprawling, about-to-fly-apart structure, folding over and under itself as medieval epics do and reflecting the serpentines of the art nouveau so present in several of the film`s sets.

The mythical French casino itself provides a semiotic mapping of the film`s subversion of the modern establishment. Below the bourgeois finery of the palatial building and an art collection spanning the century (read: Western elitism), a female army garbed in Paco Rabanne`s gladiator uniforms, an extension of the designer`s actual mid-‘60s metallic fashions, relates the modern power structure to the barbarism of ancient (and anti-Judeo-Christian) Rome. With their leader, Dr. Noah, acting on behalf of a vaguely Soviet SMERSH but interested only in his own gratification, the static Cold War ideologies become reflections that turn on themselves. The Berlin sequence summarizes Germany as the focal wound of political folly: the Wall divides a sex-crazed West from a silent and red-lit East (both deemed political whores), while the sinister Frau Hoffner (Anna Quayle), Polo (Ronnie Corbett), and Sir James`s prodigal daughter by Mata Hari (Joanna Pettet) flirt on the edge of the nuclear Goetterdammerung in a stunning parody of “The Cabinet of Dr. Caligari”. Like the question of sanity raised in that Expressionist classic, Frau Hoffner`s “very democratic” espionage school, which trains “Russian spies for America and American spies for Russia,” suggests the entire world is the asylum. The film features the music of Burt Bacharach and Debussy, as well as Michael Stringer`s wide catalogue of sets ranging from a Palladian estate to an East Asian temple, all linked by heraldic tones of orange/pink and blue/green. So much art, so much architecture, so many sideswipe references to high culture. Too rich for a simple spy saga, this stylistic puzzle instead implies what is at stake in the battle between the “immaculate priesthood” of the individualistic and genteel Sir James and the false promise of social Darwinist technocrats.

The failure of modernity and a celebration of what Umberto Eco would call the postmodern “crisis of reason” permeates nearly every scene of Casino Royale. The false widow of M espouses the heroic deeds of “her” Scottish ancestors, turns her back on high-tech spying for the love of the hero, and, quoting Robert Burns, retreats to a convent. The remote-controlled, dynamite-loaded milk truck finds the wrong target, while Le Chiffre`s “torture of the mind,” which conjures associations with trendy psychiatry and military LSD experimentation, is an utter failure. Dr. Noah`s flying saucer symbolically displaces the icon of Lord Nelson in Trafalgar Square (already bought and removed by Vesper) with a futuristic technology used to kidnap and torture Mata Bond. All the “weapons of our time,” which Sir James is encouraged to use, are disasters.

Although she is saved from a descent into damnation, Vesper is perhaps the most challenging of all the modernist images in the film. This femme fatale character (she has Sellers`s Bond and still kills him), along with, as the ad for the film proclaimed, “a Bondwagon of the most beautiful and talented girls you ever saw,” attempts to defeat the objectification of the female so prevalent in the “real” Bond. What it instead offers is a male sex-fantasy of women`s liberation and a female impersonation of the worst aspects of James Bond`s “Playboy” philosophy. The deadly women are foiled at every turn, not by contemporary man, but by the Edwardian guardian of gentlemanly tradition, Sir James. Yet he is not a misogynist and actively recruits women, including his daughter, to help the cause.

An icon of worship as the name implies, Vesper disposes of her enemies in a kitchen process that offers an update of concentration camp stratagems. She clearly represents a fascist modernism that places itself into history and glitters, but which must also destroy all that inhibits the New Order. At home in her Olympus-like arena of world control, a pagan goddess shrouded in feathers and surrounded by Greco-Roman art, she poses an immediate opposition to Sir James’s Christian nature. She ultimately descends from the heights (the moving conversation pit) to give herself to a mere mortal (Sellers) in order to bend more than his ear. The image of Hitler descending from the clouds to those who would do his bidding in Leni Riefenstahl`s “Triumph of the Will” springs to mind here. Sellers`s subsequent impersonation of that dictator, Napoleon, a British officer, and Toulouse Lautrec (Euroculture again) for Vesper`s camera (Riefenstahl again) is the very message of her madness: seduction, deception, and image make the modern superman/woman. Compared to her sophisticated ammunition, Q`s outfitting of the new Bond seems needless by comparison. As “the richest spy in the world,” Vesper is both capitalist and pragmatist. Her manipulation and use of male-dominated politics to satisfy her own needs may demonstrate the female as “outside” male society, but the multitude of women in the service of male megalomania in this film have yet to know they are an enslaved “class of woman,” as feminist theoretician Monique Wittig insists. The Detainer (Daliah Lavi), whose sexuality is her only weapon but who doesn`t really “do anything” as she waits for male self-destruction, perhaps points to future realization when she regards Allen`s phallocratic leader manqué as a “wretched, grotesque, ridiculous, insignificant little monster.”

