Flushed with the success of Dr. No the newly established team at Eon Productions wasted no time in progressing with their next production: Call Me Bwana. Now a quirky curiosity, Call Me Bwana was predominantly a Harry Saltzman initiative.1 Co-written by Dr. No’s Johanna Harwood with Nate Monaster, Mort Lachman and Bill Larkin, Call Me Bwana is a Cold War romp involving a space capsule returning from a mission to the moon. Holding vital information, the capsule lands in a fictional African state and the Americans send Matthew Merriwether, played by Bob Hope, a famed (but, in fact, fake) explorer to track down the capsule before the Soviets, who have assigned Luba (played by Anita Ekberg), a respected anthropologist, to get there first. Harwood admitted, ‘I’m not sure that I have ever actually seen it because it came out when I was in Paris and I don’t think it has been shown since.’2
Shot at Pinewood Studios, with second unit material filmed on location in Kenya, the film bills Harry Saltzman as ‘executive producer’ while it is ‘produced by Albert R. Broccoli. Broccoli’. Bob Hope had starred in Saltzman’s first film, The Iron Petticoat and Anita Ekberg had appeared in the Warwick production Zarak for Cubby Broccoli.
Director Gordon Douglas was assisted by the core team who had worked on Dr. No; Call Me Bwana was shot by Ted Moore, edited by Peter Hunt and designed by Syd Cain (Adam was already working for Stanley Kubrick on Dr. Strangelove). The picture also features an amusing title sequence by Maurice Binder.
The film contains some amusing moments, including a spoof of the Dr. No tarantula scene and a game of golf in the African plains, where famed professional Arnold Palmer turns up as himself, as well as some classic Bob Hope-isms thrown into the mix.
Composer Monty Norman also returned to the Eon fold, but was rueful about the experience, ‘I never got a contract from Harry at the beginning. I said, “The director’s happy, you seem to be happy, everyone’s happy, Bob Hope is certainly happy. Isn’t it time we talked money?” [Harry] said, “If you wanna talk money, we can’t do business!” Harry was a really good film man and also a theatre man for that matter but he was very difficult and most people had trouble with him at one stage or another. There should have been a Harry Saltzman survivors’ club.’3
Prior to production, journalist Donald Zec suggested to Broccoli that Eon’s next film should feature a popular new beat combo. Broccoli raised it with Saltzman who said, ‘Let me ask you something, Cubby: would you rather make a film with four long-haired schnooks from Liverpool who nobody’s ever heard of, when we’ve got Bob Hope – Bob Hope! All ready to go.’4 That was the rationale for the Bond producers missing the opportunity to produce the first Beatles film.5 Call Me Bwana remained the only non-Bond Eon Productions feature film until 2014’s The Silent Storm.
So eager were United Artists to get back into the James Bond 007 business, they immediately approved a production budget of $2 million for the second film. The producers received a larger fee, an increased overhead allowance and personal expenses budget. If both Dr. No and the second film recouped their costs together, Danjaq’s profit share on subsequent pictures would increase from 50 per cent to 60 per cent.6 But there was one man who was not happy: Sean Connery. Overnight Connery had become the top-grossing star in England. While Dr. No had been unceremoniously dumped in the US drive-in circuit in May 1963, it had still been successful enough for United Artists to double the budget.
Connery now regretted signing a multi-picture deal and, having glimpsed the success that lay ahead, wanted more. His then wife, Diane Cilento, remembered that Cubby and Harry did not want to alter the contract, ‘There was a long legal wrangle, which entailed lawyers, agents, flaring tempers, shouting and lots of aggravation.’7 She understood that Connery’s agent, Richard Hatton, was ‘bargaining from a position of impregnable strength’8 and terms were eventually agreed. Connery would get a $100,000 bonus on top of his $54,000 salary.9 Financial gripes aside, he was still enthused by James Bond. Connery mused, ‘I suppose the Walter Mitty in every man makes him admire a man like Bond a little. Ian Fleming told me he studied psychology before the war in Munich. Perhaps that’s why he seemed to know such a lot about the hidden yearnings in men and women.’10 Connery had an interesting thought process, ‘I once wondered what Bond thought of Fleming. He would admire him. Admire his well-founded, well-used substance and forthrightness. Admire immensely his brain and his reasoning powers, his villains and his heroines.’11
FROM RUSSIA WITH LOVE was chosen as the second Fleming novel to be adapted for the screen. The THUNDERBALL situation was still a legal quagmire. The most recent novel, THE SPY WHO LOVED ME, published on 13 April 1962 was an experimental novella that Fleming had not wanted filmed. Cubby Broccoli considered FROM RUSSIA WITH LOVE ‘one of Fleming’s best stories [where the] leading characters were well fleshed out. It was a tough straightforward spy adventure and the public was familiar with the title.’12 This was also the book that President Kennedy had highlighted as one of his favourites a couple of years earlier. Fleming expressed his gratitude:
I would not know how to go about soliciting such complimentary remarks from high places. I only met President Kennedy once socially when he was still a US Senator and I don’t believe I made such a profound impression on him that he would read my books as a result of our meeting. Yes the President has mentioned his fondness for my books on many occasions and I am proud to number him amongst my most ardent fans. In recent years, I have always sent him an autographed copy of each new book as soon as it comes off the presses. I think that is the least I can do.13
Like all Bond screenplays, its development went through many hands and processes. Richard Maibaum remembered, ‘On From Russia With Love, they had Len Deighton start.’14 Len Deighton was the hot new thriller writer of the day, following in the slipstream of Ian Fleming. His debut novel, THE IPCRESS FILE, featured a nameless hero who was seen as an anti-Establishment retort to Fleming’s world: a classless stick to beat the elitist Bond. Deighton was fêted by the press as the brave new hope and had even met Fleming. He met with Saltzman at Pinewood Studios the week Dr. No opened in October 1962. The producer wanted to buy the film rights to THE IPCRESS FILE. At subsequent meetings, Deighton was asked if he would like to write the screenplay for From Russia With Love. Deighton remembered the offices at South Audley Street: ‘A rabbit warren of small rooms served by a dark staircase – no elevator – on which one met all manner of film people.’15 He dealt mainly with Saltzman on the picture: ‘I saw Cubby from time to time but our conversations were just friendly day-to-day comments. I never discussed films with him. His quiet voice and shy manner made it difficult to believe that he had been an agent in Hollywood.’16 Saltzman suggested a winter trip to Istanbul and Deighton jumped at the chance to escape the cold British winter.17
Deighton was unaware of any other writers involved at this stage, ‘There were only four of us on the recce and Harry’s conversations with the art director gave me the impression that we were starting from scratch. So did the sessions I had with Harry every day over breakfast at the hotel.’18 Deighton felt Harry understood screenwriting, which, unlike other forms of writing, had the unique opportunity of, ‘the chance to tell the audience something the hero does not know.’19 Deighton was accompanied on the trip to Turkey with Designer Syd Cain and Director Terence Young.
