Showing posts with label 007. Show all posts
Showing posts with label 007. Show all posts

Monday, December 1, 2025

Author author / Ian Fleming / James Bond - a tickt to distant joys XLISTO






AUTHOR AUTHOR
Ian Fleming

James Bond – a ticket to distant joys

'Ian Fleming's novels offer the opportunity to glimpse, even to revel in, how things used to be before progress and equality spoiled all the fun'
Jonathan Freedland
Fri 28 Sep 2012 22.55 BST

Wednesday, March 16, 2022

James Bond is From Odessa

 

Sidney Reilly

James Bond is From Odessa

By Brian Mefford -
July 18, 2016

From Ukraine with Love: Hollywood’s favorite British spy, James Bond, was inspired by the great Odessa born adventurer.

 
Everyone knows the world’s most famous secret agent, James Bond. British author Ian Fleming’s hero has been a box office star for more than half a century. Bond is celebrated around the globe for his brilliant mind, wild adventures, and debonair charm. “Women want him, and men want to be him”. What most people don’t know is that James Bond has his origins in Odessa, Ukraine.

Tuesday, November 2, 2021

Former Tatler cover girl Naomie Harris launches the Michael Kors Collection

 


Tatler December 2020

TATLER, DECEMBER 2020

 
Txema Yeste


Former Tatler 

cover girl Naomie Harris

 launches the Michael 

Kors Collection 

x 007 capsule

Chandler Tregaskes
22 September 2021

007 fans have been eagerly awaiting the release of the franchise’s 25th instalment since late 2019, but now, after several setbacks, the much loved movie series hits the big screen next week. To coincide with this, the marvellous Michael Kors has collaborated with everyone’s favourite spy on an accessories collection championed by former Tatler cover star Naomie Harris, aka Miss Moneypenny.

Wednesday, May 6, 2020

My favourite Bond film / Goldfinger


My favourite Bond film: Goldfinger

Goldfinger has the most sinister villain and best soundtrack but it's the inept fumbling of 007 that truly sets this Bond film apart
Anne Billson
Tue 2 October 2012


The first time I laid eyes on James Bond, he had just emerged from the ocean with a fake seagull on his head. He then blew up a drug lord's laboratory, peeled off his wetsuit to reveal an immaculate white DJ, snogged an exotic dancer, clocked in her eyeballs the reflection of a bad guy sneaking up behind them, tipped said bad guy into the bathtub, threw an electric heater in after him, and quipped: "Shocking, positively shocking!" All this, and the credits hadn't even started. My 12-year-old self thought I'd died and gone to heaven.


Many years later, Goldfinger (1964) remains not just my favourite Bond movie, but the standard by which all other Bond movies must be judged. It has Sean Connery, of course, and the best theme song, incorporating Shirley Bassey and lashings of John Barry brass.

James Bond / Golfinger / Review by Peter Bradshaw



James Bond

Goldfinger

4 / 5 stars4 out of 5 stars.

Peter Bradshaw
Friday 27 Jul7y 2007

"Y
ou ekshpect me to talk?" - "No, Mr Bond, I expect you to DIE!" Then why doesn't Goldfinger just shoot 007, an army of pedants have asked, instead of setting up this elaborate laser-beam creeping up to Sean Connery's penis? Perhaps he's just a procrastinator like the rest of us. Here is a revival of what could be the best Connery Bond, from 1964, facing up to sinister bullion-dealer Auric Goldfinger (Gert Frobe) with his plan to detonate a nuclear bomb inside Fort Knox. It has Shirley Bassey's operatic theme, the Aston Martin and Shirley Eaton, killed with that magnificently macabre gold paint.
It also has, I fear, the most sexist scene in cinema history. "Man talk," says Bond to his masseuse as Felix Leiter arrives for a conference, dismissing her with a smack to the bottom. (My theory is that a feminist art director made Connery wear that bizarre poolside terry-towelling hot-pants suit in revenge.) Sir Sean was the screen Bond who tried most to replicate the worldly connoisseurship of Fleming's original; he embarrasses M with a superior knowledge of brandy, and as for drinking improperly refrigerated Dom Pérignon: "That's like listening to the Beatles without earmuffs!" Earmuffs? Well, 007, you grumpy old square: in those days, action movies were addressed to an older generation. And Connery's Bond was the last action hero to wear a three-piece suit.


Sunday, May 3, 2020

How we made / Brosnan on GoldenEye / Crazy stunts and thigh-crushings from Xenia Onatopp


How we made

Pierce Brosnan on GoldenEye: crazy stunts and thigh-crushings from Xenia Onatopp


A tank flattened a camera, M called him a sexist dinosaur and his fights with Onatopp were so rough they needed a padded cell … the Irish actor recalls his 007 debut

Interviews by Phil Hoad
Monday 4 February 2019

Pierce Brosnan, actor

The first film I saw when I came to London as a boy was Goldfinger, which starred Sean Connery as 007. In Ireland, I had been brought up on a diet of Old Mother Riley and Norman Wisdom, so it was a bedazzling moment, seeing this lady covered in gold paint. I ended up getting a toy car with an ejector seat, but I didn’t have any aspirations to be James Bond. The character who really captured my imagination was Oddjob, Goldfinger’s bowler-hatted henchman.
I was originally offered the role of 007 for The Living Daylights. I’d done all the photos with the iconic gun pose and my late wife and I were about to toast our new life with a bottle of Cristal when my agent called and said: “It’s fallen through.” It was because I couldn’t get out of Remington Steele. The role went to Timothy Dalton instead but, by the mid-90s, the franchise had been dormant for six years because of a rights dispute. I heard rumblings that the part was available, but ignored them because I didn’t want to put myself back in that emotional vortex. Then I met the producers Cubby and Barbara Broccoli and, a week later, they called and said: “You’re in.”
The sceptics were out in full: the world felt there was no need for another James Bond. So the challenge was enormous. I didn’t want to get caught between what Sean and Roger had done. Yet, at the end of the day, my take was a little bit of what both had brought to the role. I leant towards Sean’s style, but I couldn’t deny Roger because GoldenEye was in the tongue-in-cheek style people had become used to.
It was a demanding role, physically and emotionally. I did a lot of wirework and fight sequences. They created a padded cell for the fight in the bathhouse with Xenia Onatopp (Famke Janssen), so we could go at it pretty hard. The most arduous fight was the one with Sean Bean, on the ladder over the giant radio telescope at the end. He and I spent six weeks constructing the sequence, working on it during our lunch breaks and at the end of the day with a stunt coordinator. But carrying myself as Bond was as much a mental as a physical thing. You have to hold the stage. You go in to win, full tilt to the finish line.

GoldenEye’s success was a great relief. I was prepared for the attention. Once you have that brand, you’re stamped as a Bond. It was a great irony playing a British cultural icon as an Irishman. I had a quiet chuckle to myself.

Martin Campbell, director

It’s exciting breaking in a new Bond. I did Daniel Craig’s first one, too. You’ve got something to work with. The producers had been checking other people out just in case. I think they may have looked at Mel Gibson and Ralph Fiennes. But it was obvious Pierce was the right person. You couldn’t get a better-looking Bond. Put him in a tuxedo and it’s game over, mate.



It was budgeted at $55m, which is ludicrously little by today’s standards. I think United Artists had doubts about how the audience would respond after the big gap since the last film. The press had been asking if Bond was still relevant. We decided we had to address this, so we introduced Judi Dench as M, and had her call him a sexist, misogynist dinosaur. The girls, too, were very independent – in the past, they always hung on to Bond’s coat-tails. I loved Famke Janssen’s orgasmic thigh-crushing as Xenia Onatopp.
With Bond, we used to say: “What’s never been done before action-wise?” It’s quite difficult after 16 films. GoldenEye’s bungee jump off a dam at the start was my idea. We used the Contra dam in Switzerland, which is bloody terrifying. There was no digital manipulation: the stuntman Wayne Michaels just did the 700ft jump. As they were doing the countdown, he saw the guy on the crane crossing himself. He did it perfectly the first time. I guess he didn’t want to do a second.


 Director Martin Campbell (left) with Brosnan and Joe Don Baker on the set of GoldenEye in 1995. Photograph: Allstar/Eon Productions/United Artists

We were getting very tight on budget by the time we got to the tank chase through the streets of St Petersburg, so we built replica streets in the studios at Leavesden. We had three or four Soviet battle tanks, T-55s, the proverbial unstoppable force. You just let the bloody thing go and it knocks anything down. One crashed through a wall, ran over a Panavision camera and flattened it. A couple of companies turned us down for the bit where it smashes through a drinks truck. Perrier ended up getting a good ad out of it. GoldenEye was probably the first Bond film to really cash in on product placement.
I turned down Pierce’s subsequent Bond films. There’s always a madman taking over the world and a control room that has to be blown up. The producers felt the last of the Brosnan Bond films, Die Another Day, had got too fantastical, with the invisible car and the ice palace. They decided there had to be a complete rethink. That’s how Casino Royale came about.





Posters / James Bond / Goldeneye


James Bond
GOLDENEYE
Posters



Friday, June 22, 2018

James Bond’s big number comes up in Carlisle auction as ‘Casino Royale’ first edition takes £22,500




Casino Royale first edition by Ian Fleming
The front cover of the 1953 first edition of ‘Casino Royale’, Ian Fleming’s first James Bond novel, that sold at Thomson Roddick for £22,500.

James Bond’s big number comes up in Carlisle auction as ‘Casino Royale’ first edition takes £22,500

The novel that introduced the world to James Bond, ‘Casino Royale’ of 1953, has long been a key target for collectors. Anyone who laid out 10/6d for a copy over 60 years ago and has kept good care of the book will have done themselves or their descendants proud.

Ian McKay
29 Jun 2017


This was clearly shown by a box of books sent into Thomson Roddick of Carlisle for their sale of June 21.
I gather that John Thomson was almost beside himself with excitement when he pulled out the copy of Ian Fleming’s sought after book.
It is identifiable as one of the 4729 first impression copies produced by Jonathan Cape by the absence of a Times review, and the jacket, showing only slight chipping and wear to the upper spine end and some creasing on the back, was unclipped.
The contents were noted as clean and there were no ownership inscriptions.

Ian Fleming / Casino Royale / Review





Casino Royale

By Ian Fleming

Casino Royale is the first novel written by Ian Fleming featuring the 00 agent Commander James Bond, published in 1953. The plot revolves around a plan to take down Le Chiffre, an agent of SMERSH, by bankrupting him in a high-stakes game of Baccarat Chemin-de-fer.

Ian Fleming / The Vesper Martini / Casino Royale





THE VESPER MARTINI
Casino Royale
“A dry martini,” [Bond] said. “One. In a deep champagne goblet.”
“Oui, monsieur.”
“Just a moment. Three measures of Gordon’s, one of vodka, half a measure of Kina Lillet. Shake it very well until it’s ice-cold, then add a large thin slice of lemon peel. Got it?”
“Certainly, monsieur.” The barman seemed pleased with the idea.
“Gosh, that’s certainly a drink,” said Leiter.
Bond laughed. “When I’m…er…concentrating,” he explained, “I never have more than one drink before dinner. But I do like that one to be large and very strong and very cold and very well-made. I hate small portions of anything, particularly when they taste bad. This drink’s my own invention. I’m going to patent it when I can think of a good name.”
—Ian Fleming, Casino Royale, Chapter 7, “Rouge et Noir’

Later in the novel, after Bond first meets Vesper, he asks to borrow the name. And thus the Vesper martini was born in Ian Fleming’s Casino Royale. But before you run off to make the perfect Vesper for your Casino Royale 10th Anniversary parties, let’s dwell on some details. Preferably details that will make you sound incredibly snobbish at gatherings, am I right?
Fleming’s friend Ivar Bryce first concocted the recipe for the Vesper martini in the early 1950’s. Since then, however, the ingredients are no longer Bryce’s.  If you search for the recipe, you’ll note many variations of the drink. I’ve collected a dozen slightly different variations on the original — and yes, I’ve made and tried them all.
 

 Let’s start with the basics as detailed by Fleming.

The Vesper Martini (from Casino Royale):


3oz Gordon’s gin
1oz vodka
1/2oz Kina Lillet

Shake all ingredients. Strain into a martini glass and add a lemon twist.


Gordon’s gin is not Gordon’s gin. North American Gordon’s is mixing gin, sold by the barrel. It tastes accordingly like swill. Even the superior British Gordon’s has been reformulated to 75 proof from the original 94.6. (A 94.6 proof Gordon’s Export gin exists out there in the wild, but I’ve not yet had the pleasure of procuring a bottle for Vesper sampling.)
Likewise, the vodka Fleming would have used was 100-proof, whereas the vodka currently in your cabinet is likely a 90. Though, this is merely a note for obsessives or people who want to find themselves under the table a little faster. But there is a reason for the high alcohol content of the drink. The shaking produces a greater dilution. If you find yourself with lower proof vodka, dare I say, you might consider stirring your Vesper — which would actually more align with Bond’s stated wish for a drink that is cold. Stirring actually creates the colder drink.
Now the main reason for so many modern Vesper martini variations. Kina Lillet removed quinine from the drink in 1986 and became merely Lillet or Lillet Blanc. The Lillet sold in stores today is most definitely not a straight substitute for Fleming’s Kina Lillet. Modern Lillet is sweeter and doesn’t have enough bite to rise above 3 measures of gin. It never stood a chance.


All that said, here’s my current preferred formulation, including liquors of choice.

007hertzrumble’s Vesper Martini:


2.5oz gin (Tanqueray 10)
1.0oz vodka (Stoli Blue label – 100 proof)
1/2oz Cocchi Americano
splash of lemon juice or even Lillet (each balanced the drink in different ways)

Shake all ingredients. Strain into a martini glass and add a lemon twist.


My preferred gin for martinis has become Tanqueray 10. I find it smoother than the other regular, commercially available gins. Don’t get fancy with your gin in this drink. Find your martini standard and stick with it. For vodka authenticity I stick with the 100-proof Stoli Blue label, but you probably won’t notice the difference between 90 and 100 unless you’re sipping side-by-side.
Replace the extinct Kina Lillet with Cocchi Americano, an Italian apertif wine that contains quinine. In case you’re concerned about never actually finishing that bottle of Cocchi Americano, look up the recipe for a Corpse Reviver #2. You’ll finish the bottle. (You can also try Lillet with two drops of bitters as a substitute, but I wasn’t fond of the bitters and Lillet combo.)
About that splash of lemon juice/Lillet. I hate to say this, but after trying to perfect the Vesper recipe over the last couple years, I’ve concluded that the Vesper is a challenging beverage. And by challenging, I mean it’s quite abrasive. And perhaps this is for the best because more than two of these and you’ll be buggered. The splash of lemon or Lillet sweetens the package just enough. Too much, however, and the drink tastes really confused. It’s a fine line between perfection and a straight up kerfuffle.
For a sweeter version, remove the Cocchi and just add 2/3oz of Lillet and the splash of lemon to give the flavor a fighting chance. Adjust as necessary.

Still, despite the barriers to entry, I’ve come to enjoy these martini half-breeds. Partly because I’m a Bond enthusiast and partly because I find the perfect Vesper slightly elusive. I’ve made a few great ones at home and had one perfect Vesper martini at a French restaurant — which swapped the gin and vodka ratios (3:1 vodka to gin) and used extra Lillet… which I’ve also attempted at home.

Here’s my best attempt at the inversion.

007herzrumble’s Inverted Vesper martini:


3oz vodka (Belvedere or Grey Goose)
1oz gin (Tanqueray 10)
2/3oz Lillet


Stir (blasphemy!) — no really, stir — all ingredients in the shaker. Strain into a martini glass and add a lemon twist.


A personal warning — never — never ever ever ever drink more than 2 Vespers of any variety. If you need a refresher about how to make a standard, straight up dry martini, here’s a YouTube video that uses my preferred recipe with a bunch of guys who are mostly less annoying that most YouTube bartenders.



Cheers.