Obviously inspired by Stanley Kubrick`s “Dr. Strangelove” (Terry Southern also contributed uncredited material to Casino Royale), the Berlin war room attempts to both enjoy and slam female objectification as the four superpowers bid for pornographic blackmail material. The auction that so easily turns to “war” is upset by a woman–the scantily-clad Mata Bond, who punctuates the slapstick struggle with her own vocalization of such cartoon effects as “zap!” and “pow!” Her victory is perhaps more the result of her mythic lineage than of her Twiggy-era liberation, but one message is clear: the Cold War is a comic strip that can only be dealt with accordingly. There is little to trust, even less to believe in. The reiteration of this point comes with the spoof on the ritual Bond film battle finale–here played as the apocalypse à go-go. Everyone and everything is thrown into the maelstrom of this Western brawl as nuclear war epitome, but only the messiah and his followers are worthy of ascension; the usurper (Woody Allen) sinks into flames. There is a literal deus ex machina (the forces of “good” parachuting into the Casino), but the conclusion, which critics at the time read as plot exhaustion, is completely loyal to the metaphysics of the film: the tale, which began in the clouds concludes in self- sacrificing heavenly victory. Although this denigration of modernity in favor of divinity and mythos also suggests a false totality, the illusion of wholeness found in fascist ideology, the not-so-tongue-in-cheek Romanticism here pays homage to a much earlier and more benevolent imperialistic nature, Sir James’s Pax Britannia and a laissez faire elitism.

Some critical utterances in film study seem to hold curious sway long after they have been proven questionable or have even been overturned. Susan Sontag`s misunderstanding of Leni Riefenstahl is one such notorious example. Similarly, Leslie Halliwell`s view that Casino Royale was a huge shapeless romp “put together with paste at a late night party” still discounts the film more than thirty years later. The critics who deride the film in their examinations of the careers of Woody Allen and Peter Sellers only encourage the politically correct scholarly silence surrounding the film. Having attempted the first analysis of the work in Films in Review in 1988, I am happy to note, however, that a thaw has begun. In 1999, the American Movie Classics (AMC) cable television channel presented Casino Royale with something akin to serious commentary.

There is a definite trajectory in the development of the sociopolitical satire of the 1960s from Billy Wilder`s One, Two, Three (1961) to the indulgence of Candy (1968) to the burn-out of The Magic Christian (1970), which locates Casino Royale as the apex and the most successful reflection of the era`s anarchic impulses. In this respect, the film has no fewer teeth than Godard`s New Wave attack on capitalist society, Weekend, which was released the same year. It is never claimed as an inspiration or influence, yet Monty Python, the subversive parodies of Mel Brooks, the manic visuals of 60s inspired music videos and the Gen X and Y films they inspire, are all heirs to Casino Royale. Their creators would have had to invent the film if it hadn`t existed. Austin Powers: International Man of Mystery is case in point. Having lifted at least half of Casino Royale to make his film an “homage” to 60`s spy spoofs (though he claims inspiration instead from Our Man Flint), Mike Myers` Austin Powers has introduced a new generation to the delights of the original, albeit through an impersonation diluted with too much Matt Helm and the worst of MTV toilet humor. Although the film seems to yearn for the prototype`s set pieces and its literate pop-apocalypse, it overkills with garish tones for fear that the concept might be lost on a market too young to remember or too attention deficient to understand. This self-conscious and simplistic imitation imparts nothing so much as the sentiment that there is no going home. The original already claimed that fact as its self-ironic starting point. And Myers is not the only one attempting to reinvent the event: the “real” Bond series has been taking dialogue and mimicking sets from Casino Royale since the 1970s, and now larger elements can be found in the The Fifth Element, The Avengers, The World is Not Enough, and a half-dozen other cinema adventures. They remain uncharted because of the critical neglect of the original. These re-visions also pale because, like Casablanca, Casino Royale is a film of momentary vision, collaboration, adaptation, pastiche, and accident. It is the anti-auteur work of all time, a film shaped by the very Zeitgeist it took on. As a compendium of what almost went too wrong in the twentieth century done up as a burlesque of the knightly epic, it may still frighten the modernists, but those who follow should consider it to be quite sagacious.

–Casino Royale, always the black sheep of the Bonds, is officially out of print on VHS but is now available on DVD yet. VHS and laserdisc copies can be had at many video rental stores. (Don’t confuse the 1967 film with Barry Nelson’s 1950’s TV version of Casino Royale!)

Casino Royale (1954 Television Show)

Many may not realize it, but the very first James Bond movie was Climax Theater`s Production of: Ian Fleming`s Casino Royale. Produced in 1954, and shown on CBS, it starred Barry Nelson as James Bond, Linda Christian as Valerie Mathis and Peter Lorre as Le Sheef. The 60 minute production was hosted by William Lundigan.

In some respects it`s faithful to the novel and in other places it diverges wildly. We`ll start from the beginning. This version was clearly made with the American audience in mind. James Bond was an American hero. He`s not even British in this version. That role goes to Clarence Leiter (Felix in the book) who works for Her Majesty`s Secret Service and is assigned to assist 007 to make sure Le Sheef (Le Chiffre in the book) is bankrupted in the Casino. The role of Vesper Lynd (in the book) has now been turned into Valerie Mathis.

