When he was in med school we all called him Resident Yes. Time really changes people.
We ran across this interesting dust jacket for Ian Fleming's Doctor No, from a hardback edition published by U.K. based Macmillan in 1958. There have been so many James Bond covers over the decades it's almost impossible to find one that is less known, but we think this example is just a bit more obscure than others. The prominent octopus in the art by H. Lawrence Hoffman, in case you haven't read the book, represents a component of a diabolical torture Dr. No puts Bond through at one point. That didn't make it into the movie.
Always wear proper safety gear when handling firearms.
This is an irresistible little treasure, an image from a West German lobby card for Man lebt nur zweimal, aka You Only Live Twice, with Karin Dor in character as Helga Brandt. We like the helmet. Dor's focus on safety is admirable. But since she's eaten by piranha it does her no good at all. Side note: also appearing in the film is former Pulp femme fatale Mie Hama. Double side note: she also gets killed. These Bond girls never learn.
What lies underneath.
British actress Shirley Eaton appeared in about twenty films before her role as the ill-fated Jill Masterson in 1964’s Goldfinger made her one of the most iconic guest stars of the Bond series. Her turn as a woman who is murdered by being covered in gold paint is in fact so central to the 007 universe that it’s arguably the single most known moment from the series. These days you see many more photos of Eaton painted gold than in her own skin, so we thought we’d rectify that a bit with the above shot. It was made to promote The Girl Hunters and it dates from 1963. See a few more Goldfinger images here and here.
Bond set to return to bookstores along with all-time favorite supporting character.
Author Anthony Horowitz has unveiled details concerning a new James Bond novel to be entitled Trigger Mortis. Any addition to the Bond pantheon is news in the adventure fiction community, but people are particularly abuzz this time around for two reasons. The first is that Horowitz has announced the return of iconic Bond character Pussy Galore. Apparently, the story picks up two weeks after the events of Goldfinger.
Many authors have taken Ian Fleming’s enduring property for literary spins—among them the respectful John Gardner, Raymond Benson, and Charlie Higson—but Horowitz is mixing in original Ian Fleming material drawn from Murder on Wheels, an episode from a never-produced television series. This is the second reason Bond fans are excited, though of course there's no way to know how the material will be used, and it's perhaps too much to hope it will survive in anything resembling recognizable form.
Regardless, there’s no question Trigger Mortis will be a worldwide success—even the Young Bond series sold 5 million copies. And since Bond is one of the longest running film characters in history, we also know the new novel will be bought with an eye toward movie production. The only thing we don’t know is if the book will be good. Horowitz’s résumé does not scintillate—he authored a series of young adult spy novels, and wrote two Sherlock Holmes piggybacks, so we’re not expecting strong style or risky choices. But with a Cold War setting, Pussy Galore, and some original Fleming material, at least he has good elements with which to work. Trigger Mortis will be out in September.
Change is inevitable—especially if you're dealing with Ian Fleming.
Ian Fleming was not an author to be trifled with. We talked about how he shifted the rights for Casino Royale from Popular Library to Signet. Well, here we go again. The above 1957 Perma paperback of Diamonds Are Forever with excellent William Rose cover art is rare because Fleming shifted the publishing to Signet after Perma changed the title of Moonraker to Too Hot to Handle. Since this happened after the Casino Royale fiasco you’d think the editors would have known better.
Perma: Ian, Moonraker is a terrible title. It sounds like a sci-fi novel.
Fleming: You listen here, you sniveling little pup—
Perma: This is my job, okay. I’m telling you a bad title hurts your whole brand.
Fleming: Well, I have an idea for a book called Goldfinger. I suppose you think that’s a bad title too?
Perma: Well, yeah...
Fleming: Why you rotten eel. And Octopussy? You don’t like that either?
Perma: Sounds pornographic. It’s ludicrous.
Fleming: You have two tin fucking ears is what’s ludicrous! And Chitty-Chitty-Bang-Bang?
Perma: The worst of the bunch, and pornographic. I’m sorry, Ian—
Fleming: Chitty-Chitty-Bang-Bang? Pornographic? That’s the last goddamned straw, you pimply little Yank!
Bond—James Bond. But Jimmy is fine. Some people call me Jim, Jimbo, J-Man, J.B. My mom calls me Jimminy Cricket. I’m cool with whatever.
The story is well known—Popular Library insisted upon changing the title of Ian Fleming’s Casino Royale to what you see above. They even went so far as to call 007 “Jimmy Bond” on the rear cover blurb. Fleming retaliated by selling the U.S. publishing rights to Signet at first opportunity, leaving only a small run of very collectible copies of You Asked For It on the market. Fleming must have learned from the episode, though, that titles don’t really matter, because he later wrote Chitty-Chitty Bang Bang: The Magical Car. Anyway, You Asked for It appeared in 1955, with unsigned and uncredited cover art. The blog Killer Covers has a bit more info about the book here.
They say money talks. It also writes.
Where would we be without leaked documents in this day and age? There’s an interesting story hitting the wires today about how the Mexican government pressured Sony Pictures and MGM to change the script of the upcoming James Bond film Spectre in exchange for $14 million dollars. The money took the form of tax incentives, but in the real world it’s no different than bagloads of cash. The information comes from hacked e-mails provided by an unknown North Korean person or group. According to the e-mails, the Mexican government wanted an assassin’s identity changed from Mexican to some other nationality, an assassination target likewise changed from Mexican to other, and insisted upon the casting of a Mexican Bond girl. The last demand was met with the hiring of Sonora-born Stephanie Sigman.
All of this is pretty much business as usual in moviemaking—hardly even a story, really. But we always write about Bond here, so this item seemed worth sharing. The last aspect of the e-mails that interested us was a demand that the film include aerial shots of Mexico City’s skyline, with an emphasis on the modern buildings. Tens of millions of travelers from every part of the globe visit Mexico each year because of its native ruins, beautiful Spanish colonial architecture, indigenous food, historically authentic festivals, thousands of miles of beaches, and warmwaters, yet Mexican officials wanted its few glass skyscrapers to appear onscreen to emphasize to shallow businessmen that, yes, we too can offer the type of cookie-cutter modernity you love. It’s fascinating to us. The world won’t know how much of the Mexican government’s wish list was granted until Spectre’s November 2015 release, but if we had to guess we’d say all of it.
Eew, you mean you want me to, like, hug her and stuff?
When we saw this we had to share it. It’s a centerfold from Belgium’s Ciné Télé Revue magazine featuring Claudine Auger and Sean Connery. Made when they were promoting their pairing in the James Bond actioner Thunderball, the dubious expression on Connery’s seemingly lipsticked face is exactly the same as if he’d been forced to hug an octopus, while Auger seems to be having fun, but ended up with a double chin that probably made her shriek in horror when she saw the shot. But even though we suspect both actors probably fired their publicists after this, the result is a rare, candid photo showing that even the prettiest stars are, in the end, imperfect.
Two Fleming covers offer opposite visions of how to Live large.
Sometimes we get in the mood for a true classic, so at top is the excellent 1966 Macmillan Publishers edition of Ian Fleming’s Live and Let Die. It’s possible the James Bond books have had more cover iterations than any other series, and most of them are high quality, often trending toward the sort of luridness we love, but we also like the simple, elegant graphics of Macmillan's deep green masterpiece. On the other hand, if we were to go lurid then there’s no better art to be found than on the 1964 cover Vivi e lascia morire from the Italian imprint Garzanti. The variations on Live and Let Die are practically infinite, but the Garzanti edition is our other favorite (though this one is great too). There is no artist info on these, which is criminal, we think. We’ll dig, though, and see what we can find. As a matter of taste, it’s interesting to contemplate which of the two books we would buy, assuming we could buy only one. Tough choice. What do you think?
Update: the second cover was painted by Giovanni Benvenuti.
It’s possible to have too many Bonds.
1967’s Casino Royale wasn’t a global Christmas movie in the sense that today’s films are, however it did premiere Christmas week in ten European countries, as well as today in Japan. The movie wasn’t good. Basic idea: Sean Connery is an imposter, so the real James Bond in the form of David Niven is coaxed out of retirement, and he comes up with a plan to confuse his arch enemies SMERSH by renaming all British agents—male and female—James Bond. Time’s review of Casino Royale was headlined “Keystone Cop Out,” and The New York Times’ Bosley Crowther was just as scathing, noting that “since it’s based more on slapstick than wit, with Bond cliché piled upon cliché, it tends to crumble and sprawl.”
But one thing about holiday blockbusters—past and present—is that they’re expensively promoted. The many posters produced to sell Casino Royale were top notch. A U.S. poster painted by the legendary Robert McGinnis remains one of his most iconic pieces, but we also like these Italian quattro foglio promos painted by the extensively and expensively collected Giorgio Olivetti. We saw a set of these asking $8,500 at an auction site. By contrast, below are several U.S. promos, not paintings but photo-illustrations, on which the film’s secondary players get starring roles. They aren’t nearly as collectible as the movie’s paintings, but they’re pretty, so we’re sharing them as well. |
The headlines that mattered yesteryear.
1938—Alicante Is Bombed
During the Spanish Civil War, a squadron of Italian bombers sent by fascist dictator Benito Mussolini to support the insurgent Spanish Nationalists, bombs the town of Alicante, killing more than three-hundred people. Although less remembered internationally than the infamous Nazi bombing of Guernica the previous year, the death toll in Alicante is similar, if not higher.
1977—Star Wars Opens
George Lucas's sci-fi epic Star Wars premiers in the Unites States to rave reviews and packed movie houses. Produced on a budget of $11 million, the film goes on to earn $460 million in the U.S. and $337 million overseas, while spawning a franchise that would eventually earn billions and make Lucas a Hollywood icon.
1930—Amy Johnson Flies from England to Australia
English aviatrix Amy Johnson lands in Darwin, Northern Territory, becoming the first woman to fly from England to Australia. She had departed from Croydon on May 5 and flown 11,000 miles to complete the feat. Her storied career ends in January 1941 when, while flying a secret mission for Britain, she either bails out into the Thames estuary and drowns, or is mistakenly shot down by British fighter planes. The facts of her death remain clouded today.
1934—Bonnie and Clyde Are Shot To Death
Outlaws Bonnie Parker and Clyde Barrow, who traveled the central United States during the Great Depression robbing banks, stores and gas stations, are ambushed and shot to death in Louisiana by a posse of six law officers. Officially, the autopsy report lists seventeen separate entrance wounds on Barrow and twenty-six on Parker, including several head shots on each. So numerous are the bullet holes that an undertaker claims to have difficulty embalming the bodies because they won't hold the embalming fluid.
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