Deighton recalled, ‘From Istanbul I went to spend Christmas in Beirut – a town I knew and liked – and returned to London for New Year. I kept in touch with Harry during the writing – let’s say I probably delivered the screenplay in February [1963].’20 The producers did not feel it was progressing in the right direction and called in Richard Maibaum, who wrote a treatment dated 28 January 1963.21 Maibaum thought it the best of the Fleming novels, ‘I think we crystallised the kind of thing that the Bond movies should be. That film was the one in which we set the style. In fact, I wrote that script in just six weeks. It still remains my favourite.’22 Maibaum recalled he got solo screenplay credit, while Johanna Harwood got an adaptation credit because ‘she worked some with the director, Terence Young, and made several good suggestions.’23
Speaking to the authors in 2012 Harwood remembered things differently. She was asked to start work on From Russia With Love ‘long before Dr. No came out because they were getting the second one, ready to go, to make straight afterwards.’24 Harwood recalled the effect the success of the first James Bond film had on the second:
[The producers] were absolutely tickled pink. But what happened when we started working on From Russia With Love was quite another matter. Nobody knew why [Dr. No] had been successful. They were all terrified that the second one wasn’t going to be the same. The first draft of From Russia With Love was done by this time and it was just torn to pieces because people wanted to get the same effect as Dr. No and they didn’t know how. It was panic stations.25
The problem was, according to Harwood, the James Bond formula had not been established, ‘Now I suppose you could say it was the James Bond girls, the gadgets and so on. I can remember one moment when Harry Saltzman said, “Now what we need here is a scene, you know, like that scene in the Marx brothers when they are all trapped in a lift.”’26 Harwood considered ‘[Saltzman] the driving force. I practically never saw Broccoli. I never, for instance, got any feedback to say Cubby Broccoli hadn’t liked something – I often wondered if he actually read the stuff. It was always Saltzman who wanted to change things.’27
Harwood formed an insightful picture of Sean Connery, ‘What struck me most about him on the one or two times that I met him before the shooting – we had lunch out at Pinewood – he was interested in the story, not just his role. I have seen an awful lot of actors who are only interested in their own part.’28 She was not, however, a fan of Terence Young:
Harry said ‘I should rewrite FROM RUSSIA WITH LOVE with Terence Young.’ I thought this is going to be agony. We had one afternoon together where I watched Terence Young running his pencil through it rewriting the scenes and saying ‘There that’s much better isn’t it?’ I had to bite my tongue because I was thinking ‘It’s not much better. And he’s not going to listen if I tell him.’ So I went off and found Harry Saltzman and I said ‘I’m leaving. There’s no good me sitting there watching Terence Young wreck it even further, you’re just paying two people instead of one.’ And I left. And he said ‘Well we’ve been together a long time are you sure?’ And I said ‘Yes I’m perfectly sure.’ And that was it.29
Harwood’s draft was simply a straight, faithful adaptation of Fleming’s novel, ‘I don’t know where Maibaum came in. I presume he did the nitty-gritty on that one. Anything that was vaguely like the book was mine. I didn’t invent the character of Q. Someone else must have put him in. And I nearly didn’t get the screen credit actually. Because I wasn’t there any longer, they dropped it but my agent went and got it back.’30
Maibaum felt Harwood’s credit unfair, ‘I was a little put out that she was given an adaptation credit because I don’t think she deserved it, but there are always politics in these things.’31 Berkley Mather, whose novel THE PASS BEYOND KASHMIR had not begun production yet, also made an uncredited contribution to the screenplay.32
FROM RUSSIA WITH LOVE was Ian Fleming’s fifth Bond novel published in the UK on 8 April 1957. While it was the most overtly anti-Soviet of the novels, the backgrounds were gleaned from an appreciation of the country in the early thirties and Fleming’s knowledge of the Enigma device used by the Germans during World War II. The novel concerns the Soviet counter-espionage outfit SMERSH targeting Bond in revenge for his successes against them. Lured by the temptation of the SPEKTOR – a Soviet cipher machine proffered by a defecting attractive desk agent, Tatiana Romanova, Bond is sent to Turkey to take delivery of both. In reality the SPEKTOR is booby-trapped and Bond is to be filmed making love to Romanova before both are dispatched by Red Grant. The sex tape is to be leaked causing a stain on Bond and the British Secret Service’s reputation. The novel was an experiment in structure as the first third details the planning and rationale behind the assignation attempt as we follow the triptych of villainy – Kronsteen, Donovan ‘Red’ Grant and Rosa Klebb about their deadly preparations. Bond only appears in the last two parts of the novel – the lamb to the slaughter.
The producers, again, softened the book’s political edge. A Bond film staple was introduced – the ‘Siamese fighting fish’ analogy – an independent, non-aligned power playing off East and West against each other. In the film, the villain was again SPECTRE (the decoding machine now a Lektor). Seeking revenge against Bond for the death of their previous operative, Dr. No, SPECTRE hope to kill Bond and obtain the cipher machine. By making Bond apolitical, the producers showed foresight at the height of the Cold War. Broccoli recalled, ‘We decided to steer 007 and the scripts clear of politics. Bond would have no identifiable political affiliation. None of the protagonists would be the stereotyped Iron Curtain or “inscrutable Oriental” villain. It was old-fashioned and would induce pointless controversy.’33 Writer Maibaum recalled From Russia With Love was accused of soft-pedalling the then political scene of the day, ‘Commentary [magazine] held forth that we weren’t anti-Russian enough. In fact, I think we were ahead of government policy towards the Russians. We let up on them sooner than the government did. We had Rosa Klebb become a defector from the Russians and attributed all that was going on to Blofeld’s bunch, unlike the novel’.34 Maibaum also recalled that Bond’s observation about Red Grant’s uncouth drinking habits – ‘Red wine with fish! I should have known’ – nearly failed to make the film, ‘The heated argument that ensued between producers, director and writer might have made an uninformed listener think fisticuffs were inevitable. Cubby’s “OK” settled the matter – this time in my favour.’35
In the novel when Bond is caught by Red Grant on the Orient Express, he relies on the fact that Grant make good on his taunt that Bond will be shot precisely in his heart. Bond then manoeuvres his gunmetal cigarette case over his heart in the inside pocket of his coat. This case deflects the bullet giving Bond enough time to defeat Grant. The screenwriters play on the fact that the recent best-selling novel would have been absorbed by many in the audience. So, in the film when Red Grant removes Bond’s cigarette case, the tension suddenly increases. The subsequent showdown between Grant and Bond is especially taut. Other changes included an extended series of chases after Bond leaves the Orient Express. The novel ended with Bond seemingly being poisoned by the curare on the tip of Rosa Klebb’s boot blade. Here, the twist conceived for THUNDERBALL of having the girl save Bond is used when Tatiana Romanova shoots Klebb.