As far as portraying Bond goes, Barry Nelson doesn`t carry much screen presence. His James Bond is nothing like Ian Fleming`s Bond and comes across as a nerd or a dork in the film. Linda Christian does okay as the duplicitous go between girl, but she`s not as emotionally distraught and tortured as Vesper was in the book. On the other hand, Peter Lorre is very convincing as the villian, a villian who has squandered state funds (Russia`s) and is trying to win it all back before he gets audited. He`s the real star of this production, and it always gets a lift whenever he`s on screen.

The basic plot of trying to bankrupt Le Sheef is intact. Other plot elements from the book that made it into this production include the cane disguised as a gun, Bond`s room being bugged, the explosion outside the Casino and Valerie being used by LeSheef. What didn`t make it into the film was the carpet beating torture sequence from the book, and Vesper`s death. The torture sequence was changed to having Bond being restrained in a bathtub while his toes were crushed in a vice like grip and in the end, Valerie and Bond appear to live happily ever after, which does not happen in the book.

A View To A Kill

THE CAST: Roger Moore (James Bond); Tanya Roberts (Stacy Sutton); Grace Jones (Mayday); Patrick Macnee (Tibbett) Christopher Walken (Max Zorin)

THE SUPPORTING CAST: Willoughby Gray (Dr. Mortner); Patrick Bachau (Scarpine); Robert Brown (“M”); Lois Maxwell (Moneypenny); Desmond Llewellyn (“Q”); Allison Doody (Jenny Flex); Daniel Benzali (Mr. Howe); Fiona Fullerton (Pola Ivanova); David Yip (Chuck Lee)

CREDITS Produced by Albert R. Broccoli; Directed by John Glen; Screenplay by Richard Maibaum and Michael G. Wilson; Music by John Barry; Edited by Peter Davies; Title Song by Duran Duran; Lyrics by John Barry and Simon Lebon; Filmed on location in Iceland, France, California and Pinewood Studios, England; Running Time 2 hours and 12 minutes

VILLAIN`S IDIOSYNCRASY: Certifiably insane

BEST LINES: Zorin, to business men who have just watched one of their own thrown out a blimp: “So, does anybody else want to drop out?” Bond to Zorin`s inquiry about how well he slept during the night: “A little restless at first, but I got off eventually.

BOX OFFICE: $152,400,000 worldwide gross; $237,135,494.95 in 1999 dollars adjusted for inflation

This film is considered to be, by most Bond fans, the lowest point of the series (though one could persuasively argue `Golden Gun` deserves that distinction). Moore was showing his age, and perhaps the series was as well. While it isn`t the best Bond film, it does have everything most people have come to expect in a Bond film: lavish locations, breathtaking stunt work, outrageous villains, beautiful women and more. The highlights:

The movie is essentially a remake of Goldfinger, with new villain Max Zorin wanting to corner the world market on microchips, even if it means murdering the competition. To this end, he`s enlisted the aid of a wide variety of colorful villains.

First is his trusted mentor Dr. Carl Mortner. It turns out Dr. Mortner used to perform bizarre steroid expirements on pregnant women in Germany during World War II. The CIA believes Max Zorin is the byproduct of a Nazi experiment gone wrong, which makes Max an even greater oddity when you consider his girlfriend/bodyguard/personal trainer, Mayday, is black. As Zorin, Walken brings his trademark psychotic bent to the role and with great effectiveness. Disco diva Grace Jones lets her looks do the talking. She`s a menacing prescence, and a formidable foe for 007.

The stunt work for A View To A Kill is simply amazing. From jumping off The Eiffel Tower to slamming an airship into The Golden Gate Bridge, `View` offers it all. Or at least attempts to. The money is definitely up on the screen. And the titles, by Maurice Binder, rank among his best. Another great score is turned in by John Barry and Duran Duran, providing us with one of the most memorable scores and theme songs in the series.

Despite all of the excellent points mentioned above, there are still some problems. Roger Moore was too old for the role at this point, and you need look no further than the scene where he climbs on top of the bomb/crane for proof of that.

And then there`s Tanya Roberts. The less said about this performance, the better. Mrs. Roberts seems to want to forget the role, and so does most everyone else. Suffice it to say, the character of Stacy Sutton fails to see or hear a blimp coming up behind her, which pretty much summarizes the depth of this character.

The direction lags at times as if the film just never quite gets rocking and rolling. Putting a Beach Boys theme right in the middle of a tense action sequence is a real mood killer. And not using Pola Ivanova as THE Bond girl was a missed opportunity. She`s much more interesting and effective in five minutes of screen time than Stacy Sutton was in 60, and one could reasonably argue that she was more integral to the plot.

`View` may not be the best Bond film, but it`s definitely a pleasant way to kill some time.

You Only Live Twice Theme

You only live twice, or so it seems,
One life for yourself, and one for your dreams.
You drift through the years and life seems tame,
Till one dream appears and love is its name.

And love is a stranger who`ll beckon you on,
Don`t think of the danger or the stranger is gone!

This dream is for you, so pay the price…Make one dream come true…You Only Live Twice.

And love is a stranger who`ll beckon you on,
Don`t think of the danger or the stranger is gone!

This dream is for you, so pay the price…Make one dream come true… You Only Live Twice.

You Only Live Twice: (Demo Version)

This version of You Only Live Twice has never been traced back to it`s author. Record searches of archives conducted by John Barry and associates have failed to turn up who performed this demo version and no one has yet stepped forward claiming to be the demo singer. Based on the tune and the lyrics, it`s not hard to see why!

