Still stuck in our tier systems (and likely to be for some time) let’s have another lockdown armchair travel trip, and P is for a number of places, but first, Peru. We spent a week there in September 2011 at the start of our South American tour. So, what do you think of, when you think of Peru? Quite possibly this place:
But more of that shortly. Our week started off in the capital Lima, a thriving and attractive place, full of striking architecture.
You see that yellow and black combination all round the Plaza Mayor and the city centre. The ornate enclosed balconies can be breathtakingly beautiful.
And the Plaza Mayor is definitely the centre of attention.
But there’s also a bustling market
In the Miraflores district, you can meet dinosaurs at Kennedy Park
We also visited the charming Casa de Aliaga, the city’s oldest colonial mansion
For two of these
The Pisco Sour. It tastes much nicer than it sounds. We kept out of the way of this lot:
And also had a very enjoyable stroll around Miraflores, which is upmarket and delightful – and a great coastline. You don’t tend to think of the sea when it comes to Peru, but it’s not to be missed.
From Lima we flew to Cuzco, and, in order to acclimatise to the altitude, immediately headed for the Sacred Valley, which is at a much lower level – then you slowly begin to climb during the next few days. The Sacred Valley is quite touristy, so you see plenty of these:
This gentleman shows us the traditional art of spinning. So much more refined when you do it without an exercise bike. In Pisac, we visited another market
But the highlight of the Sacred Valley is Ollantaytambo, famous for its Inca ruins, as it was once the royal estate of Emperor Pachacuti.
The next day we started to make our way towards Machu Picchu. To do this we took the train to Aguas Calientes.
A picturesque journey – we reckoned these people were doing the Inca Trail.
Until it finally reaches Aguas Calientes.
And once you’re there, you can’t wait to get to Machu Picchu!
We got up early the next morning to see dawn rise over the site
A misty experience!
From there we walked up Waynu Picchu, which is the mountain opposite Machu Picchu, to get the great view. Wow, what an experience!
It’s high. It’s tiring. But so worth it! And what comes up, must go down….
And it’s quite a challenge! Reaching Machu Picchu again gave us a chance for another walk around.
From there, it was back on the train and heading for Cusco, the capital of the Inca Empire, and, despite our best efforts, the place where altitude sickness finally got us. Nevertheless we still enjoyed it.
The Plaza de Armas is the focus of the city centre, an expansive and beautiful town square.
and, surprise, surprise….
The police get about on segways – makes it much easier for them!
This is the beautiful Santo Domingo Convent
And a local school
The next day we took a tour to Pikillacta and Sacsayhuaman. At Pikillacta, you see an archaelogical site of the Wari people
But it was Sacsayhuaman that I was really interested to see.
The construction is amazing, as there is no mortar between those stones
From the top you get a great view of Cusco
We also visited the amazing holy site of Qenko.
And I spent the next day in bed with Altitude Sickness! After Cusco, it was time to get on another train
The Andean Explorer, which would take us to the border city of Puno, travelling through beautiful but totally empty scenery.
Puno is a city with many thousands of students, and they were having an evening parade. We were warned not to go into Puno at night, because it wasn’t safe. But we couldn’t resist.
Felt perfectly safe to us! So I’ll leave you with a few typically Peruvian scenes and vibes.
In which James Bond is sent to eliminate ruthless Caribbean dictator and heroin supremo Dr Kananga (aka Mr Big), in an escapade involving voodoo, tarot, crocodiles, snakes and sharks. Will our hero prevent Kananga flooding the heroin market with two tons of free product so that he becomes the world’s only supplier? Of course he will!
Producers Harry Saltzman and Cubby Broccoli were desperate to sign Sean Connery up to play Bond for the seventh time, but not even a pay cheque of $5.5 million would tempt him. Instead, they considered many other actors, including Julian Glover, John Gavin, Jeremy Brett, Simon Oates, John Ronane, and William Gaunt. They favoured Michael Billington, who was best known for his appearances in TV’s The Onedin Line, but when Roger Moore became available, his star status was too much of a draw for them to ignore.
Ted Moore returned as Cinematographer again, for the first time since Thunderball, with editors Bert Bates (who had worked on Diamonds are Forever), Raymond Poulton (who would also return for The Man with the Golden Gun) and John Shirley. Guy Hamilton returned for the third time as Director; regular composer John Barry was unavailable and Paul McCartney, who had written the title track, was too expensive, so the producers chose George Martin – who was, of course, The Beatles’ producer – to compose the score. Design was by Syd Cain, who had designed From Russia with Love, and the screenplay was by Tom Mankiewicz, who had played a major part in revising the original script of Diamonds are Forever, and would go on to contribute to three later Bond movies. Live and Let Die, however, would be the only film for which he received sole credit for writing the screenplay.
Live and Let Die was published in 1954 and was the second book in Ian Fleming’s series of James Bond novels. Fleming had actually finished writing it before the first book, Casino Royale, was published. It was written at his Goldeneye estate in Jamaica, and was originally intended to have a more serious tone than its predecessor. Its original title, The Undertaker’s Wind, describes one of Jamaica’s winds that, allegedly, blows all the bad air out of the island. Many of Fleming’s own experiences were incorporated into the story. Scuba diving with Jacques Cousteau inspired the description of swimming out to Mr Big’s boat; his friend Patrick Leigh Fermor’s book The Traveller’s Tree, which had also been partly written at Goldeneye, is full of information and insights about voodoo. Even the character of Solitaire took her name from the local Jamaican rufous-throated solitaire bird.