While the screenplay was being developed, the hunt for the actress to play Tatiana Romanova was gaining momentum. On 28 February 1963 The Daily Express ran a story ‘Wanted – A Girl for 007’ – and over 200 girls auditioned. The tests were filmed at Pinewood with Dr. No villain Anthony Dawson playing Klebb.36 Future Goldfinger girl Tania Mallet remembered, ‘I did a screentest for From Russia With Love. In a studio in Pinewood there was cameraman, there wasn’t a director, there wasn’t a producer. The cameraman said look right look left. It was very casual in those days. The powers that be thought that I had a far too English accent for the part.’37 Ironically, the part was eventually dubbed by Barbara Jefford. Broccoli recalled that Polish actress Magda Konopka and Yugoslavian actress Sylvia Koscina were in the running for the role.38 Casablanca star, Ingrid Bergman’s daughter, Pia Lindstrom, was also considered.39 The producers wanted French actress Elga Gimba Andersson, however, a disgruntled United Artists’ studio executive nixed her chances when she refused his advances.40 Eventually they settled on Daniela Bianchi, a 20-year-old Italian actress who had recently come second in the 1960 Miss Universe competition. While not quite resembling the ‘young Greta Garbo’ as described by Fleming, she was pretty, pliant and adequate in the role. Bianchi remembered only a dozen reporters attended the press launch at the Connaught Hotel, ‘This was the second film so this character of James Bond still wasn’t very well known’.41 Maibaum approved of Bianchi’s casting:
My favourite of all the Bond girls is Daniela Bianchi. She didn’t really wanna be an actress. She would sit on the set and read an Italian novel and eat chocolates and when Terence would get peeved he would scream at her, ‘You cow!’ but she would just shrug and laugh. The great thing about her was, could there be anything more ridiculous than a cipher clerk working for the Russians who sees a picture of Bond and falls in love with him? She made it stand up. She seemed to be the kind of girl who’d do that, and my God, the scene in the stateroom is probably the sexiest scene in the Bonds.42
Robert Shaw was selected to play Red Grant, the eerie psychopathic assassin. Shaw was an accomplished playwright and theatre actor and, having been a contemporary of Connery’s on the London acting scene, was only too happy to share billing. He also shared Connery’s agent, Richard Hatton and the two actors had a friendly rivalry, which helped in their characterisations.43 Terence Young gave Shaw time before filming to prepare for the role. Shaw underwent an intense gym regime to bulk up and get physically fit.44 On location, Shaw spent at least two hours a day in the gym, working out with Turkish wrestlers.45 As Red Grant, Shaw had to convince audiences he could take a knuckleduster to his solar plexus.
Harry Saltzman came up with the first in a long line of inventive casting suggestions, when he suggested singing legend Lotte Lenya to play the witch-like villainess, Rosa Klebb, a Soviet turncoat now working for SPECTRE. With the lesbianism of the novel dialled down low and the scraped bun of hair in place, Lenya was perfect casting, although her benign, real-life self showed how good an actress she was. Married to Kurt Weill, she was the first singer of jazz standard ‘Mack the Knife’. It is only someone with Saltzman’s vaudevillian background that could have come up with such offbeat casting.46
Lenya remembered, ‘I was working at the Royal Court playing in Brecht on Brecht when the call came, “Miss Lenya, we have a part for you.” The producer, a Mr. Saltzman said, “It’s an Ian Fleming story.” I said, “I’m very sorry about my ignorance, but I don’t know who Ian Fleming is.” So he replied, “Well, we’ll send you a book over in the afternoon. Could you read it and we can talk to you tomorrow?” I said, “Oh, sure, I’ll read it.” On the first page was a description of Rosa Klebb: she weighs 240lbs, her bosom is catholic down to her knee. And that was the description. Saltzman invited me to meet with him, so I went to his office looking very slim then. I said, “Mr. Saltzman, [I read the book and] Rosa Klebb weighs 240lbs.”’47 Lenya was provided with a fat suit by the costume department but she refused to wear it.48 Daniela Bianchi remembered the singer fondly, ‘Lotte was a very small, very sweet woman. Her role of a tough villain was just totally different from what she was.’49
A key character in From Russia With Love is Bond’s local ally, Kerim Bey – MI6’s man in Istanbul. Cubby remembered one of the biggest stars in Mexico, Pedro Armendariz, and flew out to California to offer him the part.50 This big colourful man was perfect casting for a big colourful part.
Vladek Sheybal had been in a Polish film, Kanal (1957), about Debussy, which had also involved Harry Saltzman. Saltzman suggested Sheybal for Kronsteen, the master planner for SPECTRE. The actor, however, demurred at taking such a small role, but another person from his past was a factor in him changing his mind. Sheybal had directed Diane Cilento in a television play and had spent a lot of time with the actress and her then boyfriend, Sean Connery, for whom he had found a small role in the production. Now Diane’s husband, Sean Connery directly asked for and welcomed Sheybal to the set.51
Returning cast members included Bernard Lee as M, Lois Maxwell as Moneypenny and Eunice Gayson as Sylvia Trench. However, a new face was to enter as one of the regulars in the Bond films and would become the most enduring cast member in the series. Desmond Llewelyn recalled how he got the part of Major Boothroyd, head of Q Branch – and how he fought to play it:
I did have a very good part in a film called They Were Not Divided (1948). I played a Welsh tank driver and it was thanks to that part I was put up for the second Bond film, From Russia With Love. Luckily for me the chap who played Boothroyd in Dr. No was unavailable. As Terence Young had written and directed They Were Not Divided, I got the part. Actually, he wanted me to play the character as a Welshman, but I refused. I had quite a battle with him. I said you mean you want me to play it like (adopts a broad, lilting Welsh accent), ‘I’ve got a nice suitcase and knife that pops out here.’ Luckily I managed to persuade him against it.52
Llewelyn ‘played it absolutely straight. At the rehearsals the line introducing the character was, “Miss Moneypenny, ask Major Boothroyd to come in.” Well, Terence said we can’t do that because it’s a different Boothroyd. So it was changed to “Ask the Equipment Officer to come in,” and the equipment officer is from Q Branch, and that’s how the name Q came about.’53 Llewelyn enjoyed the courtesy of Cubby Broccoli, personally welcoming him to the set.54 It was only one day’s work – for which he earned £30 – but he did get to meet the creator of James Bond. Ian Fleming joined the cast for drinks, ‘I asked him if he recollected a friend of mine being at school at Eton. He said yes, but I don’t suppose he did.’55
Blofeld was mysteriously credited with just a question mark but years later, Production Controller of Eon Productions, Reg Berkshire, researched the point definitively, ‘On examination of contracts and ledgers, it appears that Anthony Dawson played the part and was dubbed by Eric Pohlman.’56
Virtually the same crew who had worked on Dr. No and Call Me Bwana were hired for From Russia With Love with two major exceptions: Production Designer Ken Adam and Composer Monty Norman. Adam was still engaged on Stanley Kubrick’s Dr. Stangelove and in his stead, as an art director, was Syd Cain – Adam’s assistant on the previous Bond.57 Monty Norman felt his demand for payment on Call Me Bwana precluded him from a second Bond film and John Barry, who had steered Monty Norman’s ‘James Bond Theme’ to popular life, took up the musical baton. It was the start of Eon’s tactic of promoting from within their own ranks.