You Only Live Twice,
no more than twice,
and each life you live,
you`re playing with dice!

The first game is love,
beware, it`s nice!
The second is death
whose cold arms entice you…

You gamble with danger…You gamble with love…Each one is a stranger…In a black velvet glove!

And if you should lose,
you`ll the pay the price,
good luck with the dice,
You Only Live Twice!

(repeat stanza)

You gamble with danger,
You gamble with love,
Each one is a stranger,
in a black velvet glove!

And if you should lose,
You`ll the pay the price,
Good luck with the dice…You Only Live Twice!

Tomorrow Never Dies Theme

[Performed by Sheryl Crow]

Darling I`m killed,
I`m in a puddle on the floor,
Waiting for you to return.

Oh, what a thrill,
Fascinations galore,
How you tease, how you leave me to burn.

It`s so deadly, my dear,
The power of having you near…

Until the day…Until the world falls away…Until you say, there`ll be no more goodbyes…I see it in your eyes…Tomorrow Never Dies.

Darling you won,
It`s no fun,
Martinis, girls and guns,
It`s murder on our love affair.

It`s you, that`s your life,
Every night, as you chase the morning light,
You`re not the only spy out there.

It`s so deadly my dear,
The power of wanting you near…

Until that day…Until the world falls away…Until you say there`ll be no more goodbyes…I see it in your eyes…Tomorrow Never Dies!

(repeat chorus)

Tomorrow Never Dies: “Surrender”

(Written by David Arnold; Performed by K.D. Lang)

Your life is a story,
I`ve already written,
The news is that I am in control…

…And I have the power,
To make you Surrender,
Not only your body but your soul…

Tomorrow Never Dies…Surrender…Tomorrow will arrive on time…I`ll tease and tantalize with every line…Till you are mine…Tomorrow Never Dies!

Whatever you`re after,
Trust me, I`ll deliver,
You`ll relish the world that I create…

Tomorrow Never Dies…Surrender…Tomorrow will arrive on time…I`ll tease and tantalize with every line…Till you are mine…Tomorrow Never Dies!

The truth is now…What I say…I`ve taken care of yesterday…

Tomorrow Never Dies…Surrender…Tomorrow will arrive on time…I`ll tease and tantalize with every line…Till you are mine…Tomorrow Never Dies!

Tomorrow Never Dies…Tomorrow Never Dies…Tomorrow Never Dies!

Thunderball Theme

He always runs while others walk.
He acts while other men just talk.
He looks at this world, and wants it all,
So he strikes, like Thunderball.

He knows the meaning of success.
His needs are more, so he gives less!
They call him the winner who takes all…
And he strikes, like Thunderball!

Any woman he wants, he`ll get…
He will break any heart without regret…
His days of asking are all gone…
His fight goes on and on and on…

But he thinks that the fight is worth it all…So he strikes like Thunderball

Thunderball: “Mr. Kiss-Kiss Bang-Bang”

The original title of the song for Thunderball was: Mister Kiss-Kiss Bang-Bang, (Japan`s name for Bond) sung by Dionne Warwick. (A Demo was cut by Shirlet Bassey as well!) At the last minute, the producers decided to go with the version sung by Tom Jones that incorporates the straighter title of “Thunderball” into the lyrics. (!)

Here are the lyrics to Dionne Warwick`s rejected rendition:

He`s tall and he`s dark,
And like a shark, he looks for trouble.

That`s why the zero`s double…Mr. Kiss-Kiss Bang-Bang

He`s suave and he`s smooth,
And he can sooth you like vanilla,

The gentleman`s a killer…Mr. Kiss-Kiss Bang-Bang

Madmoiselles and danger,
Have filled the stranger`s past.
Like a knife, he cuts through life,
Like everyday`s the last!

He`s fast and he`s cool,
He`s from the school that loves and leaves them,

A pity if it grieves `em…Mr. Kiss-Kiss Bang-Bang

Madmoiselles and danger,
Have filled the stranger`s past.
Like a knife, he cuts through life,
Like everyday`s the last!

He`s fast and he`s cool,
He`s from the school that loves and leaves them,

A pity if it grieves `em…Mr. Kiss-Kiss Bang-Bang`s…Not a fool…No, he`s no fool…he is no fool…he…is…no…fool

The World Is Not Enough Theme

The World Is Not Enough (Music by David Arnold, Lyrics by Don Black, Performed by Garbage)

I know how to hurt, I know how to heal…
I know what to show, and what to conceal…
I know when to talk, and I know when to touch…
No one ever died from wanting too much!

The World Is Not Enough…but it is such a perfect place to start, my love…And if you`re strong enough, together we can take the world apart, my love…

People like us, know how to survive,
“There`s no point in living if you can`t feel alive…”
We know when to kiss, and we know when to kill…
If we can’t have it all, then nobody will…

The World Is Not Enough, but it is such a perfect place to start, my love…And if you`re strong enough, together we can take the world apart, my love…

I feel safe, I feel scared, I feel ready…And yet unprepared…

The World Is Not Enough, but it is such a perfect place to start, my love…And if you`re strong enough, together we can take the world apart, my love…

The World Is Not Enough…
The World Is Not Enough…
No, no, ain`t near enough…
The World Is Not Enough!