The previous film, Diamonds are Forever, was the last James Bond film that I saw with my schoolfriend John at the cinema sometime in the mid-1970s. After then, I did not see another James Bond film until I saw Skyfall when it came out. So until I watched the film for the first time recently, I had never seen Roger Moore in the role. More of him later!
There are some similarities between the film and the book; but there are more areas in which the two completely diverge. In both the film and the book M sends Bond to New York to investigate Mr Big, although in the book he is suspected of selling gold coins and in the film he is dealing in heroin. In both the film and the book Bond is assisted by his old friend and CIA agent Felix Leiter, although in the book Leiter suffers considerable injuries en route and the film he largely gets off scot-free. The character of Solitaire plays a similar role in both film and book, but the voodoo element is played up a lot in the film. Because of altering the sequence of adaptations in the film series, Quarrel in the book becomes Quarrel Jr in the film, as we have already encountered the former (and seen him die) in Dr No. In the book Mr Big is a member of SMERSH, whereas in the film he’s the alter-ego of the dictator of the fictitious island of San Monique, Dr Kananga. The characters of Rosie Carver, Tee Hee, Adam, Whisper and Sheriff Pepper were all created for the film only. Samedi is an established figure in Voodoo, but also did not appear in the book.
For the most part, the book received very good reviews. The Times Literary Supplement observed that Fleming was “without doubt the most interesting recent recruit among thriller-writers” and that Live and Let Die “fully maintains the promise of … Casino Royale.” The Daily Telegraph felt that “the book is continually exciting, whether it takes us into the heart of Harlem or describes an underwater swim in shark-infested waters; and it is more entertaining because Mr Fleming does not take it all too seriously himself”. The Times thought that “this is an ingenious affair, full of recondite knowledge and horrific spills and thrills—of slightly sadistic excitements also—though without the simple and bold design of its predecessor”. However, reviews for the film weren’t always quite so positive. The reviewer for Time Magazine described the film as “the most vulgar addition to a series that has long since outlived its brief historical moment — if not, alas, its profitability.” He also criticized the action sequences as excessive, but noted that “aside an all right speedboat spectacular over land and water, the film is both perfunctory and predictable—leaving the mind free to wander into the question of its overall taste. Or lack of it.” Roger Ebert of the Chicago Sun-Times stated that Moore “has the superficial attributes for the job: The urbanity, the quizzically raised eyebrow, the calm under fire and in bed”. However, he felt that Moore wasn’t satisfactory in living up to the legacy left by Sean Connery in the preceding films. He rated the villains “a little banal”, adding that the film “doesn’t have a Bond villain worthy of the Goldfingers, Dr. Nos and Oddjobs of the past”.
As usual, the opening credits begin, with Maurice Binder’s iconic glimpse of Bond walking across the screen whilst being captured by the barrel of a gun, only for him to turn around, see us, and shoot; and then for the blood to start filling up the screen. Where we’re used to seeing Sean Connery, Bond is now noticeably Roger Moore, a slightly more elegant and poised presence than Connery, a characterisation that continues throughout the film.
We’re taken to the UN building in New York, where the delegates are listening intently, if languidly, to a dull speech from the Hungarian delegate. However, an interloper replaces the feed from the translator to the British delegate with some kind of electric charge and kills him stone dead. Then we move to a New Orleans jazz funeral march, another British spy gets killed – knifed whilst watching the march, and then we move to the fictitious island of San Monique, where a Voodoo snake ceremony is taking place. As a consequence, a third British agent is fanged to death. Three deaths so early!
And now the credits really start with Paul McCartney and Wings’ performance of Live and Let Die, an iconic track that’s still much loved all these years on. Binder’s title sequence calls for a view after view of fire and fireworks, plus some very cheesy use of an oversized optic fibre lamp, which after a short while becomes slightly less than interesting. Luckily, there are a few shots of barely hidden bosoms to perk the credits up. But I would suggest this is possibly the least creative title sequence in the series so far.
And the locations? As already described, we start off in New York – from then, the action takes place in New Orleans and Louisiana, and the fictitious island of San Monique; scenes there were filmed in Jamaica. Whilst in New York, the producers were reportedly required to pay protection money to a local Harlem gang to ensure the crew’s safety. When the cash ran out, they were “encouraged” to leave.
Bond, James Bond. This was Roger Moore’s debut in the role – so how did he make out? Well, being Bond, he made out quite a lot. Aged 45 at the time of filming, Moore is very suave, very posh, very sophisticated; but to me, his performance felt quite forced. Guy Hamilton gave him the affectation of the cigar, which makes him look even more lascivious and creepy than he already behaves. His first words are not simply “Bond, James Bond”, which is rather a shame, considering in The Saint, he was “Templar, Simon Templar”. In fact, his first words are those of disappointment at an unnecessarily early visit from M – “not married by any chance, are you?” And when he does eventually formally reveal his identity to us, saying the familiar line “My name’s Bond, James Bond”, it’s not until we’re 23 minutes into the film, when he introduces himself to Solitaire for the first time. Sometimes Roger Moore’s trademark underacting doesn’t work for me. I think Bond should be a bit more animated!