As pre-production heated up, Ian Fleming’s agent, Peter Janson-Smith, recalled the lively scene at South Audley Street, HQ of Eon Productions, ‘Some of the early meetings were like scenes out of an American comedy film. I remember one where we were all sitting around, there was Cubby Broccoli, Harry Saltzman … and there were several lawyers and a merchandising agent and me, and various people. Every chair had a little table with a phone on it and all these phones were ringing. Harry Saltzman spoke French with a very Canadian accent: he had one phone here and he was speaking in French and this one in English.’58
Many of the visitors to South Audley Street in those early days recall similar stories of Saltzman on two phone calls at once in two different languages. Hilary Saltzman felt that for her father:
Communication was so key to him to stay in touch and to be available to all of the people that he was working with and there was never a bad moment to get a hold of him. He always wanted to be available to whomever he was working with. And he was always 100 per cent on whatever he was working on, whether it was the Bond film, or the other films or theatre. He was 100 per cent involved in everything. He wanted to know what the production designer was doing, what the director of photography was doing, how the sets looked. He always had a say in everything and an interest in everything – from the music to the script.59
Production commenced on 1 April 1963 on B Stage at Pinewood Studios, where M briefed James Bond on his latest mission.60 Eleven days later the studio gardens were used for the opening sequence in which Red Grant hunts down ‘James Bond’ on SPECTRE Island who, upon being garrotted by Grant’s trick watch, is revealed to be a hapless SPECTRE agent. A retake was filmed because when the mask was pulled from the assassin’s face the actor looked too much like Connery. A moustache was later inserted. Sean Connery played the quarry for Red Grant. The eerie moonlit sequence was the brainchild of Terence Young who was parodying the 1961 Alain Resnais hit, Last Year at Marienbad, a film Young described as pretentious.61 The stalking sequence was supposed to have been set in the dangerous SPECTRE island assault course later seen in the film. The idea of killing Bond in the beginning has been attributed to Saltzman,62 but it seems the positioning of the sequence, after the gun barrel and before the titles, was the decision of both Peter Hunt and Terence Young when the film was being edited.63
The crew flew to Istanbul on 20 April 1963.64 According to Broccoli the exotic location was another reason the fifth novel in the series was chosen as the second film.65 The Warwick alumni were used to the challenges of shooting in foreign locales and were immediately thrown in at the deep end, when filming in Saint Sophia Mosque. The site could not be closed and the film-makers shot scenes while real tourists walked around the interior. Syd Cain explained, ‘The shooting schedule inside the mosque was sporadic, as the Turkish government would only allow us to shoot when it did not interfere with normal tourism activity.’66
The location proved difficult with the locals unfamiliar with the disciplines of film-making. At Sirkeci Station Cain recalled how: ‘For three frustrating takes in a row [the train driver] managed to miss the mark, each time ripping out the cables to the generators and plunging the station into darkness. Finally, on the fourth take, the scene was completed.’67
As James Bond increased in popularity, the unit drew crowds everywhere they went. One newspaper report painted a vivid picture:
Istanbul: crowds of between 2,000 to 3,000 people have been forming amid the seventy-two man movie unit each time they set up their cameras on the busy thoroughfare here. The other day director Terence Young faced his biggest challenge, when he staged a scene of Sean Connery … running into the main entrance of the Sirkeci Railroad Station [doubling for Zagreb station] near the Galata Bridge. This sequence drew the biggest crowd ever, all of whom seemed more fascinated with the camera than with the star. After making two takes with a thousand pairs of eyes staring into the lens, Young realised that the crowd had to be distracted by some other spectacle. So after lunch, he sent one of the company stuntmen across the street to hang from a third floor balcony screaming for help. With the assistance of the Istanbul police, he also arranged for a fire engine to arrive, with sirens screaming, to rescue the man from the balcony. Quite understandably the crowd rushed across the street to watch the new action, and Young and his crew, working quickly, got the scene they needed in one fast take.68
The boat chase scenes, as Bond heads for Venice with Tatiana at his side, were scheduled to be shot in the Pendik, near the Greek border. Technical problems halted production when the boats were not fast enough and the locals had poured kerosene in the engines by mistake.69
While Young sent Assistant Director David Anderson to shoot plates for the Orient Express scenes, he took the principals to the industrial section of the city where they shot the assassination of Bulgarian agent, Krilencu.70 In the novel he escapes from a trapdoor set within a poster of the Marilyn Monroe film Niagara, but here, the film-makers had an even better idea. Syd Cain remembered, ‘We had the bright idea to get some maximum publicity for another Eon Production, the forthcoming Call Me Bwana. I ensured the entire side of the wall on which the villain would climb down sported a gigantic advert for the film.’71 It is from Anita Ekberg’s mouth that Krilencu escapes before he’s satisfyingly shot by Kerim Bey.