The World Is Not Enough: “Sweetest Coma Again”

For the first time in the long-running James Bond film series, an original song has been placed at the end of a Bond film (for one region of the world only). The song “Sweetest Coma Again” by the Japanese band “LUNA SEA” appears over the end credits for The World Is Not Enough on Japanese prints! 007Forever presents all you need to know about this unique chapter in Bond film music.

The print of The World Is Not Enough that most saw worldwide featured a David Arnold remix of “The James Bond Theme” over the end titles, dropping Arnold’s ballad of “Only Myself to Blame”. In Japan however, a new song with a rock beat was commissioned by the studio to play over the end credits for Mr. Kiss-Kiss-Bang-Bang’s latest.

The reasoning for this strange choice lay in a marketing decision to give The World Is Not Enough added appeal in the Japanese market. “Tomorrow Never Dies” had a rather soft Japanese reception in 1998, though it initially outscored “Titanic” at the Japanese box office, and there were concerns that Bond did not have as broad an appeal in Japan today as he does in other countries. One solution to this problem was to feature a popular Japanese rock band in the new Bond film.


LUNA SEA (yes, all in capitals) is an all-male band consisting of Ryuichi on vocals, Sugizo on guitar, Inoran on guitar, “J” on bass and Sin-Ya on drums. The band somewhat resembles a Japanese version of Duran Duran, down to the pretty-boy glam-rock trappings.

Reinforcing the Duran Duran parallels, band member Sugizo is a fan of all Bond’s vocals since the 60’s. Sugizo sports a Bondian Rolex watch and drives a Lotus Esprit much like John Taylor of Duran Duran. Sugizo is also reportedly a good friend of “Goldie,” the British drum and bass musician featured in TWINE as Zhukovsky’s chief henchman, “Bull”.

Music and lyrics for “Sweetest Coma Again” were written by LUNA SEA who also performed the song. The song also “features” Japanese musician “DJ Krush” as a guest artist. The track is featured on the Japanese version of The World Is Not Enough and Scott Walker’s “Only Myself to Blame” is included as well! There is no music video currently but the band did perform the song on popular New Year’s Eve telecasts.

Music to our ears:

“Sweetest Coma Again” is a rock song sung in Japanese. As a stand-alone song, it’s a decent tune. As a proper James Bond song, it’s severely lacking, however. To be generous, you could say that the song is in the “A View To A Kill”/”The Living Daylights” corner of pop-rock Bond songs. To be blunt, one could say that the song is a generic rock song slapped onto the film to give it some added marketability. The song had no involvement from David Arnold and therefore contains no melody or lyrics heard in the film itself. As with Sheryl Crow’s “Tomorrow Never Dies” title track, LUNA SEA admits that they wrote the song before seeing the film.

The song is sung from the point of view of a man but its unclear whether that man is James Bond or “Renard!” The woman in question who is the muse for the tune is most likely “Elektra King” but again, the lyrics are murky at best. If it is Renard singing about Elektra, the fact that Renard has no feelings is conveniently forgotten. In any event, 007Forever hereby presents an exclusive translation of the Japanese lyrics to “Sweetest Coma Again”:

[Written and performed by LUNA SEA]

“Sweetest Coma Again…Sweetest Coma Again…Sweetest Chaotic Coma Again

“Are you ready?” You tease me with excellent skills.
“What do you want?” I am falling in you with your stimulative noise.
Would you join me to steal the pale moon in the sky in perfect rhythms.
Watch out! This is the game without any tricks under sweet conscience,

Just Like Coma…I’m in the Coma…Sweetest Coma Again

Hold me tight again, My sweet,
Tonight, the world is in your hands,
Shoot my chest again passionately,
Tonight, the world is in your hands.

Don’t wake me up again, sweetest dream,
Tonight, the world is in your eyes,
Don t pass me again, sweetest time,
Tonight, the world is in your eyes,

Hold me tight again, My sweet,
Tonight, the world is in your hands,
Shoot my chest again passionately,
Tonight, the world is in your hands.

With my crazy heat and beat,
Tonight, the world is gonna quake,
With your crazy heat and hold,
Tonight, the world is in my hands.

Sweetest Coma Again…Sweetest Coma Again

Your crazy heat and beat run through my body,
Endless dream and Coma Again.”

–Translation courtesy of Yukitoshi Kitagaki

Japanese Bond expert, Makoto Wakamatsu, has provided the following comments on the song:

“The man cannot get away from a certain girl. Her mysterious and yet binding power forces him to accept her. He falls into a sweet dream and he cannot resist her anymore. She is the whole world for him. Now he feels so good, he doesn’t want to leave her. She holds him again and he shares the world with her. The dream is endless.”

–Greg Bechtloff is the American representative of The James Bond International Fan Club and Archive. Special thanks go to Yukitoshi Kitagaki and Makoto Wakamatsu for their input.

The World Is Not Enough: “Only Myself To Blame”

[Performed by Scott Walker]

I`ve walked, way past Midnight,
I`ve driven for days,
I`ve tried to forget,
In so many ways.