Boo-boos. Here are some, I am sure there are more. When making the coffee for M, Bond puts the milk in the coffee and then puts the steam into the coffee, demonstrating that neither he nor anyone involved in the scene had the faintest idea how to use the machine; added to which, the coffee grinder is alternately empty/full between shots. When Bond gives Mrs. Bell her “flying” lesson, the wings are torn off the plane. Yet when he asks her “Same time tomorrow?”, the reaction shot of Mrs. Bell shows an intact left wing – it’s the same ‘reaction’ shot as when he climbed into the plane. There are two scenes of funeral marches in New Orleans; one at the very beginning, and one in the middle of the film. They were both obviously shot at the same time: the sun and shadows are the same, the marchers and dancers are wearing the exact same clothes, and the extras hanging around a doorway across the street are identical. The whole crew and spectators are reflected in the cab’s window when Bond leaves the Voodoo shop.
The Bond Girl. As usual, the producers and scriptwriter bowl us a couple of curved balls early on in the film to fool us as to who The Bond Girl is in this adventure. First candidate is Miss Caruso, the Italian agent with whom Bond is sharing intimate moments when M comes awkwardly to call. She is played by Madeline Smith, originally a model and then a starlet in grisly Hammer horror films, before becoming one of those bit-part actresses seen in numerous light entertainment and comedy roles on TV and in films. She was recommended for the role by Roger Moore himself, who had worked with her in an episode of his TV series The Persuaders. Her career wound down in the 1980s when she had a daughter, but she’s still going strong to this day.
Next candidate for Bond Girl is the apparently ditzy and careless Rosie Carver, played by Gloria Hendry. Rosie is an inexpert CIA agent who adds some nice touches of comedy to the film with her clumsy gadget-handling and useless spy skills. However, as Bond quickly comes to realise, this is all a bluff and she’s double-crossing the CIA by working for Kananga. Her employer realises she can’t be trusted and has her killed. Rosie and Bond’s affair is a brief, double-crossing fling which ends the hard way. Gloria Hendry was originally a Playboy Bunny but then gained a couple of acting jobs and her appearance in Live and Let Die was significant as being the first African American woman to become romantically linked with James Bond! She’s had a varied career in movies since then, and has also written an autobiography. When the film was shown in South Africa her sex scenes with Bond were removed because of the Apartheid laws.
However, the Bond Girl in this film is undoubtedly Solitaire, played by Jane Seymour. Solitaire is used by Kananga for her tarot, psychic and occult skills and is icy at first but soon warms up after Bond breaks down her resistance (so to speak). As a result, she loses those skills and is of no use to Kananga, and he orders his voodoo henchmen to assassinate her – but Bond has other ideas. Jane Seymour, who was not the first choice for the role – that was Diana Ross, has had a long and highly successful movie career from her first appearance in 1969’s Oh What a Lovely War right to the present day. She has earned an Emmy Award, two Golden Globe Awards and a star on the Hollywood Walk of Fame, not to mention her OBE in 2000.
What Bond Girls Are Like. Apart from the Japanese heritage that sets You Only Live Twice’s Kissy apart from the rest of the Girls, our currently agreed list of attributes common to the Bond Girls is: sexy, exotic, unpredictable, as equally likely to attack Bond as to support him, strong and self-reliant up to a point, sometimes tragic, professional, scary, vengeful, bossy – but with a vulnerable side. How well does Solitaire conform to the role? Well, she’s not that typical. She works for the other side, and her past has been pure until she meets Bond – and not a lot of his conquests can boast that.
The Villain. Meet Kananga – or Mr Big, as he is the same person; when he is acting as Mr Big he wears a facial prosthetic which gets removed to quite spooky effect. In many respects, Kananga’s a typical Bond villain – outwardly sophisticated and genteel, concealing a ruthlessness and cruelty to take your breath away. He was given the name Kananga – he’s only Mr Big in the book – by Tom Mankiewicz in honour of Ross Kananga, the charismatic owner of the crocodile farm used to shoot the scene where Bond leaps over the backs of several crocs to escape. Kananga suffers the highly improbable and deliciously disgusting fate of swallowing a compressed-gas pellet used in shark guns, causing his body to inflate up in the air and explode into tiny bits. It couldn’t have happened to a nicer person. Kananga was played by Yaphet Kotto, who had a long and successful movie career, including playing President Idi Amin in the film Raid on Entebbe. Despite evidence to the contrary, Kotto has claimed descendance from the Crown Prince of Cameroon and Queen Victoria – a fact dismissed by Buckingham Palace. He was apparently quite unhappy with Tom Mankiewicz’s cartoon-style blaxploitative script; he summed his feelings up as “The entire experience was not as rewarding as I wanted it to be”.
Other memorable characters? In addition to those already mentioned, we welcome back CIA agent and Bond ally Felix Leiter for the fifth time, on this occasion played by David Hedison, another actor recommended to the role by Roger Moore – they were old friends. Hedison enjoyed some charismatic roles, including the title character in the original version of The Fly, and Captain Lee Crane in the TV series Voyage to the Bottom of the Sea. Although Leiter isn’t given that much to do in this film, his on-screen chemistry with Moore worked very well – and he would return to the role many years later in Licence to Kill.