Ian Fleming visited the unit while they were shooting in Turkey, Associate Producer Stanley Sopel remembered, ‘He was terribly interested. It wasn’t publicity – he just wanted to see what the hell we were up to. He stayed about a week, enjoyed himself, said, “Carry on, fellows” and away he went.’72 Cubby Broccoli remembered a change in Fleming on location, ‘In the London production meetings he would sit there in his detached manner, diffidently suggesting an idea or two. Fleming in Istanbul was in his element. I can picture him now in one of Istanbul’s exclusive restaurants, a quivering midriff an inch or two off the end of his Turkish cigarette and his pale blue eyes locked on the dancer’s navel.’73 Broccoli enjoyed Fleming’s company:
I got to know him better when we were doing From Russia With Love. We went down to Turkey on the same plane. He loved to order food and later when my wife Dana came down, he took us out to dinner several places. In one case he was rather annoyed because one of our people insisted on ordering food. He wanted to do the ordering. He didn’t want somebody going into a Turkish restaurant ordering en masse. So he sulked a bit when he got there and found out this was all pre-ordained. When they asked what he wanted, he said, ‘Well, I’ll have a Spanish omelette’. In Turkey! That was his way of getting back, and saying that he didn’t approve of the dishes that were ordered.74
In his autobiography Cubby reveals the offending crewmember was Saltzman.75
Diane Cilento accompanied Connery to Turkey and while in Istanbul, bonded with both Fleming and Armendariz, as they enjoyed the city’s exotic delights in the company of their local bodyguard, Mustapha.76 Mustapha had organised a wrestling bout between Turkish wrestlers and the English stuntmen. Cilento recalled the hosts outmanoeuvred the tourists in an expert display of nimbleness.77 She also observed at first hand the competitiveness between her husband and Robert Shaw. The latter had challenged Connery to a race, Connery had nonchalantly accepted but seemed unconcerned while Shaw was seen training for the whole week. On the day of the race the entire crew turned out to spectate. Shaw was kitted out in fine running shoes while Connery turned up wearing heavy-duty boots. The race commenced and Shaw charged ahead seemingly outpacing Connery. But the track was stony and flinty and made running in ordinary sports shoes impossible. Connery, however, in his boots, could withstand the terrain and in due course overtook Shaw and won the race.78
Harry Saltzman had a tough, irrascible side to him which annoyed many colleagues. However, Syd Cain recounted a gentler, more sensitive side to the producer on the Turkish set:
A voice boomed out across the store: ‘What are you doing Syd?’ It was Harry. I explained I was looking for a present to take home for my wife, Angela. ‘This is what you should buy her’ said Harry, showing me a Harem ring made of rubies and blue-enamelled gold. I told Harry it was out of my reach. That night, I was surprised to see the ring on my bedside table. I explained [to] Harry [that he] had embarrassed me by doing this, that my wife would have immediately known I couldn’t have afforded such a present, though I appreciated his wonderful gesture. Harry understood and said, ‘This is what you do. Tell your wife it’s a present from me, for all the hard work you have done and that she’s to come out to the location for a holiday – all on the company, of course.’ This was more than generous of Harry and Angela enjoyed a wonderful time in Turkey.79
John Barry spent two weeks in Istanbul to pick up local colour and found the place bizarre:
If ever I walked into a page of Kafka, this was definitely it. One night me and Noel Rogers went into … this gorgeous place with a really long bar and a 50-foot brass rail holding it all together. The next thing we knew we leaned on this rail and the whole thing just collapsed on top of us, every nut and bolt. It was a very strange evening. Istanbul’s like that. You get in a cab, go half a mile and then three old ladies get in holding chickens.80
The production was shadowed by sadness when it was discovered that Pedro Armendariz was suffering from cancer with only weeks to live. Upon returning to Pinewood, Young arranged for the Mexican to have all his scenes shot first so that he could quit the production and return home, so Syd Cain hastily designed the gypsy camp set in ten days.81 Young remembered, ‘We’d shot all his scenes out of continuity. We did the gypsy encampment scene and as we got the last shot, the rains came. We’d literally got the last shot in the can, I’d said, “Cut, print it. On your way, Pedro, go home and get some sleep.”’82 Armendariz left the production on 9 June 1963.83 Young then literally stepped into his shoes, ‘I then played the part of Armendariz with Sean and all the other actors without his being there for the rest of the picture.’84
Armendariz’s truncated shoot affected the part played by Nadja Regin who played Kerim’s girlfriend in the film. She recalled, ‘I should have had a slightly larger part but because of the arrangement, Terence Young had to make sure that Pedro Armendariz could finish his part, they had cut certain things.’85 Regin remembered her co-star ‘was always courteous but very withdrawn. He hardly spoke to anyone.’86 On one occasion, however, the ice did break, ‘I had seen a Mexican film of his in Yugoslavia. I said, “I saw you in La Perla (1947).” The thought of a Mexican film being so valued in a country like Yugoslavia meant something to him. He was easier with me.’87
Young was forced to cut his favourite scene featuring Armendariz for continuity reasons. A moustachioed Bulgarian spy in a beret tails Bond when he first reaches Turkey; the Bulgarian is killed by Red Grant in the Saint Sophia Mosque. Later in the film, in an attempt to explain how Bond loses his tail en route to his rendezvous with Tatiana, a clever sequence was devised. A Bulgarian agent is prevented from following Bond in an elaborate car crash. Bond transfers into Kerim Bey’s Rolls Royce which swishes up alongside the site of the incident. The Bulgarian is unable to follow because of his crashed car. Armendariz as Bey leans out of his window and admonishes the enemy agent. Tapping off a particularly long ash from his cigarette, he opines, ‘That, my friend, is life’.88 On a preview it was noted that the enemy agent was the same man who played the Bulgar killed earlier by Red Grant in the mosque. Continuity-wise it made no sense. Young was sad to see the scene go, as it showcased Armendariz to great effect. In light of his health situation it was symbolic of a philosophical attitude to life. Pedro Armendariz committed suicide a week after completing work on the film.