I`ve held other arms,
But they don`t feel the same,
And I`ve Only Myself To Blame.

From city to city,
I still see your face,
It follows me all…all over the place,
I shouldn`t look back,
But I do, just the same,
And I`ve Only Myself To Blame.

I knew it was love…But when you are young…You think love will come, again…and again.

There`s no greater fool,
When the fool`s not afraid,
And I`ve Only Myself To Blame.

I knew it was love…But when you are young…You think love will come, again…and again.

There the fool`s not a fool.
When the fool`s not afraid…

…And I`ve only myself…only myself…Only Myself To Blame.

The Spy Who Loved Me Theme

[Performed by Carly Simon]

Nobody does it better,
Makes me feel sad for the rest.
Nobody does it half as good as you,
Baby, you`re the best.

I wasn`t looking, but somehow you found me,
I tried to hide from your love light,
But like heaven above me, The Spy Who loved Me,
Is keepin` all my secrets safe tonight…

…And nobody does it better,
Though sometimes I wish someone could,
Nobody does it quite the way you do,
Why`d you have to be so good?

The way that you hold me, whenever you hold me,
There`s some kind of magic inside you,
That keeps me from runnin` but just keep it comin`,
How`d you learn to do the things you do?…

…And nobody does it better,
Makes me feel sad for the rest,
Nobody does it half as good as you,
Baby, baby, darlin`, you`re the best…

Baby you`re the best…Baby you`re the best…Baby you`re the best…Darlin` you`re the best…Darlin` you`re the best…Baby you`re the best…Baby you`re the best…

The Man With The Golden Gun Theme: Alice Cooper

After the success of Live and Let Die by Paul McCartney and Wings, Alice Cooper thought EON may have been in the mood for an even heavier rock anthem, and thus presented him with his version of The Man With The Golden Gun. Here are the rejected lyrics to Alice Cooper`s submission:

Man With the Golden Gun [4:12]
Album: Muscle of Love, 1973

The man
With the golden gun
Is waiting
Out there
For you

But you`ll never see him
He`ll be looking for you

For the golden gun
It`s high priced
And true

But you`ll never see him
He`ll be looking for you

The man with the golden
Gun in his pocket, Oh, oh
The man with the golden
Gun in his case, Oh, oh
The man with the golden
Gun in your face
But you`ll never see him
He`ll be looking for you
You better believe
He`ll be looking for you

He-e-e-e-e-e`s, The man with the golden
Gun in his pocket
The man with the golden
Gun in his case
The man with the golden
Gun in his pocket
The man with the golden
Gun in your face

But you`ll never see him
He`ll be looking for you
You better believe
He`ll be looking for yo-ou

He-e-e-e-e-e`s, The man with the golden
Gun in his pocket
The man with the golden
Gun in his case
The man with the golden
Gun in his pocket
The man with the golden
Gun in your face

The man with the go-o-olden
Gun in his pocket
The man with the go-o-lden
Gun in his case
The man who gave you the golden gun

The Living Daylights: “Where Has Everybody Gone?”

(Performed by Chrissie Hynde and The Pretenders)

Where Has Everybody Gone?
I`ve got this feelin`, God, am I here on my own?
Where`s my support now, where`s the ranks of the strong?
In this faceless crowd, where can I belong?

Everybody`s gone insane to catch a plane to help the heavens closer,
They want the kingdom but they don`t want the king,
They want his throne.
(And) There`s no time, there`s no time at all!

Where Has Everybody Gone?
With great pleasure, I sing your national song,
Because you`re beautiful land will soon be long gone…
And the ashes of your memoirs will be strewn across the lawn!

Hack your face, save your case, reserve your place in the ever after,
Cause hallowed halls are lined with walls,
That are cracked with delirious laughter.
(And) There`s no time, there`s no time at all.

Where Has Everybody Gone?
There`s no time, there`s no time at all.
You won`t survive…and you`ll soon be long gone…gone, your gone…you`ll soon be long…gone!

The Living Daylights Theme

(Lyrics by Pal Waaktar and John Barry; Performed by A-ha)

Hey driver, where we going?
I swear, my nerves are showing.
Set my hopes up way too high,
The living`s in the way…we…die!

Comes the morning and the headlights fade in rain,
Hundred thousand people, I`m the one they frame.
I`ve been waiting long for one of us to say,
“To save the darkness and let it never fade away!”…

In The Living Daylights…In The Living Daylights (Oh, oh, oh-oh…The Living Daylights)

Alright, hold on tighter now,
It`s down, down to the wire.
Set your hopes up way too high,
The living`s in the way…we…die

Comes the morning and the headlights fade in rain,
Hundred thousand changes, everything`s the same.
I`ve been waiting long for one of us to say,
“Save the darkness and let it never fade away”…

In The Living Daylights…In The Living Daylights (Ihe Living Daylights)…In The Living Daylights (the Living Daylights)…

Comes the morning and the headlights fade away,
Hundred thousand people, I`m the one they frame!
In The Living Daylights…The Living Daylights (The Living Daylights)

The Living Daylights: “If There Was A Man”

(Performed by Chrissy Hynde and The Pretenders)

If There Was A Man, I could dream of,
I`d dream about a dream come true.
If There Was A Man, I could ever love,
I`d wait a million years for someone just like you.

All my life…I`ve been belating…never taking any chances…always hesitating…where`s the payoff?

Where`s the glory?
Where`s the one I`m holding out for,
Was he`s walking through the door,
The one that you walked through…if it isn`t you?

If There Was A Man, I could dream of,
I`d dream about a dream come true.
If There Was A Man, I could ever love,
I`d wait a million years for someone just like you.

Happy endings…never find me!
I`d put all my fantasies and hopes of love behind me,
All my moments…overdue but…

If There Was A Man out there for me…I wish it would be someone who…could love me true…if someone was you!

Robbie Williams` “Millennium”

Along with rapper Will Smith and many others, Brit superstar Robbie Williams jumped on the Millennium bandwagon in the late 90`s. Williams` “Millennium” sampled more than heavily from John Barry`s Bond theme for “You Only Live Twice.”

Williams, a huge Bond fan himself, has been touted and rumored to succeed Pierce Brosnan someday in the 007 role. Meanwhile, composer John Barry denies giving permission to Williams to sample You Only Live Twice for his runaway hit.

We`ve got stars directing our fate,
And we`re praying its not too late, Millennium.

Some say that we are players,
Some say that we are pawns,
But we`ve been making money,
Since the day that we were born,
Got to slow down, `cause we`re low down.

Run around in circles,
Live a life of solitude,
`Till we find ourselves a partner,
Someone to relate to,
Then we`ll slow down, before we fall down.

We`ve got stars directing our fate…And we`re praying its not too late…`cause we know we`re falling from grace…Millennium.

Live for liposuction,
And detox for your rent,
Overdose at Christmas,
And give it up for Lent.

My friends are all so cynical,
They refuse to keep the faith.
We all enjoy, the madness `cause we know we`re going to fade away.

We`ve got stars directing our fate…And we`re praying it`s not too late…`cause we know we`re falling from grace…Millennium.

Come, and have a go, if you think you are hard enough,
Come, and have a go, if you think you are hard enough,

We`ve got stars directing our fate…And we`re praying it`s not too late…`cause we know we`re falling from grace, Millennium.

And when we come we always come to late,
I often think that we were born to hate,
Get up and see the sarcasm in my eyes.

And when we come we always come to late,
I often think that we were born to hate,
Get up and see the sarcasm in my eyes.

We`ve got stars directing our fate…Millennium…And we`re praying its not too late…Millennium…`cause we know we`re falling from grace…Millennium.

OHMSS: “We Have All The Time In The World”

This soulful ballad, performed by Louis Armstrong weeks before he passed away, is John Barry`s favorite Bond composition.

We Have All The Time in The World,
Time enough for life to unfold,
All the precious things love has in store.
We have all the love in the world,
If that`s all we have, you will find,
We need nothing more!

Every step of the way will find us…With the cares of the world far behind us…

We Have All The Time In The World,
Just for love,
Nothing more, nothing less,
Only love!

Every step of the way will find us…With the cares of the world far behind us…

We Have All The Time In The World…Just for love…Nothing more, nothing less…Only love…Only now!

OHMSS: “Do You Know How Christmas Trees Are Grown?”

One of the more surreal Bond tunes (and that is saying plenty!) was penned by John Barry and lyricist Hal David for the Lazenby classic, “On Her Majesty`s Secret Service”:

“La la la la la la la,
La la la la la la la.

Do You Know How Christmas Trees Are Grown? They need sunshine.
Sunshine can’t grow Christmas trees alone; They need raindrops.
Raindrops can’t grow Christmas trees, here’s the reason why;
In the winter rain will freeze, and the trees will die.

Do You Know How Christmas Trees Are Grown?…They need sunshine and raindrops, friendship and kindness and most of all…they need love.

Do you know how Santa gets around? He needs snowflakes.
Snowflakes cannot do it all, I found. He needs reindeer.
Reindeer, even tho’ they try, they need other things.
Once a year they have to fly, and they don’t have wings.

Do you know how Santa gets around?…He needs snowflakes and reindeer, sunshine and raindrops, friendship and kindness and most of all he needs love.

Do you know how Christmas cards are made? They need pictures.
Pictures can’t complete them I’m afraid. They need greetings.
Greetings say what’s in your heart, that’s what they are for.
But, when loved ones are apart, Christmas cards need more.

Do you know how Christmas cards are made?…They need pictures and greetings, sunshine and kindness and most of all…they need love.

La la la la la la la,
La la la la la la la.”

Octopussy Theme

“All Time High” [Performed by Rita Coolidge]

All I wanted, was a sweet distraction for an hour or two.
Had no intention to do, the things we`ve done.
Funny how it always goes with love, when you don`t look, you find.
But then we`re two of a kind, we move as one.

We`re An All Time High!…We`ll change all that`s gone before…Doing so much more, than falling in love.

On an All Time High…We`ll take on the world that way…So hold on tight, let the flight begin.

I don`t want to waste a waking moment, I don`t want to sleep.
I`m in so strong and so deep, and so are you.
In my time I`ve said these words before, but now I realize,
My heart was telling me lies, for you they`re true!