There’s a good performance from Roy Stewart as Quarrel Jr, the local agent who is always on hand to lend help with a boat. Stewart had a fascinating career, not only as an actor and stuntman, but also as the owner of a gym in Kensington (where the late Dave Prowse trained as a weightlifter) and the owner of a Caribbean restaurant, The Globe, that ran from the 1960s until his death in 2008 – and in fact, the restaurant continues to this day. Apparently, it’s where Jimi Hendrix spent his last evening alive.
Every good Bond villain has to have a chief henchman, and in Live and Let Die it’s Tee Hee Johnson, played by Julius Harris. Tee Hee is an elegant and smiling man – but definitely not to be trusted, with a hook for a hand like a Fleming version of a Peter Pan’s nemesis. It’s a great performance, with Mr Harris perfectly cast as this apparently upright, jovial chap but with a heart of complete stone. Julius Harris appeared in many notable TV programmes and films, including The Taking of Pelham 1-2-3, Super Fly, even Cagney and Lacey and Murder She Wrote. He died in 2004 at the age of 81.
Perhaps the most notable character is that of Sheriff J. W. Pepper, a creation of Mankiewicz, brought in to provide some light relief. This pompous, loutish cop would return in The Man with the Golden Gun. He was played by Clifton James, a man with a career in movies that lasted a full fifty years, and who died in 2017 at the age of 96. It’s an arresting (no pun intended) performance that certainly breaks up the intensity of the speedboat chases. However, personally, I found the character incredibly tedious!
As usual, Bernard Lee and Lois Maxwell reprise their roles as M and Moneypenny, both just for the one scene. Q, usually played by Desmond Llewellyn, is absent from this film due to his commitments to the TV series Follyfoot, although the writers of that show left him out of three episodes of that series to give him time to play Q as well. When Q was written out of this movie, because the producers wanted to give less emphasis to the gadgets, apparently Llewellyn was furious. Fans demanded Llewelyn’s return, and he appeared in eleven more Bond movies from 1974 to 1999.
And what about the music? As always, the film starts with the main James Bond Theme, in a light, crisp guitar and string arrangement, written by Monty Norman; and then, once the opening credits start to roll, we’re straight into Paul McCartney and Wings’ Live and Let Die. A hit for the band, reaching No 9 in the UK charts but No 2 in the US Billboard Hot 100, plus No 2 in Canada and Norway, and 5 in Australia, it didn’t appear on a Wings album, which is odd as it would have fitted perfectly, stylistically, in Band on the Run. It was also successfully covered by Guns ‘n’ Roses. After that, there’s no John Barry, but George Martin, including Martin’s arrangement of both the Norman theme and the McCartney theme, primarily that chaotic and exciting Middle-8 sequence. It was the first time that McCartney and Martin had worked together since the Beatles’ Abbey Road. Most of the music was performed by an orchestra under George Martin’s directorship; two notable exceptions are B J Arnau’s soul version of the title track and the New Orleans Olympia Brass Band under the leadership of Harold “Duke” Dejan, who play the funeral march (twice) where spies get knifed. The actor playing the baby-faced killer was actually band trumpeter Alvin Alcorn.
Car chases. Not much in the way of car chases as such; there’s a sequence with James Bond leaving the airport in New York to meet up with Leiter, but with his driver having been killed without Bond realising; cue some hair-raising stunt collisions. Another car chase follows, where Bond in a taxi is followed by one of Kananga’s henchmen. Apart from those, there’s a brief helicopter chase, where Bond and Solitaire try to hide from the pilot, a scene where three cops chase Bond driving a bus (which gets decapitated as it goes under a bridge), the plane that Mrs Bell has her flying lesson in (chased by henchmen), and the extensive speedboat chase, which crosses roads, bridges, wedding receptions, garden parties and much more.
Cocktails and Casinos. As if to make a clean break with the Connery style-Bond, there are no casinos in this film, and cocktails are kept to the minimum. Rather than have a cocktail shaken not stirred, Bond creates that noisy and arduous Cappuccino in the opening scenes. Otherwise, Moore’s Bond drinks Bourbon with no ice – although Leiter changes his order at the club to two Sazeracs.
Gadgets. With Q absent, there aren’t as many gadgets this time round; however, those that did make it into the movie are pretty impressive. Bond’s magnetic watch starts by grabbing M’s coffee spoon from his saucer, remotely unzips Miss Caruso’s dress, but also turns into a circular saw and thus ends up both saving his life and helping end that of Kananga. There’s a hairbrush that doubles up as a cassette recorder (how charming), together with a device for locating bugs (the recording, listening-in type, rather than creepy crawlies). Rather quaintly, the hairbrush also sends and picks up morse code, which seems rather retro. Bond also has a shaving foam spray can that doubles up as a flame thrower – alas poor intrusive snake who lets himself into Bond’s bathroom. And Strutter’s car has a microphone in the lighter. The enemy also have some good gadgets; for example, the lethal dart thrower that is sent from Whisper’s wing mirror, and a ghastly recorder with a microphone attached. The actor makes an awful noise with it, even worse than a child playing it.