After failing to secure the lead in Dr. No, Young made good on his idea for Martine Beswick in From Russia With Love. Cast as one of the duelling gypsy girls Zora, against Aliza Gur who played Vida, Beswick was thrilled to appear in a Bond film. The fight over the right to marry the Gypsy chief’s son was originally to be filmed in Turkey, but according to Gur, ‘The weather was against us so we had to do it back at the studio.’89 Gur felt, ‘Terence Young chose me because, like most men, he’s intrigued by Israeli girl soldiers.’90 Beswick recalled, ‘We literally rehearsed [for] three weeks. It was like a dance sequence, it was choreographed. Terence wanted to use the hand-held. He needed to be able to come in and shoot really close.’91 However, Beswick remembered the fight was spiced with rivalry, ‘Because I was a really good friend of Terence, [Gur] was furious about that and was very rude saying, “You slept with him.” I didn’t get on with her. She was difficult, let’s put it that way. But we got a really good fight. Both of us probably had to be hurt a little bit.’92 Beswick sheepishly admitted, ‘Terence said, “Really give her one” even though I was known as “Battling Beswick”, I really couldn’t.’93
Another vicious, but less sexy fight was arranged by Peter Perkins, who had taken over from Bob Simmons as stunt co-ordinator. Bond and Red Grant’s showdown at the end of the film was to be brutal. Simmons was engaged on Irving Allen’s Genghis Khan, but returned to double Connery for the train fight, while Jack Cooper doubled Shaw. Cain’s Orient Express interior was based on a recce the designer had made of the real train in Paris.94 Two stationary cameras were initially used to shoot the scene but, at editor Peter Hunt’s suggestion, a hand-held camera was used.95 Steven Saltzman, Harry’s son, made an interesting observation about this scene, ‘It was the apex of everything [Harry] felt Bond was about. It was gritty, [Bond] could get hurt, he could get damaged. The fight on the train blew his mind. [In] the rest of the series, as you can see, even the early ones like Dr. No, they all have a kind of cartoon inability-to-be-killed quality to the character. He thought [From] Russia with Love was the best of the lot. For him Robert Shaw was the greatest of all the heavies.’96
When the Bond films started they were not children’s entertainment, they were aimed at an older audience. The gypsy girl fight, the train combat sequence, and Bond and Tatiana’s honey-trap lovemaking (while secretly being filmed) troubled the British censor John Trevelyan. However, he justified his lenient classification of the films:
Bond is a fantasy figure for the millions who lead dull lives. Our greatest problem with these films in my time was the film From Russia With Love. I could easily argue that the Bond films were more harmful than many others; the violence was surreal, and it was treated callously. Our defence was this, that obviously audiences did not find the violence realistic or nasty but entertaining. In the end we reached agreement [with the producers].97
Syd Cain’s art direction went for a more realistic feel than Dr. No. The initial chess room scene set in Venice was augmented by a splendid matte painting by Cliff Culley, as well as other realistic paintings rendered by a particularly workmanlike, Scottish scenic artist. This contrast between craft and high art came to a head when Cubby escorted a visiting bunch of journalists around the set. They stopped to admire the work and gasped in amazement. One journalist asked if it was in the style of Reubens. The Scottish artist responded gruffly, ‘Yes, it’s all tits and arseholes.’ Cubby moved them on quickly.98
The scene where Bond encounters thousands of rats in the Byzantine cisterns underneath Istanbul could not be filmed with authentic wild rats due to health and safety restrictions.99 Instead, tame rats were purchased and painted in cocoa, however, the rodents would just sit under the hot lights, licking the chocolate off each other. Syd Cain flew to Madrid where animal husbandry laws were a little more relaxed. With the help of a local rat-catcher, he populated the set built in a warehouse with hundreds of rats, and the crew were protected by a glass cage. However, the shot was plagued when the rats overran the place. Cain was outmanoeuvred by his producer, ‘Cubby Broccoli was a man of some considerable girth but he moved like an Olympic runner to outrace me to a stepladder.’100
Bianchi remembered her playful co-star during the pivotal love scene around which From Russia With Love hinged, ‘I was very concerned about keeping the sheet tight around me because underneath I was dressed in a body stocking. Sean naturally did everything he could to complicate things. Then Terence made us repeat the scene so many times. It was rather comical.’101
Things were not always harmonious. Vladek Sheybal, tiring of Saltzman’s instructions on his acting, left the set and only returned on an assurance from Young that the producer be banned from the set during the completion of the actor’s scenes.102 Johanna Harwood observed the dynamic between the different producers, ‘Cubby Broccoli’s great place in the film industry was that he was nice. He was calm. What happened was when Harry Saltzman rubbed someone up the wrong way and there was a real problem on the horizon, Cubby would go in and smooth things down. Cubby did exactly the same thing with Irving Allen who was exactly like Saltzman, brash and tactless.’103
From Russia With Love came in $200,000 over budget and behind schedule.104 A number of scenes still had to be captured, including the boat chase abandoned in Pendik. Young was pragmatic and suggested they shoot the sequence at a cove he knew in Crinan on the West Coast of Scotland in July 1963.105 Syd Cain recalled how events unfurled:
When we arrived on location, I suggested to Terence that another cove up the coast might be more appropriate. He agreed to take a look and climbed into a helicopter with my assistant art director, Michael White. They no sooner took off than a crosswind tipped them on one side and they slipped into the sea. Terence found himself 10 feet under the water but managed to break the canopy and swim clear, suffering a badly cut hand in the process. Michael had thrown himself clear as they hit the water. Terence and Michael went back to work almost immediately, Terence directing with his arm in a sling.106
Diane Cilento remembered Cubby Broccoli cheering the crew up by cooking them a lobster dinner on the windy, cold location.107 Filming eventually wrapped on 23 August 1963.108
Post-production benefitted greatly from the increased budget compared to Dr. No. Norman Wanstall recalled:
The gypsy camp sequence was shot with English extras, so it was obviously up to me to give it a totally Turkish (and Russian) atmosphere and bring the whole sequence to life. I needed the appropriate voices to react rowdily to the belly dancer and the gypsy fighters and to mix with the Russians during the battle sequence. With some trepidation I marched into the production office and said ‘Right, I need eighteen Turkish men, a dozen Turkish women and as many Russian blokes as you can find.’ To my relief and surprise the manager replied, ‘Okay Norm, when do you want them?’ From that day on my requests were never questioned. Terence Young was ecstatic when he heard the gypsy tracks.109
Wanstall also remembered working on the helicopter scenes, ‘We were provided with all the gear, including a couple of young daredevil pilots who only looked about eighteen. They threw those ’copters around the sky like I’ve never seen before and John Mitchell did a fantastic job with the recordings.’110
Wanstall did get an insight at this stage into the difference between the producers, ‘[Saltzman] was viewing rushes with us and he said to Peter [Hunt], “We’re going to need someone that can really do some good sound effects on this.” Peter turned and said, “Well you know we’ve already got somebody?” He didn’t even know who I was. Cubby would have known – he was very, very aware of who was doing what.’111
Warwick Films had a long tradition of title songs so a similar device emerged for the Bond films. From Russia With Love naturally leant itself to such treatment with a song written by Lionel Bart. Terence Young remembered how Bart got Bond, ‘Lionel came into my life when I chose a song of his for a film I was making, Serious Charge. The song was called “Living Doll” and it’s still around today. Harry Saltzman was keen on Lionel Bart and I must say I was too. I liked him very much. I think Harry had committed himself to Lionel Bart and that’s why he wrote “From Russia With Love”, which was a charming song.’112 Young’s experience with Bart helped pave the way for Barry’s involvement, as some were still a little cautious about him, despite his prior reworking of the Bond theme.
After his last-minute work on Dr. No John Barry was anxious to score From Russia With Love in its entirety. Barry’s orchestral booker Sid Margo remembered, ‘He was thrilled to pieces. He called me up straight away and said, “I’ve got the Bond film, Sid! I can’t believe it”’113 Perhaps to supplant Monty Norman’s ‘James Bond Theme’, Barry created a parallel action cue, ‘007’. Despite having to use Lionel Bart’s theme song, Barry was exacting in getting the best from the composition. Margo heard it first hand, ‘Recording the “From Russia With Love” song took up most of the session. Much longer than usual. Normally we’d get several tracks done in a session, but that song took all afternoon. John was very particular to get the strings sounding exactly right. The poor strings players had to play so high at the top of the violin, they were practically picking their noses.’114 Performed by Matt Monro, then managed by Don Black, he was disappointed to discover on première night that the song had been relegated to the end credits.115 It is heard as source music on the radio while Bond ‘punts’ with Sylvia Trench, but it is an instrumental version that was heard over the titles; Monro might have got scant consolation when the song lost its nomination for the Best Original Song Golden Globe Award in 1965, the gift of Hollywood Foreign Press Association.116 The only significant award the film did win was Ted Moore’s BAFTA for Best Colour Cinematography in 1963.117
Maurice Binder did not return to Bond due to a dispute with Harry Saltzman. This time Eon went to famed advertising graphic designer Robert Brownjohn. Trevor Bond remembered, ‘Brownjohn, a graphic designer, had never made a film in his life so they said you’d better have Trevor Bond to help you out because he’s done the first one.’118 Trevor recalled Brownjohn’s initial ideas was to create a title sequence around chess pieces inspired by the scene in the film. Ultimately, the titles were projected on the curves of a belly dancer, which was a new technique at the time. The concept was inspired by two things: Brownjohn’s wife leaving a screening early and the film being projected on her as she left and by the work of Laszlo Moholy-Nagy, who was experimenting with projecting light on clouds.119 Brownjohn, when pitching the idea, lifted up his shirt and danced in the beam of light saying, ‘It’ll be just like this except we’ll use a pretty girl.’120 Three girls were used for the sequence, including actress Nadja Regin who played Kerim’s girl – the biggest problem was to keep the actress in focus while she undulated.121
From Russia With Love received an ecstatic reception at the press screening on 8 October 1963.122 The première was a glitzy affair held at the London Pavilion on 10 October 1963. Fleming attended accompanied by his doctor Jack Beal, as his state of health was perilous at the time.123 Most of those involved thought the film would come and go. Desmond Llewelyn remembered his feelings at the time, ‘I didn’t really think any more about the film. None of us, except perhaps Connery, were stars then and the Bond hype hadn’t begun.’124 Not invited to the première, Llewelyn watched the film at his local cinema in Hastings.125
In Los Angeles Cubby Broccoli took his mother Cristina and his mother-in-law Stella to the Los Angeles première at Grauman’s Chinese Theatre. He was proud to display his success to this particular audience. However, upon arrival at the cinema it was completely dark. The manager explained there had been a riot and the police had intervened and closed the venue. Unimpressed, Cristina was further aghast when Cubby told her they disposed of all the costumes after shooting was completed.126
It was the last complete film that author Ian Fleming would see and the film had a fond place in Cubby’s heart because of this association:
Ian Fleming was a great man, a great storyteller and great company. I enjoyed every minute I spent with him and am glad he lived to see the success of the first two films. If I had to pick one of the films as my favourite it would probably be From Russia With Love as I feel it was with this film that the Bond formula and style were perfected.127
1 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 180–1
2 Johanna Harwood: Authors’ interview, 11.01.2009
3 Monty Norman: Authors’ interview, 03.08.2012
4 Donald Zec, Put the Knife in Gently: Memoirs of a Life With Legends, Robson Books, 2003, p. 201
5 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 180–1
6 Tino Balio, United Artists: The Company that Changed the Film Industry, University of Wisconsin Press, 1987, p. 260
7 Diane Cilento, My Nine Lives, Michael Joseph Ltd, 2006, p. 209
8 Diane Cilento, My Nine Lives, Michael Joseph Ltd, 2006, p. 209
9 Tino Balio, United Artists: The Company that Changed the Film Industry, University of Wisconsin Press, 1987, p. 260
10 Sheldon Hall (ed.), For Bond Lovers Only, Panther, 1965, p. 30
11 Sheldon Hall (ed.), For Bond Lovers Only, Panther, 1965, p. 31
12 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 164
13 From Russia With Love Production Notes, United Artists, 01.05.1963
14 Pat McGilligan (ed.), Backstory: Interviews with Screenwriters of Hollywood’s Golden Age, University of California Press, 1986 p.