We`re An All Time High…We`ll change all that`s gone before…Doing so much more than falling in love!

On An All Time High…We`ll take on the world that way…So hold on tight, let the flight begin…So hold on tight, let the flight begin…We`re An All Time High!

Never Say Never Again Theme

[Written by Herb Alpert; Performed by Lani Hall]

Never, Never Say Never Again…never, Never Say Never Again…

You walk in a room,
A woman can feel the heat.
One look is a guarantee,
Nights could be, long and sweet.

The message is clear,
And like nothing I`ve ever known.
But from all that I hear,
Forget about long range plans,
`Cause this man`s, got his own!

To get mixed up with, a man who says, “Never,”
May be, big trouble, but then…

I just could be,
The woman to take you,
And make you say, “Never, Say Never Again,”…

…Never, Never Say Never Again…never, Never Say Never Again…never, Never Say Never Again….never, Never Say Never Again!

You`ve got all the moves,
And, but, baby I got `em too.
No matter your attittude, or your mood,
I`ll come through.

The touch of your voice,
The feel of your eyes on me,
You leave me no choice,
Though I know there`s danger there,
I don`t care, let it be!

To get in bed with, a man who says, “Never,”
May have no future, but then,
I just could be,
The woman to reach you,
And teach you, to Never Say Never Again.

I`ll bet you…I`ll get you…I`ll reach you…I`ll teach you…I`ll take you…I`ll make you!

Moonraker Theme

[Performed by Shirley Bassey]

Where are you? Why do you hide?
Where is that moonlight trail that leads to your side?
Just like the Moonraker goes in search of his dream of gold,
I search for love, for someone to have and hold…

I`ve seen your smile in a thousand dreams,
Felt your touch and it always seems,
You love me!…You…love…me.

Where are you? When will we meet?
Take my unfinished life and make it complete.
Just like the Moonraker knows, his dream will come true someday,
I know that you are only a kiss away,
I`ve seen your smile in a thousand dreams,
Felt your touch and it always seems…

You love me!…You…love…me!

Live And Let Die Theme

(Written and performed by Paul McCartney and Wings)

When you were young and your heart was an open book,
You used to say, “live and let live,”
(You know you did, you know you did, you know you did)
But if this ever changing world in which we live in,
Makes you give in and cry,
Say, “Live And Let Die!”

Live And Let Die…Live And Let Die…Live And Let Die.

What does it matter to ya`,
When you`ve got a job to do you gotta do it well,
You gotta give the other fellow hell!

You used to say, “live and let live,”
(You know you did, you know you did, you know you did)
But if this ever changing world in which we live in,
Makes you give in and cry,
Say, “Live And Let Die!”

Live And Let Die…Live And Let Die…Live And Let Die.

License To Kill Theme

(Performed by Gladys Knight)

Hey baby, thought you were the one who tried to run away.
Ohh, baby, wasn`t I the one who made you want to stay?
Please don`t bet…that you`ll ever escape me,
Once I get my sights on you…

Got a Licence To Kill…And you know I`m going straight for your heart (Got a Licence To Kill)…Got a Licence To Kill…Anyone who tries to tear us apart (Got a Licence To Kill)…Ooh, Licence To Kill.

Hey baby, think you need a friend to stand here by your side?
(Yes you do, your side).
Ohh baby, now you can depend on me to make things right, things right.
Please don`t bet…that you`ll ever escape me,
Once I get my sights on you…

Got a Licence To Kill…And you know I`m going straight for your hear (Got a Licence To Kill)…Got a Licence To Kill…Anyone who tries to tear us apart…(Got a Licence To Kill)

Say that somebody tries to make a move on you,
In the blink of an eye, I`ll be there too.
And they better know why, I`m gonna make them pay,
`Till their dying day!
`Till their dying day!
`Till their dying day!

(repeat chorus `til fade out)

License To Kill: “If You Asked Me To”

[Performed by Patti LaBelle; lyrics by Diane Warren and remade quite successfully by Celine Dion in 1992]

Used to be that I believed in something,
Used to be that I believed in love.
It`s been a long time since I`ve had that feeling,
I could love someone,
I could trust someone…

I said I`d never let nobody near my heart again, darlin`,
I said, I`d never let nobody in…

…But…If You Asked Me To…I just might change my mind…And let you in my life forever…If You Asked Me To…I just might give my heart…And stay here in your arms forever.

Somehow ever since I`ve been around you,
Can`t go back to being on my own.
Can`t help feeling, darlin`, since I`ve found you,
That I`ve found my home,
That I`m finally home.

I said I`d never let nobody get too close to me, darling,
I said I needed, needed to be free…

…But…If You Asked Me To…I just might change my mind…And let you in my life forever…If You Asked Me To…I just might give my heart…And stay here in your arms forever…If you…

Ask me to and I will give my whole world,
to you baby, I need you now (I need you now).
Ask me to and I`ll do anything (anything),
For you, baby…For you, baby…

If you ask me to,
I`ll let you in my life forever,
If you ask me to,
All you gotta do is ask me to…All you gotta do…All you gotta do is ask me to!
I`ll give you my world!
I`ll give you my whole world! (chorus repeat)