In Memoriam. In a running count of death counts in Bond movies, Dr No had the lightest number of fatalities at around 11; Thunderball is looking pretty heavy at around 50 people; but Diamonds are Forever is lethal at around 70. How does Live and Let Die compare? Let’s briefly look back at those who gave their lives so that Bond can rescue Solitaire from the wrath of the voodoo:
First UN agent, electrocuted through his earphone
Second UN agent, knifed by a passer-by
Third UN agent, bitten by an asp
Charlie the driver, harpooned in the head by a miniature dart aimed through the window by the henchman Whisper, driving an overtaking car
2 henchmen in the Harlem wasteland (although maybe not, it didn’t take much to kill them, just a kick or two)
Henchman kicked over by Bond dangling from hang glider
Strutter, knifed on a New Orleans street corner just like death #2)
Billy Bob, thwacked on the back of the head by Adam (maybe?)
Adam, doused in petrol by Bond and flambéd in the speedboat
Dambala and another man in voodoo scene
3rd man in snake coffin – Samedi, or is he?
Whisper – confined into a torpedo
Kananga blown to smithereens (internally)
Tee Hee, disarmed and ejected through the train window
Approximately 15? Maybe that’s not too many after all.
Humour to offset the death count. In previous films, Bond’s classic asides are normally delivered whenever someone dies. Live and Let Die continues the tradition of applying Bond’s wry sense of humour to all sorts of occasions. Is it me, or in this film he is particularly cheesy?
It all starts in his first scene, when he’s caught in flagrante delicto with the Italian spy Miss Caruso. When he uses the magnetic watch to unzip her dress and she admires his magic touch, he replies, “sheer magnetism, darling.”
When Felix Leiter listens into the conversation between Bond and the CIA agent Strutter, courtesy of a microphone in the cigarette lighter, Bond comments, “A genuine Felix Lighter – illuminating!”
When Rosie says she’s going to be of no use to Bond, he replies, “oh well I’m sure we can soon lick you into shape.”
Solitaire suggests a quickie before they go and capture Kananga. “Is there time before we leave for Lesson Number 3?” “Absolutely” replies Bond. “There’s no sense in going off half-cocked.”
When Leiter queries why Bond decides against the table by the wall at the New Orleans club, he replies “I once had a nasty turn in a booth”.
When Bond and Solitaire have been roped together in Kananga’s lair, Leiter tells the worrying Quarrel, “relax, he must have got tied up somewhere”.
And when Kananga cuts Bond’s arm to release blood to alert the sharks, 007 quips “perhaps we could try something in a simpler vein.”
After Kananga has been exploded into tiny bits: “he always did have an inflated opinion of himself.”
And as Bond tosses Tee Hee’s arm out of the window, after he’s been flung from the train: “Just being disarming, darling.”
Any less frothy elements? So once again it’s time to consider if there are any outstanding themes or elements that don’t sit well with today’s audience. In this film, latent (and not so latent) sexism tends to give way to racism, with the blaxploitation theme. It’s said that the racial overtones in this book make it Fleming’s most difficult novel to accept nowadays (I’ve not read it myself); and the creative team were very concerned about this being the first Bond film where all the villains are black. The driver of the taxi (who’s obviously in the employ of Mr Big) taking him into Harlem tells Bond that for a big tip he’d take them to a Ku Klux Klan hideout – that doesn’t sit very comfortably. One of the other guys radios in: “you’ve got a Honky on your tail”; and “you can’t miss him, it’s like following a cue ball”. It’s not the only use of the H word, and that also doesn’t sit very comfortably! Then Strutter refers to all the tarot cards as “spades” – with all its racist overtones.
Rosie Carver is another problematic character; the CIA agent who appears to be totally useless, and screams at the sight of the dead snake and the “warning” feather hat on the bed, feigns confidence but basically swoons into his arms at the merest suggestion of how’s-your-father. When Bond draws a gun on her as her duplicitousness is revealed, she says “you couldn’t, you wouldn’t, not after what we’ve just done”, and his response is “I certainly wouldn’t have killed you before”. To be fair, it’s probably no more or less sexist than his interaction with any other woman in any other Bond film.
Bizarre other stuff that occurred to me and a few observations.
Owner of the crocodile farm Ross Kananga was paid $60,000 to do the “jumping-on-the-back-of-the-crocs” stunt. Sadly, he died at the age of 32 from a cardiac arrest, two years after being attacked by his pet leopard, Satan.
Denis Edwards, who played the third British agent (Baines) in the opening sequence, was terrified of snakes and wasn’t aware that he would be confronted by one, face-to-fang. He passed out. All that and he didn’t even get a credit.
Whilst the team were filming in the apparently disused tenement blocks of Harlem, associate art director Peter Lamont wanted to include some of the trailing wires that were hanging loose from some of the buildings. To make it more obvious in shot, he arranged for the wires to be cut so that they hung in the right place for the shot. Later that day, the telephone engineers arrived as they had had several reports that the phone lines were down – red faces from the art design team!