15 Len Deighton: Authors’ interview, 11.04.2015
16 Len Deighton: Authors’ interview, 11.04.2015
17 Len Deighton, James Bond: My Long and Eventful Search For His Father, Kindle Single, 2012
18 Len Deighton: Authors’ interview, 11.04.2015
19 Len Deighton, James Bond: My Long and Eventful Search For His Father, Kindle Single, 2012
20 Len Deighton: Authors’ interview, 11.04.2015
21 Box 22, Papers of Richard Maibaum, University Of Iowa
22 Peter Haining, James Bond: A Celebration, W.H. Allen/Planet, 1987, p. 106
23 Pat McGilligan (ed.), Backstory: Interviews with Screenwriters of Hollywood’s Golden Age, University of California Press, 1986
24 Johanna Harwood: Authors’ interview, 22.08.2012
25 Johanna Harwood: Authors’ interview, 22.08.2012
26 Johanna Harwood: Authors’ interview, 22.08.2012
27 Johanna Harwood: Authors’ interview, 22.08.2012
28 Johanna Harwood: Authors’ interview, 22.08.2012
29 Johanna Harwood: Authors’ interview, 22.08.2012
30 Johanna Harwood: Authors’ interview, 22.08.2012
31 Pat McGilligan (ed.), Backstory: Interviews with Screenwriters of Hollywood’s Golden Age, 1986
32 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 21
33 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 183
34 ‘Writing Bond’ by Mark A. Altman, Cinemafantastique, Vol. 19 No. 5 Jul 89
35 ‘Cheers, 007’ by Richard Maibaum, Hollywood Reporter James Bond 25th Anniversary,14.07.1987
36 ‘From the Archive’, 007 Magazine #33, The James Bond International Fan Club, 1998
37 Tania Mallet: Authors’ interview, 03.04.2015
38 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 184
39 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 21
40 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, p. 25
41 Maryam d’Abo and John Cork, Bond Girls Are Forever, Boxtree, 2003, p. 159
42 ‘James Bond – 27 Years and Still Licensed To Kill: An Annotated 007 Filmography’ by Mark A. Altman, Cinemafantastique, Vol. 19 No. 5 Jul 89
43 John French, Robert Shaw: The Price of Success, Nick Hern Books, 1993
44 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, p. 26
45 From Russia With Love Production Notes, United Artists, 20.08.1963
46 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, p. 25
47 Lotte Lenya, Lenya: The Legend, OverLOOK Press, 1998, p. 58
48 Lotte Lenya, Lenya: The Legend, OverLOOK Press, 1998, p. 58
49 Maryam d’Abo and John Cork, Bond Girls Are Forever, Boxtree, 2003, p. 33
50 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 186
51 ‘The Fab Interview – Vladek Sheybal’ by Tim Mallett and Glenn Pearce, Fab #8, Fanderson, December 1992
52 Desmond Llewelyn: Authors’ interview, 14.04.1999
53 Desmond Llewelyn: Authors’ interview, 14.04.1999
54 Sandy Hernu, Q: The Biography of Desmond Llewelyn, S.B. Publications, 1999, p. 77
55 Sandy Hernu, Q: The Biography of Desmond Llewelyn, S.B. Publications, 1999, p. 78
56 Richard Schenkman, Bondage #5, The James Bond 007 Fan Club, 1978
57 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, p. 64
58 Peter Janson-Smith: unpublished interview with Dr. Siegfried Tesche, 19.08.2005
59 Hilary Saltzman: Authors’ interview, 29.11.2011
60 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 11
61 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, p. 25
62 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, p. 25
63 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 11
64 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 11
65 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 164
66 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, p. 66
67 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, p. 67
68 The New York Morning Telegraph, 16 May 1963
69 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, p. 25
70 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, p. 25
71 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, p. 67
72 ‘Stanley Sopel’ by Richard Schenkman, Bondage #10, The James Bond 007 Fan Club, 1981
73 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 164
74 Cubby and Dana Broccoli interviewed by Paul Ryan, 1979
75 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 164
76 Diane Cilento, My Nine Lives, Michael Joseph Ltd, 2006, p. 185
77 Diane Cilento, My Nine Lives, Michael Joseph Ltd, 2006, p. 185
78 Diane Cilento, My Nine Lives, Michael Joseph Ltd, 2006, p. 185
79 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, pp. 66–67
80 Eddi Fiegel, John Barry: A Sixties Theme, Constable and Company Ltd, 1998, p. 106
81 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, p. 66
82 ‘Q&A with Terence Young’ by Richard Schenkman, Bondage #10, The James Bond 007 Fan Club, 1981
83 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 11
84 ‘Q&A with Terence Young’ by Richard Schenkman, Bondage #10, The James Bond 007 Fan Club, 1981
85 Nadja Regin: Authors’ interview, 03.04.2015
86 Nadja Regin: Authors’ interview, 03.04.2015
87 Nadja Regin: Authors’ interview, 03.04.2015
88 ‘Q&A with Terence Young’ by Richard Schenkman, Bondage #10, The James Bond 007 Fan Club, 1981
89 Tim Greaves, The Bond Woman 007 Style, 1–Shot Publications, 2002, p. 12
90 Tim Greaves, The Bond Woman 007 Style, 1–Shot Publications, 2002, p. 12
91 Martine Beswick: Authors’ interview, 06.04.2015
92 Martine Beswick: Authors’ interview, 06.04.2015
93 Martine Beswick: Authors’ interview, 06.04.2015
94 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, p. 67
95 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, p. 25
96 Steven Saltzman: Authors’ interview, 16.11.2011
97 John Trevelyan,What the Censor Saw, Michael Joseph, 1973, p. 158
98 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, p. 64
99 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, p. 68
100 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, p. 68
101 Maryam d’Abo and John Cork, Bond Girls Are Forever, Boxtree an imprint of Pan MacMillan Ltd, 2003, p. 146
102 ‘The Fab Interview – Vladek Sheybal’ by Tim Mallett and Glenn Pearce, Fab #8, Fanderson, December 1992
103 Johanna Harwood: Authors’ interview, 11.01.2009
104 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 11
105 Steven Jay Rubin, The James Bond Films, Arlington House, 2nd Edition, 1983, p. 25
106 Syd Cain, Not Forgetting James Bond: The Autobiography of Syd Cain, GBU Publishing Ltd, 2002, p. 69
107 Diane Cilento, My Nine Lives, Michael Joseph Ltd, 2006, p. 214
108 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 11
109 Norman Wanstall: Authors’ interview, 11.2000
110 Norman Wanstall: Authors’ interview, 11.2000
111 Norman Wanstall: Authors’ interview, 11.2000
112 Gareth Bramley, Geoff Leonard and Peter Walker, John Barry: The Man With the Midas Touch, Radcliffe Press Ltd, 2nd Edition, 2008, p. 81
113 Eddi Fiegel, John Barry: A Sixties Theme, Constable and Company Ltd, 1998, p. 106
114 Eddi Fiegel, John Barry: A Sixties Theme, Constable and Company Ltd, 1998, pp. 106–107
115 Michele Monro, Matt Monro – The Singer’s Singer: The Life and Music of Matt Monro, Titan Books Ltd, 2010
116 http://www.goldenglobes.org/
117 http://www.bafta.org
118 Trevor Bond: Authors’ interview, 30.07.2012
119 Emily King, Robert Brownjohn: Sex and Typography, Laurence King Publishing Ltd, 2005 p. 205
120 Emily King, Robert Brownjohn: Sex and Typography, Laurence King Publishing Ltd, 2005 p. 204
121 Emily King, Robert Brownjohn: Sex and Typography, Laurence King Publishing Ltd, 2005 p. 204
122 Alan Barnes and Marcus Hearn, Kiss Kiss Bang! Bang! The Unofficial James Bond Film Companion, B.T. Batsford, a member of Chrysalis Books plc, 2nd Edition, 2000, p. 11
123 Andrew Lycett, Ian Fleming, Phoenix, 1996, p. 232
124 Sandy Hernu, Q: The Biography of Desmond Llewelyn, S.B. Publications, 1999, p. 78
125 Sandy Hernu, Q: The Biography of Desmond Llewelyn, S.B. Publications, 1999, p. 78
126 Albert R. Broccoli. Broccoli with Donald Zec, When the Snow Melts, Boxtree, 1998, p. 201
127 ‘Introducing James Bond’ by Albert R. Broccoli. ‘Cubby’ Broccoli in Colin Woodhead (ed.), Dressed To Kill, James Bond: The Suited Hero, Flammarion, 1996, p. 9