Geoffrey Holder, who played Baron Samedi, was primarily a dancer and choreographer – in the 1950s he was a principal dancer with the Metropolitan Opera Ballet in New York. He had also once met Ian Fleming at his home Goldeneye in Jamaica. He was also terrified of snakes. One wonders how cruel the casting team really were! He appears in the very final scene at the front of the train, because originally the producers had thought of bringing him back for the next film.
The “little musical extravaganza” that entertains the guests at Bond’s hotel has overtones of rather a grotesque sex show, heavy on the Voodoo. Maybe tastes have changed since 1973.
The amusing flying lesson with the terrifying and terrified Mrs Bell. Not much to say about it, but it has to be mentioned!
Bond refers to Tee Hee as “Butterhook” when the actor Julius Harris fumbled a scene where he had to remove Bond’s watch with his hook; it was an off-the-cuff quip, but it stayed in the script, and subsequently became Moore’s nickname for Harris.
In the scene where Jane Seymour is about to be nibbled to death by a snake, Roger Moore crouches in the distance, watching, and his face conveys all the horror of being slightly late for tea. Talk about underacting!
The film holds the record for the most viewed broadcast film on television in the United Kingdom by attracting 23.5 million viewers when premiered on ITV on 20 January 1980.
Awards: Paul and Linda McCartney were nominated for an Academy Award for Best Original Song – they missed out to Marvin Hamlisch’s title track for The Way We Were. They were also nominated for a Grammy Award for Best Song Written for a Motion Picture, where they lost out to Neil Diamond and Jonathan Livingston Seagull. Guy Hamilton did, however, win the Evening Standard award for Best Film.
To sum up: I was a little disappointed in this movie. I thought it was rather slow, rather coarse, lacking in finesse, and a little too easy. Solitaire is a rather ineffective and drippy Bond Girl, and Kananga lacks the brutal streak of a Blofeld. But mainly, I wasn’t over impressed with Roger Moore in the role and could see how either Connery or Lazenby would have nailed it much better. That said, having watched it three times over the course of writing this blog, the film and Moore have both started to appeal a little more, so I’m going to upgrade it by one sparkle. Nevertheless, I’m hoping for an improvement in his next offering, which was The Man with the Golden Gun. Fingers crossed!
My rating: 3 Sparkles
All photos from the film of course belong to their various copyright holders.
The Gondoliers – The London Savoyards at the Barbican Hall, London, 8th November 1985
I’ve never liked Gilbert and Sullivan; go on, shoot me. I probably booked this in an attempt to see what I was missing, because I knew (and still do) so many people who think that G & S are a class act, and they can’t all be wrong. I have absolutely no memory of this show, so perhaps they are all wrong.
Wife Begins at Forty – Ambassadors Theatre, London, 5th December 1985
A jolly comedy, produced by the (at the time) ubiquitous Theatre of Comedy Company, written by Arne Sultan and Earl Barret (who? Mr Barret was a TV writer of shows such as Bewitched and My Three Sons, and Mr Sultan was his TV producer) directed by Ray Cooney, so you know precisely the kind of thing to expect, and starring Dinsdale Landen and Liza Goddard. It was very enjoyable and memorable for one main reason; it was the first time that I took a young Australian lady, Miss Duncansby, to the theatre, whilst she was on holiday in the UK. Little did I know that 28 months later she would become Mrs Chrisparkle.
Mutiny! – Piccadilly Theatre, London, 16th January 1986
Well this show had a fairly mighty pedigree, so long as you like David Essex – he wrote the music and starred as Fletcher Christian. I do like David Essex – on records – but not on stage, where I feel he is wooden and expressionless, sadly. But there was more to this show than Mr Essex. Frank Finlay was Captain Bligh, whilst Sinitta Renet (yes, the Sinitta of So Macho fame, who had been going out with Simon Cowell, had a longish fling with David Essex during the run of this show, and then went back to Cowell) played Maimiti. Directed by Michael Bogdanov, and choreographed by Christopher Bruce, this should have been a stunner of a show, but the critics panned it and I can’t remember much about it. This was the last show I was to see on my own for 16 years!
Glengarry Glen Ross – Mermaid Theatre, London, 11th April 1986
With Miss D back in the UK, and us “going out” full time, our next show together was the new play by David Mamet, whose work I had admired for many years. Glengarry Glen Ross has come back recently, and felt like a much better play than our memory of this production, which is a difficult play to stage because of its uneven structure. Nevertheless I enjoyed it, whilst Miss D hated it. A strong cast included Derek Newark, Karl Johnson, James Grant, Kevin McNally and Tony Haygarth.
Torch Song Trilogy – Albery Theatre, London, 19th April 1986
1986 turned out to be a year of big shows with big reputations, and first of the big-hitters that year was undoubtedly this landmark play and production, which, fortuitously, had a change of cast just before we saw it, so that the lead role of Arnold Beckoff was played by the writer and All Round Significant Person, Harvey Fierstein himself. It will come as no surprise that he was sensational – the perfect combination of funny and sad with huge dollops of emotion throughout. Rupert Frazer, Belinda Sinclair and Rupert Graves all gave brilliant supporting performances, and the memorable role of Arnold’s mum was played to perfection by Miriam Karlin.
Starlight Express – Apollo Victoria Theatre, London, 14th May 1986
Starlight Express, answer me yes, are you real, yes or no? Definitely real to me, I absolutely loved this vast but intimate, brash but emotional show about little Rusty, the little steam engine who dreams big, and attempts to win the race to be fastest, so that he can steal the heart of Pearl, the first-class carriage. But Electra and Greaseball aren’t going to take that lying down. All on roller skates, of course, with aprons jutting out into the auditorium to bring the action even closer. A lovely score, with a few real highlights – Starlight Express, Light at the End of the Tunnel, and my favourite, He Whistled at Me. Yes, I know it’s for kids really, but you’d have to be really hard-hearted not to love it. The show had already been running for a couple of years, and our cast featured Kofi Missah as Rusty, Maria Hyde as Pearl, Lon Satton as Poppa, Drue Williams as Greaseball, and Maynard Williams as Electra. Only 11 days before we saw the show Maynard Williams (son of Bill Maynard) had appeared as the UK’s representative in the Eurovision Song Contest as lead singer of Ryder, with the song Runner in the Night. You won’t remember it.
The Merry Wives of Windsor – Royal Shakespeare Company at the Barbican Theatre, London, 21st May 1986
Shakespeare’s knockabout comedy was given a 1950s treatment in a brilliant production by Bill Alexander, and with stunning set design by William Dudley. My main memory of it is watching Mistress Page and Mistress Ford getting their hair done under one of those big old 50s/60s hairdo machines. With a cast that included Nicky Henson, Lindsay Duncan, Ian Talbot, Peter Jeffrey (as Falstaff) and Sheila Steafel as Mistress Quickly, you can guess that laughter was the top priority. A relatively big group of us went to see this – not only Miss D, but also my friends Mike and Lin and her mum Barbara. A good night enjoyed by everyone!
When We Are Married – Whitehall Theatre, London, 24th May 1986
J B Priestley’s vintage comedy was brought to life in an effervescent production by Ronald Eyre for the Theatre of Comedy Company, with this immense cast: Bill Fraser, James Grout, Patricia Hayes, Brian Murphy, Patricia Routledge, Patsy Rowlands, Elizabeth Spriggs, and the real life couple of Prunella Scales and Timothy West. Fascinatingly, Patricia Hayes had appeared in the original 1938 production – although in a much more minor role. Three couples discover that they are not legally married and endure Victorian levels of embarrassment as a result. Dated but still fun.
La Cage aux Folles – London Palladium, 12th June 1986
Never one to miss an opportunity to go to the London Palladium, this was the original London production of Jerry Herman and Harvey Fierstein’s enduring musical, adapted from the old French comedy film of the same name. George Hearn and Denis Quilley took the lead roles, but it was Brian Glover’s fantastic comic performance as the dreadful M. Dindon that stole the show. I know everyone loves the song I Am what I Am, and it is indeed a great number, but it’s not a patch on the wonderful The Best of Times which always gives me goosebumps. Totally and officially fabulous in every respect.
Ballet Rambert – Sadler’s Wells Theatre, London, 16th and 23rd June 1986
Rambert had a two week season at Sadler’s Wells, with four programmes on offer in all, and over the course of two Saturdays we caught Programmes 1 and 3. Programme 1 featured Dipping Wings (Continual Departing) by Mary Evelyn, Soirée Musicale by Antony Tudor, Mercure by Ian Spink and Zansa by Richard Alston. Programme 3 was Glen Tetley’s Pierrot Lunaire, Christopher Bruce’s Ceremonies and Richard Alston’s Java, danced to the music of the Ink Spots. Hard to remember, but I think Programme 3 was the more entertaining. Rambert at the time had such brilliant dancers as Mark Baldwin, Lucy Bethune, Christopher Carney, Catherine Becque, Christopher Powney, and Frances Carty. Fantastic performances, and we continued to wear our Ballet Rambert t-shirts that we bought at the theatre for many years!
In these theatre-starved times, every so often a little spark of light appears to remind us of what we’ve been missing since March. December 4th sees the official release of the first complete recording of Stephen Sondheim’s 1964 flop Anyone Can Whistle, timed to celebrate the great man’s 90th birthday. Recorded in 1997, this surreal, fantasy musical explores what can happen when a once-great American local community decides to mire itself in fake news, pretend miracles and corrupt leadership. Incidentally, in 1964, Donald Trump was a pukey youth of 18, medically deferred for military duty, and in 1997, he was a wrestling promoter married to Marla Maples. Can’t think why I’ve mentioned that.
Before getting hold of this (fantastic) 2 CD set and doing a spot of reading around, my knowledge of the show was pretty limited. I knew the three songs that appear in the delightful cabaret show Side by Side by Sondheim, the fact that it was Sondheim’s second attempt to write both music and lyrics to a show, and that it ran for a stupendous twelve previews and nine performances. Was it simply an awful show? A terrible production, perhaps? With a cast led by Lee Remick and Angela Lansbury, you wouldn’t have thought so, although there were tales of unhappiness within the cast, poor reviews in the try-outs, plus the fact that none of the three leads had been in a musical before. Alternatively, you might be tempted to think of it as one of those way ahead of its time shows; however, the presence of two extended ballet scenes – straight outta Oklahoma – together with its very traditional three Act structure, suggests otherwise. The main problem is that there was nothing in the show for the 1964 audience to latch on to and recognise; no one with whom you would choose to identify. Today, in the almost post-Trump era, you can appreciate the satire of a grotesque leader who spins lies, and a populace desperate to believe in miracles. So, the show is both behind the times and ahead of the times – but strangely not of the times themselves. 1964 also gave us Funny Girl (Barbra Streisand was originally a possibility for the role of Cora but chose Fanny Brice instead); it gave us Hello Dolly and Fiddler on the Roof, massive crowd-pleasers one and all, with big showtunes or haunting melodies. Anyone Can Whistle – maybe because of the challenging nature of its themes and musical content – just faded away. Until now!
Like 99.99% (recurring) of the world’s population, I’ve never seen a production of this show, but the release of this new 2 CD set gives you all the excitement and vibe of being about to witness an incredibly significant First Night – and all from the comfort of your headphones. Maria Friedman, Julia McKenzie and John Barrowman lead the cast in this sensational audio experience, with the late Arthur Laurents, who wrote the book, featuring as The Narrator. Along with the National Symphony Orchestra under the baton of John Owen Edwards, a glimpse down the cast list is like tripping back in time 25 years. As well as the leads, the names of musical theatre stalwarts like Matt Zimmerman, Stuart Pendred, Danielle Carson, Lori Haley Fox and Shezwae Powell pepper the cast, and the result is an incredibly rewarding, musically rich experience, full of surprises.
If, like me, you come to the show fresh, from a position of ignorance, you’ll be completely stunned by what confronts you. You think you might know how a Sondheim musical can capture your heart, or your imagination, or your inner fears and concerns; but not this time. Mayoress Cora promotes a faked miracle so that her miserable, bankrupt town can become a tourist Mecca – how that plays out forms one of the two dramatic threads. The other is the rather insensitive notion of the Cookie Jar, the name given to a sanatorium for nonconformists (basically, an asylum); how the inmates (the cookies) are released into the community, with the result that no one can tell who is nonconformist and who isn’t. Whilst on the surface, the nonconformists are treated as though they are mentally ill, you could extend their significance to include any other section of the community who doesn’t abide by society’s norms. This is not comfortable subject material!
As you listen to the music unfold the story, at times you have to pinch yourself to believe quite what you’re hearing; and it’s a challenge to the listener who hasn’t seen the show to imagine it progressing on the stage of your mind’s eye. The chaotic lunacy of some parts of the show put me in mind strongly of the Marat/Sade, Joe Orton’s What the Butler Saw, and Dario Fo’s Accidental Death of an Anarchist – even though Anyone Can Whistle predates these latter two. At the end of the first Act the cast round on the audience and mock them – prescient of Peter Handke’s Offending the Audience in some respects. Cora’s staccato lines in The Cookie Chase reminded me strongly of Mrs Lovett in Sweeney Todd. Additionally, the wonderful showtune-style orchestrations set up a vivid juxtaposition with the savage weirdness of some of the content. The three songs I already knew – Anyone Can Whistle, There Won’t be Trumpets and Everybody Says Don’t – all stand out, but, on a first listen, I was also really impressed by A Parade in Town, I’ve Got You to Lean On, and the reprise of Anyone Can Whistle as part of See What it Gets You which takes its meaning on to another level.
This is a fascinating and vital recording, and essential for any Sondheim fan, wanting to piece together all parts of the jigsaw puzzle that make up his career. Julia McKenzie is in full pantomime-villain form as the awful Cora; needy, whining, corrupt and totally transparent about it. She affects that tough, East-side hectoring voice that blasts her way through the big numbers and is in perfect contrast to the intimate but repressed characterisation of Nurse Fay Apple by Maria Friedman; what those two performers don’t know about interpreting Sondheim’s work isn’t worth knowing. John Barrowman is in fine voice as the smart-talking, charismatic, and credible Hapgood, who is mistaken as the new assistant at the Cookie Jar. This is going to require a lot of re-playing in order to get to the heart of this surreal, allegorical show – and I know it’s going to be thoroughly worth it!
Go to Jay Records to find out how you too can get your hands on a copy!
Time for another lockdown armchair travel post, and N is also for Norway, and an MSC cruise we did back in June 2008, up that country’s rugged coast to reach the North Cape on Midsummer Day, also taking in the towns of Trondheim (no photos, not sure why), Tromso and Bergen. So, what do you think of, when you think of Norway? Maybe this:
Local Lapps, or maybe this:
The Midnight Sun. That’s certainly my strongest memory of Norway – we went for 96 hours without a hint of night-time. It plays havoc with your sleep patterns but you feel energised and excited by constantly being in the light. Bizarrely, perhaps, by contrast, Norwegian towns are mostly, erm… drab. Sorry if you’re Norwegian. That’s probably why I have no photos of Trondheim – maybe there was nothing much to photograph. Honningsvag is a little town a few miles from the North Cape. You wouldn’t expect it to be a hive of activity; and you’d be right.
We walked down that street, and the most extraordinary thing about it was that one house had one of those Football Souvenir Street Signs in its front window, bearing allegiance to Liverpool FC and Anfield.
The area relies on two things: tourism and fishing. When you reach the North Cape, first impressions are a little disappointing.
It’s almost as though someone else had got there first. However, there are better monuments to be found: