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• RichardTheBruce I'm motivated by my Duty.

  September 26 Posts: 14,758

  September 27
  
  1903: Leonard Barra (Leonard Barr) is born--West Virginia.
  (He dies 22 November 1980 at age 77--West Hollywood, California.)

  

  Leonard Barr

  https://en.wikipedia.org/wiki/Leonard_Barr

  
  Barr in Diamonds Are Forever, 1971

  Birth name Leonard Barra
  Born September 27, 1903, West Virginia, U.S.
  Died November 22, 1980 (aged 77), Burbank, California, U.S.
  Medium Stand-up, television, film
  Years active 1970–1980
  Genres One-liners
  Relative(s) Dean Martin (nephew)
  Notable works and roles Diamonds Are Forever

  Leonard Barr (born Leonard Barra; September 27, 1903 – November 22, 1980) was an American stand-up comic, actor, and dancer.
  
  Barr appeared several times with Dean Martin and Jerry Lewis when they hosted the Colgate Comedy Hour. He had a brief role in The Sting, appropriately as a burlesque comic. That is also the way his character is listed in the credits—as an anonymous comedian. However, in the wings of the stage just before the comic's entrance, he has a brief conversation with Johnny Hooker (Robert Redford), who addresses him as "Leonard".

  He is perhaps best remembered internationally for his appearance in the 1971 James Bond film Diamonds Are Forever in which he played Shady Tree, a stand-up comedian and smuggler in Las Vegas who was assassinated by henchmen Mr. Wint and Mr. Kidd. He also appeared in The Odd Couple usually in the non-dialogue New York street scenes in the first season or 5 episodes later in 1975 with dialogue and, albeit unnamed, on an episode of M*A*S*H as a USO comedian. He also made numerous guest appearances on The Tonight Show Starring Johnny Carson. Cameron Crowe briefly depicted Barr as a foul-mouthed real-life character in Almost Famous, his semi-autobiographical film of 2000.

  Personal life
  He was the uncle of Dean Martin (being the brother of Dean Martin's mother Angela).
  
  Death
  The 77-year-old Leonard Barr suffered a stroke on October 28, 1980, in his hotel room in West Hollywood and died on November 22, 1980, in a hospital in Burbank, California.

  
  Leonard Barr (1903–1980)
  Actor | Soundtrack
  https://www.imdb.com/name/nm0056536/?ref_=nmbio_bio_nm
  
  Filmography

  Actor (14 credits)
  
  1981 Under the Rainbow - Pops
  1980 Tenspeed and Brown Shoe (TV Series) - Comic
  - Pilot: Part 1 (1980) ... Comic
  
  1979 Skatetown, U.S.A. - 1977-1978 Szysznyk (TV Series)
  Leonard Kriegler
  - Youth of the Year (1978) ... Leonard Kriegler
  - Norton's Head Trip (1978) ... Leonard Kriegler
  - Hell on Wheels (1978) ... Leonard Kriegler
  - A Star Is Burned (1978) ... Leonard Kriegler
  - You Stomped on My Heart (1978) ... Leonard Kriegler
  1978 Battered (TV Movie) - Prof. Jeremiah Hayden
  1977 Record City - Sickly Man
  1977 Billy: Portrait of a Street Kid (TV Movie) - Hospital Roommate
  1976 The Tony Randall Show (TV Series) - Bellhop
  - Case: His Honor vs. Her Honor (1976) ... Bellhop
  1975 Little House on the Prairie (TV Series) - Proprietor
  - To See the World (1975) ... Proprietor
  1970-1975 The Odd Couple (TV Series) - Walter / Stickman / Mayor / ...
  - Old Flames Never Die (1975) ... Walter
  - The Hollywood Story (1974) ... Stickman / Mayor
  - To Bowl or Not to Bowl (1974) ... Arnold
  - Lovers Don't Make House Calls (1971) ... Panhandler (uncredited)
  - Oscar's Ulcer (1970) ... Old Playful Boxer on the Street (uncredited)
  1973 The Sting - Burlesque House Comedian
  1972 Evil Roy Slade (TV Movie) - Crippled Man
  1971 Diamonds Are Forever - Shady Tree
  1970 Love, American Style (TV Series) - Passing Buck (segment "Love and the Longest Night")
  - Love and the Big Date/Love and the Longest Night (1970) ... Passing Buck (segment "Love and the Longest Night")
  
  Soundtrack (2 credits)
  
  1967 The Dean Martin Show (TV Series) (performer - 1 episode)
  - Episode #2.25 (1967) ... (performer: "Crazy Rhythm" - uncredited)
  1959 Gangster Story (music: "The Itch for Scratch")

  
  

  
  Dean Martin ShowStand-Up
  
  
  
  Leonard Barr Dance Moves
  
  

  
  1979: Agente 007, Moonraker: operazione spazio (Agent 007, Moonraker: Operation Space) released in Italy.

  
  
  
  
  

  
  1982: Never Say Never Again filming begins on the French Riviera.

  
  

  1982: Octopussy films Gobinda attacking Bond and Vijay.
  1985: 007 – Alvo em Movimento (007 - Moving Target) released in Portugal.

  http://007pt.blogspot.com/2012/

  

  
  1991: James Bond Jr. in syndication releases episode 10 of 65 - "A Worm in the Apple" in New York.

  

  

  James Bond Jr - "A Worm in the Apple" Episode 10

  When Phoebe invites James to the official opening of New York's Mile High Skyscraper, he encounters the Worm, a terrorist bent on sinking the city.

  Directed by Bill Hutten, Tony Love.
  Writing Credits (in alphabetical order)
  Andy Heyward ... (developer)
  Robby London ... (developer) (as Robbie London)
  Jeffrey Scott ... (writer)
  Michael G. Wilson ... (developer)
  
  Cast (in credits order)
  Jeff Bennett ... Horace 'IQ' Boothroyd (voice)
  Corey Burton ... James Bond Jr. (voice)
  Julian Holloway ... Mr.Bradford Milbanks (voice)
  Mona Marshall ... Tracy Milbanks (voice)
  Brian Stokes Mitchell ... Coach Mitchell (voice) (as Brian Mitchell)
  Jan Rabson ... Gordon 'Gordo' Leiter / The Worm / Snitch (voice)
  Susan Silo ... Phoebe Farragut (voice)
  Simon Templeman ... Trevor Noseworthy IV (voice)
  Rest of cast listed alphabetically:
  Mari Devon ... (voice)

  James Bond Jr Episode 10 A Worm in the Apple, New York City, New York.
  
  

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  2015: The Telegraph prints an article "Meet the real Q: the unsung heroes of Bond" giving detail to Peter Fleming, James Bond, Robert Brownjohn, Dame Victoire Evelyn Patricia Bennett, and Geoffrey Boothroyd.

  

  Meet the real Q: the unsung heroes of Bond

  See the complete article here:
  

  https://www.telegraph.co.uk/film/james-bond-spectre/unsung-heroes-real-life/

  Telegraph Film 27 September 2015
  Who outshone Ian Fleming, put the gold into Goldfinger and gave James his name?

  1. Peter Fleming, adventurer
  Ian's older brother: explorer, travel writer, and creator of a blueprint Bond. By Robert Ryan
  
  The alligator lurking beneath the surface of Brazil's Araguaya river was certainly an impressive beast, the largest the English explorers had seen. Because it was dark, though, none of the party in the canoe could be certain of its exact length. After a number of wild guesses, they decided to settle the matter with a tape measure. From their dugout they fired three .375 rounds into the animal's skull and dragged it onto the bank.
  
  The explorers then went to bed. At some point in the night the 'gator revived and lunged at its tormentors. One of the Englishmen, who would later retell this story in the book that would make him famous, rolled out of bed, grabbed a revolver and helped pump six more bullets into the alligator's skull.
  
  It is just as well Peter Fleming lived to tell the tale, and tell it so well. For had this cocky young man succumbed to the perils of the Brazilian jungle, James Bond might well have been stillborn.

  
  Peter Fleming, brother of James Bond creator Ian, was a successful travel writer

  
  There was a time when Peter was more famous than Ian could hope to be, both as a writer and as a man who had married one of the most admired actresses of stage and screen.
  
  Peter not only wrote the blueprint for the Bond books, but also godfathered 007's debut in Casino Royale and named one of the series' most memorable characters. Yet, by the mid-1950s Ian had eclipsed his achievements, to the point today where Peter receives only walk-on parts in his brother's biography. This is a shame, because along the way he wrote some of the finest, and funniest, travel books ever produced.
  
  In some ways, though, Peter helped create his brother. Born into the Fleming banking family in 1907, he set a high intellectual standard as he blazed through Eton and glided smoothly towards Oxford. Ian, a year younger, seemed to have decided that, rather than compete academically with his brilliant and clubbable brother, he would find another outlet. This he did by excelling in athletics and by cultivating an air of disdain and a dilettante lifestyle.
  
  While Ian was struggling as a stockbroker, Peter – then aged 24 and working as assistant literary editor at The Spectator – came upon the small ad that would catapult him to fame. The notice, in the Times classifieds, read: 'Exploring and sporting expedition, under experienced guidance, leaving England June, to explore rivers Central Brazil, if possible ascertain fate Colonel Fawcett; abundance game, big and small; exceptional fishing; Room Two More Guns.'
  
  Shooting was Peter's greatest passion; solving the mystery of Colonel Fawcett, who had disappeared in the jungle in 1925 while searching for a fabled lost city, would be the icing on the cake. Although the expedition failed, the resulting book, Brazilian Adventure, made Peter's name. Written in a surprisingly modern tone, it details how its members split into opposing camps, who ended up racing each other back down the Amazon. The first to make the cable station at the coast would get the chance to put out its own version of the story. Fleming won and gained a career as a travel writer.
  Percy Fawcett, who disappeared in the Amazon in mysterious circumstances in 1925
  
  Brazilian Adventure shows its imperial age in its superior attitude to the natives, and in the way Peter resolves certain situations. When one of his companions is about to thump the drunken river pilot, he intervenes: 'You don't hit your butler, do you?'
  
  Just before leaving for Brazil in May 1932, Peter had fallen in love with an aspiring actress, Celia Johnson. Kate Grimond, her daughter and biographer, characterised him as 'handsome and romantic' but also 'a little ham-fisted in company'. He was also restless and, as Ian later described him, 'a law unto himself'. His relationship with Celia survived the separation and further trips abroad, which would provide material for books such as One's Own Company and News from Tartary.
  
  By the time war came Peter was married to Celia, with an estate in Oxfordshire and a son, Nicholas. His brother's wartime career in intelligence has been painstakingly picked over, but Peter was a spook, too. Initially, he created lairs in Kent for resistance units in case of invasion and wrote a book called The Flying Visit, a farcical vision of Hitler crash landing in Britain. After adventures in Norway, Egypt and Greece, he found himself in Delhi in 1942, working for Military Intelligence (Deception). Like Ian, his job was to dream up schemes to fox the enemy. One of his ruses was the planting of a case apparently belonging to Wavell, abandoned during the retreat from Burma, and indicating to the Japanese that India was more strongly defended than it actually was.
  
  Peter returned home in 1945, in time for the premiere of his wife's only iconic film, Brief Encounter. Shortly after the birth of his second daughter, Lucy, in 1947, he fell from his horse and suffered a crushed pelvis. There would be no more travel books set in far-flung places. The waning of Peter had begun – and the waxing of Ian Fleming.
  
  But it was Peter who got in first with an espionage novel. The Sixth Column was written the year before Casino Royale and appeared in 1952. It features an author who writes about a secret agent called Colonel Hackforth. He appears in 'thrillers with violent, and to say the least of it, curious events ... which had far-reaching international implications'. If only Peter had written the books-within-the-book for, with the addition of a little sex and sadism, this could be a blueprint for Bond. The novel is dedicated to Ian so it is ironic that once the Hackforth-ish 007 appeared, he blew Peter's literary career out of the water.
  
  Jonathan Cape, the publisher, was ambivalent about Casino Royale. According to Andrew Lycett, Ian's biographer, he described it as 'not up to scratch' and said: '[He's] got to do much better if he is to get anywhere near Peter's standard.' But Peter, one of Cape's best-selling authors, gently persuaded him to take it. He also donated the name of a character: in an early draft of Casino Royale, M's secretary was called Miss Pettaval; Peter suggested 'Moneypenny'. And he helped out by checking the manuscripts, with such fastidiousness that Ian called him 'Dr Nitpick'.
  
  There was, however, a second literary wind for Peter. His work on the resistance networks meant he was well placed to write a book about Nazi plans for the conquest of England. Invasion 1940 was a bestseller and he subsequently wrote other historical works, but for the most part he contented himself with estate management, journalism and hunting. He was out seeking grouse when Ian died on 12 August, 1964.
  
  Seven years later, at the age of 64, he suffered a heart attack while shooting in Scotland. The rest of the party decided that he had died happy and carried on up the beats to complete their day's sport. It's exactly what this forgotten Fleming would have wanted.

  2. The original James Bond
  How James Bond – the handsome, charming, highly intelligent ornithologist – gave Fleming's spy his name. By Horatia Harrod
  

  
  James Bond, ornithologist, whose name was taken by Ian Fleming for his super-spy
  Credit: David R. Contosta

  
  In the mid-1960s, a middle-aged Philadelphian ornithologist and his wife began to be plagued by anonymous phone calls from teenage girls.
  
  The man they were calling had the misfortune to be called James Bond, but unlike many others whose lives had been made a misery through an accident of naming, this one had the distinction of being the "real" James Bond. As Fleming explained to Rogue magazine in 1961, "There really is a James Bond, but he's an American ornithologist, not a secret agent. I'd read a book of his b][i]Birds of the West Indies[/i][/b and when I was casting around for a natural-sounding name for my hero, I recalled the book and lifted the author's name outright."
  
  In many aspects of his life – his good looks, upper-class background, Cambridge education, rejection of a dull career in investment banking – Bond was not unlike his literary double.

  
  James Bond's Birds of the West Indies

  
  In 1961, his wife, Mary, went into action, writing Fleming a letter which ended: "I tell my J.B. he could sue you for defamation of character but he regards the whole thing as a joke."
  
  Fleming wrote back to explain himself: "I was determined that my secret agent should be as anonymous a personality as possible; even his name should be the very reverse of the kind of Peregrine Carruthers who one meets in this type of fiction ... [Bond's] name – brief, unromantic and yet very masculine – was just what I needed."
  
  In 1966 Mary published a book, How 007 Got his Name. And she came up with a good line for the anonymous callers: "Yes," she would say, "James is here. But this is Pussy Galore and he's busy now."

  3. Robert Brownjohn, designer
  The debonair, drug-addicted designer who created iconic Bond title sequences. By Sam Delaney
  

  
  Robert Brownjohn (centre) working with Margaret Nolan on the 'Goldfinger' title sequence
  Credit: Mafalda Spencer

  
  The Bond producers Cubby Broccoli and Harry Saltzman first met Robert Brownjohn in a Soho screening theatre in 1963. They had invited him to pitch ideas for the title sequence for From Russia with Love. Brownjohn produced a collection of 35mm slides from his pocket and loaded them into a carousel. Dimming the lights, he took off his shirt and began to dance, allowing the projected images to glance and shimmer across his booze-inflated torso. 'It'll be just like this!' he announced to the stunned movie-makers. 'Except we'll use a pretty girl!'
  
  This bizarre spectacle set an enduring template for the James Bond aesthetic. It might not have looked sexy at the time, but Broccoli and Saltzman had enough imagination to commission the idea for a modest £850. Brownjohn hired a studio, some camera equipment and a belly dancer.
  
  Initial efforts to project the names of the film's cast and crew over the gyrating dancer's body proved unsuccessful. The letter forms were unreadable and, eventually, she fled after being asked to lift her skirt. Brownjohn replaced her with a snake dancer called Julie Mendes and managed to find a way of focusing the credits more clearly onto her naked flesh. A separate model was hired to gaze into the camera with '007' projected onto her face. Like much of Brownjohn's work, the finished sequence was bizarre, sexually charged and thoroughly innovative.
  
  Brownjohn had arrived in London in 1960, having made a name for himself as a graphic designer in New York. His heroin use had spiralled out of control and he'd heard that Britain offered free treatment and prescriptions to registered addicts. 'I met him off the boat train,' said Alan Fletcher, the London designer. 'He'd tried to go cold turkey on the way over and it had been a rough journey. He looked like s---.'
  
  Despite having no previous experience in advertising, Brownjohn was hired as creative director of J. Walter Thompson's London office. 'He liked a drink in the afternoon, often to deal with the hangover from the night before,' said Fletcher. 'But he got paid vast sums of money compared with the rest of us because he was so smart and entertaining. Agencies were just happy to have him around, wheeling him out for clients once in a while.'
  
  'He instilled an excitement in everyone around him,' says film director Adrian Lyne, who worked under Brownjohn at Thompson's. 'He had been a junkie and was friends with Miles Davis. I was infatuated with this man. He was immensely talented.' He defied the stereotype of the unassuming designer hunched day and night over his desk, becoming a central figure in the King's Road scene of the 1960s: Michael Caine, Terence Stamp and David Bailey would attend the parties thrown by his production company.
  
  When Goldfinger went into production in 1964, Brownjohn demanded that his budget for the title sequences be increased to £5,000. 'That's how much it cost,' said his animation assistant Trevor Bond. 'You never made a profit [with Brownjohn]. He always used all the budget and went over the top.'
  
  For Goldfinger, he decided to project imagery as well as words onto the body of the model Margaret Nolan, whom he painted gold from head to toe. As Nolan struck seductive poses, a miniature Sean Connery was seen crawling along her thighs, and a golf ball disappeared between her breasts. Explosions, car chases and bullets shimmered across Nolan's contours as Shirley Bassey belted out the seminal theme tune. It was the first title sequence to require clearance from a film censor; the following year, it won the prestigious gold pencil at the Design and Art Direction awards.
  
  Broccoli and Saltzman offered to set up Brownjohn in his own independent production company to make all their future titles. When he turned them down, the relationship soured. He died in 1970, aged 44, having never worked on another Bond movie. But his title sequences set the tone for the entire Bond series. More, he showed young British designers that creative endeavour could be reconciled with an almost Bond-like lifestyle. (Words by Sam Delaney)

  4. Moneypenny's double
  How Dame Victoire Evelyn Patricia Bennett outshone her literary twin. By Horatia Harrod

  
  Lois Maxwell's Moneypenny (left) was partly based on Dame Victoire Evelyn Patricia Bennett (right)
  Credit: PIERLUIGI / Rex Features; Christine Boyd

  
  The relationship between truth and fiction is rarely straightforward, but Bond enthusiasts are always eager to read Fleming's books as autobiography. Was Admiral John Godfrey the real M? Or Claude Dansey? Or Maxwell Knight?
  
  And what of Miss Moneypenny, Bond's loyal, lovelorn secretary? One of the main contenders as inspiration for the role was Dame Victoire Evelyn Patricia Bennett – "Dame Paddy", as she liked to be known – who worked as Fleming's secretary in Room 39, a secret part of the Admiralty Building, during the Second World War.
  
  Speaking months before her death in December 2009, at home in South Kensington, she claimed to have been nonplussed by the Bond association. For one thing, she was never in love with Fleming: "Things were so different then, " she said. "Now you look at a man and you're supposed to go to bed with him. It wasn't so in our world; it was an innocent world in that sense. " However, just to be safe she "always kept him at arm's length".
  
  As a 19-year-old working in Naval Intelligence, she was a resourceful, quick young woman caught up in "the agony and ecstasy" of the war. It was Dame Paddy who wrote fake love letters to be placed in the jacket of "The Man Who Never Was" – the corpse commandeered by British Intelligence and washed up on a Spanish shore as part of a ruse to mislead the Germans about Allied war plans.
  
  No wonder she couldn't see the comparison: the moony Moneypenny hardly does justice to the daring Dame Paddy.

  5. Geoffrey Boothroyd, the real Q
  The gun expert who banned Bond from carrying a 'lady's gun'. By Horatia Harrod

  
  Geoffrey Boothroyd pictured with James Bond creator Ian Fleming

  
  For Geoffrey Boothroyd, at the time an engineering analyst, but later the world's leading authority on shotguns and author of the seminal 1961 work, Gun Collecting, it was an impropriety akin to putting Bond in a cocktail dress, or making his signature drink a Cosmopolitan.
  
  'Dear Mr Fleming,' he wrote after reading Casino Royale, 'I wish to point out that a man in James Bond's position would never consider using a .25 Beretta. It's really a lady's gun – and not a very nice lady at that! Dare I suggest that Bond should be armed with a .38 or a nine millimetre – let's say a German Walther PPK? That's far more appropriate.'
  

  
  The Walther PPK used by Sean Connery in From Russia with Love, 1963
  Credit: John Taylor

  
  This was the beginning of a correspondence that would turn Boothroyd, a portly Glaswegian, into James Bond's armourer, 'Major Boothroyd' – 'the greatest small-arms expert in the world', as he's described in Dr No.
  
  And Major Boothroyd would later become known as Q, the gadgets expert played with such delightful exasperation by Desmond Llewelyn in 17 Bond films. Boothroyd also gave invaluable service as weapons adviser on From Russia With Love, explaining the best way to blow up a helicopter.
  

  
  Ian Fleming's letter of thanks to Geoffrey Boothroyd

  
  He then returned to his vast library of black-and-white negatives of guns being manufactured, loaded, fired and admired, his column at Shooting Times and his study of Scottish pistols, safe in the knowledge that he had spared Fleming's – and Bond's – blushes.

  Time left to wait until Spectre's UK release date:
  00 : 00 : 00 : 00
  Days Hrs Mins Secs

  
  2017: Hugh Hefner dies at age 91--Holmby Hills, Los Angeles, California.
  (Born 9 April 1926--Chicago, Illinois.)

  

  Review of The Playboy and James Bond: 007, Ian
  Fleming and Playboy Magazine (2018), by Claire
  Hines

  https://jamesbondstudies.ac.uk/articles/abstract/10.24877/jbs.48/
  Author: Kevin McCarron

  Abstract
  A Review of The Playboy and James Bond: 007, Ian Fleming, and Playboy Magazine (2018), by Claire Hines.

  McCarron, K. (2019). Review of The Playboy and James Bond: 007, Ian Fleming and Playboy Magazine (2018), by Claire Hines. International Journal of James Bond Studies, 2(1). DOI: http://doi.org/10.24877/jbs.48
  PDF https://jamesbondstudies.ac.uk/articles/10.24877/jbs.48/galley/31/download/

  The Playboy and James Bond:
  007, Ian Fleming and Playboy
  Magazine, by Claire Hines
  (Manchester University Press, 2018, pp. 209)

  Toward the end of her book, Claire Hines quotes from Playboy magazine upon the release of Skyfall in 2012: “Fifty years of Bond films forever changed the definition of the modern man, and Playboy has been with 007 every step of the way – publishing Ian Fleming, photographing the Bond girls and celebrating the lavish lifestyle” (193-194). Hines does an impressive, very meticulous job of tracing these steps: from 1953 to 2017. Like other commentators on Bond she notes that Casino Royale was published in 1953, the same year that Hugh Hefner launched Playboy. Hines is more interested in the films than in the novels, but she writes well on generic precedent in Fleming’s novels and suggests Bond is a less clubbable and far less amiable character than those of Dornford Yates and “Sapper”, in particular. She also notes that Playboy had its roots in Esquire magazine but took advantage of (and, indeed, helped to create) a more complicit zeitgeist in order to emphasise female sexuality far more than its predecessor had been able, or willing, to do. Playboy also benefited from an America affluent as never before and in need of sophisticated guidance in how to spend that money. Hines writes detailed and illuminating chapters on such issues as “the literary Bond”, “the consumer Bond”, and “Bond women” and is always tightly focused on the relationship between the Bond novels and films and the ideology and the marketing strategies of Playboy. She is, on the whole, more interested in economics than in politics, but then so are Bond and Playboy.
  
  The magazine devoted a lot of time to Bond, in all his manifestations, and was the first American publication to print one of Fleming’s stories, “The Hildebrand Rarity”, in March 1960. The book is full of interesting insights into just how the Bond phenomenon and Playboy are connected; although it was only really ever on the surface and almost entirely in terms of male consumerism. Although Playboy was never quite as superficial and shallow as its numerous detractors have claimed over the decades (Hines notes the numerous, celebrated literary figures who published work and submitted to interviews in the magazine), Playboy did use Bond to sell: luggage, vodka, watches, gadgets, male grooming, especially razors and after shave, clothes, even leisure and holidays; although Bond himself in the novels or in the films is rarely described as being on holiday or even enjoying a weekend break, and never an uninterrupted one. Playboy was particularly interested in using Bond to promote the luxury car market. The value of Bond is summed up very well in a comment made by an Aston Martin executive in 1965, following the release of Goldfinger: “the publicity value of the Bond DB5 has been greater than the amassed value of all the racing the company has done from the beginning” (90). Playboy sold to men who could afford expensive cars and watches and clothes (or certainly aspired to) because they had no domestic responsibilities. Playboy was, overall, hostile to marriage and Bond’s bachelor status was inseparable from his appeal for such readers; he satisfied the perennial male desire to enjoy sexual pleasure without any emotional entanglement. The inseparable commodifcation of women suited the ethos of the magazine and there is an interesting intertextual photograph of George Lazenby holding up the February 1969 Playboy centrefold from the film On Her Majesty’s Secret Service (1969). There is considerable irony in the image as in this film, of course, the committed bachelor does actually marry, albeit only for a few idyllic hours.
  
  Hines quotes effectively throughout from established Bond scholars such as James Chapman and Jeremy Black, Bond screenwriter Richard Maibaum, and from a range of cultural commentators such as Barbara Ehrenreich and Umberto Eco, as well as from Playboy historian Bill Osgerby. There are, of course, differences between Bond and the implied reader of Playboy. Although cartoons were a vert important part of the magazine’s appeal Hines has little to say about them; sensibly, as Bond is virtually devoid of humour. Playboy actively encouraged men to cook, if only on the grounds that it made seducing women easier, but Bond has very little interest in actually cooking; he is almost entirely a consumer of excellent food and wine. Hines notes that while Playboy was initially sympathetic to the hippie movement of the late 1960s, endorsing its rejection of bourgeois morality, it eventually joined Bond in its dismissal, even contempt, for long-haired radicals. The perceived dirtiness of the hippies and, just as importantly, their aversion to work rendered them unacceptable to the dedicated, well groomed, always-showering Bond, as well as to the clean, solvent, hard-working Playboy reader.
  
  What Hines cannot reconcile (and nobody could) is the unbridgeable distance between the pleasure-loving, aspirational readers of Playboy and Bond’s ruthlessness and occasional cruelty. The “lavish lifestyle” that Playboy admires so much in Bond’s life, and sells to its readers, is predicated on an ideological position unimaginable to the readers of the magazine. Bond’s occasional hedonism is that of a man who can expect to be killed any day in the service of his country. Carpe diem is an acceptable motto for Bond; less so for aspirational consumers in the most affluent nation on earth. Not only is Bond a killer, but he always works tirelessly, skillfully, and resourcefully for something far greater than himself. His relationship with M and with England is impressively uncomplicated; Bond is a patriot and a puritan. Ultimately, though, both Bond and Playboy’s readers do share a respect for hard work and, crucially, for enjoying the fruits of that labour. In this sense, Bond has a great deal more in common with Americans than he does with the British, and his enormous appeal there has as much to do with this mutual work ethic as it does with the girls, the gadgets, and the guns.

  

  
  

  

  James Bond Origin: A Train to Catch

  https://www.playboy.com/read/james-bond-origin-a-train-to-catch
  
  Dec 5, 2018

  It's the British operative as
  you've never seen him in this
  exclusive-to-Playboy pre-007
  adventure
  
  Written by Jeff Parker, Illustrations Bob Q

  James Bond has enlivened PLAYBOY's pages for nearly 60 years, beginning with the March 1960 publication of The Hildebrand Rarity, Ian Fleming's short story about the dashing 007's adventures. Before his fiction appeared in the magazine, Fleming dropped by the Playboy Building in Chicago, where he displayed a curiosity about real-life local villains, asking the editors, "I don't suppose you could introduce me to any of the Mafia chaps?" Fleming's famous hero, of course, is a secret agent of the British government. But how did Bond become the daring operative we know and love? For one chapter of his pre-007 backstory, we turn to this exclusive installment of James Bond Origin from the creative team at Dynamite Comics.

  
  
  
  
  
  
  

  

  
  2020: The Scottish Sun reports on a Pinewood Studios plan for a Bond-Star Wars-Jurassic Park themed attraction.

  

  MOVIE MANIA Pinewood Studios set to
  build £450 million James Bond, Star Wars
  and Jurassic Park themed attraction
  

  See the complete article here:
  

  https://www.thescottishsun.co.uk/travel/6094549/bond-star-wars-jurassic-park-attraction-pinewood/

  Andy Crick | 27 Sep 2020
  
  A TOURIST attraction themed on James Bond, Jurassic Park and Star Wars is being planned for Pinewood Studios.
  
  The £450 million park — next to the site where the hit movies were filmed — could create 3,500 jobs.

  
  The new £450 million park will be themed on James Bond, Jurassic Park and Star Wars
  Credit: PA:Press Association

  Pinewood chiefs want to create a “screen industries global growth hub” at the site in Iver Heath, Bucks, that will pump £230million into the UK economy every year.
  
  Their plans include a 350,000 sq ft film-inspired attraction called Pinewood Studio Experience.
  
  It will rival the Harry Potter Studio Tours in nearby Leavesden, Herts.
  
  Pinewood Group Chairman Paul Golding said: “The Government and Buckinghamshire LEP have recognised Pinewood Studios as a major economic asset to be enhanced with the creation of a screen growth hub for the UK.
  
  “We are pleased to be able to respond with this scheme.
  
  “We have been looking at a visitor experience for some time and feel that now is the right moment to bring it forward.
  
  “The project will strengthen UK film and bring much needed jobs and spending.
  
  "We hope our planning application will receive widespread support.”

  
  
  

  
  
• RichardTheBruce I'm motivated by my Duty.

  September 27 Posts: 14,758

  September 28th
  
  1959: Producer Kevin McClory cables partner Ivar Bryce on the successful meeting of writer Jack Whittingham with Ian Fleming on the Thunderball film project.

  

  The Battle for Bond, Robert Sellers, 2007.
  Chapter 6 - Enter Jack Whittingham

  Quickly Whittingham was introduced to Fleming and it was a huge success. The
  two got on so well that McClory cabled Bryce with the positive news on 28
  September: "Excellent meeting Ian and Whittingham. Ian would like
  Whittingham start work immediately. Meeting his agent Monday. Regards
  Kevin." It looked like an exhaustive search for the perfect screenwriter for the
  Bond story was finally at an end.

  
  1961: A second draft of the Dr. No screenplay loses the monkey.
  1964: Desde Rusia con amor released in Spain. (Catalan title Des de Russia amb Amor.)

  ]
  
  
  
  
  

  1966: The Los Angeles Times reports on filming difficulties with presenting Japanese amas (divers), filming Connery in public, and an incident damaging 14th Century Himeji Castle.
  
  1994: Harry Saltzman dies at age 78--Paris, France.
  (Born 27 October 1915--Sherbrooke, Quebec, Canada.)

  

  Obituaries
  Harry Saltzman, 78, Bond-Film Producer

  https://www.nytimes.com/1994/09/29/obituaries/harry-saltzman-78-bond-film-producer.html
  SEPT. 29, 1994

  Harry Saltzman, who with Albert R. Broccoli produced early James Bond films like "Dr. No" and "Goldfinger," died yesterday at the American Hospital in Neuilly-sur-Seine, a Paris suburb. He was 78 and lived in a village near Versailles.

  The cause was a heart attack, said his wife, Adriana.
  
  He was born on Oct. 27, 1915, in New Brunswick, Canada, and was brought to the United States as an infant. He entered the film business in the mid-1940's and made his name in Britain with hard-hitting social dramas, including "Look Back in Anger" in 1958 and "Saturday Night and Sunday Morning" in 1960.

  Mr. Saltzman and Mr. Broccoli rounded up the screen rights to practically all of Ian Fleming's James Bond novels and began the film series in the early 1960's. The two struck it rich with the highly profitable movies, most of which starred Sean Connery as Agent 007. Their Bond films included "From Russia With Love," "Thunderball," "Diamonds Are Forever" and "The Man With the Golden Gun." The partnership ended in the mid-1970's.

  Among Mr. Saltzman's other productions were "The Entertainer," "The Ipcress File," "Funeral in Berlin" and "The Battle of Britain."
  
  In addition to his wife, he is survived by a son, Steven, of Paris; two daughters, Hilary, of Pacific Palisades, Calif., and Merry, of Marina del Rey, Calif., and a sister, Mina Reizes of Reseda, Calif.
  
  September 29, 1994, Page 00012 The New York Times Archives

  
  Harry Saltzman (1915–1994)
  
  Filmography

  Producer (28 credits)
  
  1988 Time of the Gypsies (co-producer)
  1980 Nijinsky (executive producer)
  
  1974 The Man with the Golden Gun (producer)
  1973 Live and Let Die (producer)
  1971 Diamonds Are Forever (producer)
  1970 Nijinsky: Unfinished Project (producer)
  1970 Toomorrow (producer)
  
  1969 On Her Majesty's Secret Service (producer)
  1969 Battle of Britain (producer)
  1969 Play Dirty (producer)
  1967 Billion Dollar Brain (producer)
  1967 You Only Live Twice (producer)
  1967 Welcome to Japan, Mr. Bond (TV Movie) (executive producer)
  1967 Shock Troops (presents)
  1966 Funeral in Berlin (executive producer)
  1965 Chimes at Midnight (producer)
  1965 Thunderball (executive producer - uncredited)
  1965 A Man Named John (producer)
  1965 The Ipcress File (producer)
  1964 Goldfinger (producer)
  1963 From Russia with Love (producer)
  1963 Call Me Bwana (executive producer)
  1962 Dr. No (producer)
  1960 Saturday Night and Sunday Morning (executive producer)
  1960 The Entertainer (producer)
  1959 Look Back in Anger (producer)
  1956 The Iron Petticoat (produced in association with)
  1955 Captain Gallant of the Foreign Legion (TV Series) (producer)
  
  Production manager (1 credit)
  
  1950 Robert Montgomery Presents (TV Series) (production supervisor - 9 episodes)
  - The Citadel (1950) ... (production supervisor)
  - The Champion (1950) ... (production supervisor)
  - Rebecca (1950) ... (production supervisor)
  - Pitfall (1950) ... (production supervisor)
  - The Phantom Lady (1950) ... (production supervisor)
  
  Writer (1 credit)
  
  1956 The Iron Petticoat (story - uncredited)

  
  
  

  
  2008: "Another Way to Die" enters the UK Singles Chart at twenty-six, later peaking at number nine.

  

  
  

  
  2012: Christie’s of London for its 50th anniversary charity begins an online auction of EON's Bond memorabilia that runs through 8 October. Includes donations from cast and crew.

  
  https://www.christies.com/SaleLanding/index.aspx?intsaleid=24129&lid=1&saletitle=
  

  

  2012: Promotional materials for the documentary Everything or Nothing: The Untold Story of 007 become available, anticipating its 5 October premiere on EPIX.

  
  
  

  
  2019: Omega plans a wristwatch tie-in to No Time to Die. Production: 7007.

  

  

  Omega's latest $6,500 Bond tribute watch is full of
  surprises

  https://www.esquireme.com/content/39391-omegas-latest-6500-bond-tribute-watch-is-full-of-surprises
  Celebrating the 50th birthday of one of the classic 007 films
  
  26 September 2019
  Josh Corder
  
  With the release of ‘No Time to Die’ looming, Omega and 007 have once again come together to bring Bond fans a collectable timepiece.
  
  Perhaps to the dismay of Ian Flemming [sic], the creator of James Bond who always had the spy wear a Rolex, 007 and Omega have been best buds for almost 25 years now. Starting with GoldenEye in 1995, Bond has since used an Omega to stay sharp, tell time, and occasionally get himself out of torture situations. While the newest watch may not be able to help with that last one, it will certainly have you looking sharp.
  
  1969 is a year Omega will bring up at dinner parties (and press releases) till the end of time. It’s the year that its Speedmaster became the first watch on the moon, and since this year is the 50th anniversary of that achievement, Omega has been celebrating in a big way with numerous special editions.
  
  If however the Speedmaster isn’t your thing, or just you want to add another collection to your watch winder, turn your attention to the Seamaster collection. Namely, the new Bond-ified Seamaster Diver 300m. Similarly, this watch is also celebrating a 50th birthday, this time with the 1969 007 film ‘On Her Majesty’s Secret Service’.
  
  The 42mm steel diver features a black ceramic dial and bezel, the dial itself uses the iconic spiral-brushed gun barrel design and 9mm bullet head at the centre, as seen in the intro of Bond films. This is far from the only Bond tribute however.
  
  The indexes and hands are made from yellow gold, with the 12 o’clock index sporting the Bond family coat-of-arms. Turn your attention to the 6 o’clock, the integrated date window hides a surprise. On the seventh of every month, the font of the date window swaps to the same as used in 007. The side of the case has a small engraved plate showing which watch in the limited series you’ve got your hands on. The watch has been limited to 7,007 pieces.

  Switch the lights off and the Superluminova on the dial reveals one final surprise; the 10 o’clock index has a hidden ‘50’ within it in reference to 50 years since the cinematic debut of ‘On Her Majesty’s Service’.
  
  Beyond its romantic tributes, the Seamaster is a no-nonsense diver, it has 300m of water resistance, a uni-direction bezel and Omega’s co-axial escapement movement, reducing friction and increasing accuracy of the watch’s inner workings.
  
  President and CEO of Omega, Raynald Aeschlimann, described the new Seamaster as: “A fitting tribute to a classic Bond film and one of cinema’s most iconic characters. This extraordinary watch is elegant, full of surprises and sure to be extremely popular with collectors and fans of the character, due to its many Bond-related features.”
  
  Faithful to its purpose as a divers’ watch, the piece comes on a rubber strap or adjustable metal strap. For US $6,500, the timepiece comes in a black box with gun barrel patterns and bullet head buttons.

  
  
  
  
  
  OMEGA SEAMASTER 300 BIG TRIANGLE DIVER 1969
  https://watches83.com/es/relojes-omega-antiguos/3677-omega-seamaster-300-big-triangle-diver-1969-reloj-suizo-vintage-automatico-cal-565-ref-166-024-coleccionistas.html
  

  
  2021: No Time To Die World Premiere at Royal Albert Hall, London.

  
  
  
  
  

  2021: No Time To Die premiere at the Zurich Film Festival, Switzerland.

  
  
  
  

  
  
• RichardTheBruce I'm motivated by my Duty.

  September 28 Posts: 14,758

  September 29th
  
  1931: Kerstin Anita Marianne Ekberg is born--Malmö Municipality, Skåne län, Sweden.
  (She dies 11 January 2015 at age 83--Rocca di Papa, Italy.)

  

  Anita Ekberg - obituary

  https://www.telegraph.co.uk/news/obituaries/11338898/Anita-Ekberg-obituary.html
  Anita Ekberg was a Swedish actress who found fame cavorting in Rome’s Trevi Fountain for Fellini’s La Dolce Vita

  
  Anita Ekberg in Back from Eternity (1956) Photo: Allstar Picture Library

  8:35PM GMT 11 Jan 2015
  
  Anita Ekberg, who has died aged 83, was the statuesque former Miss Sweden who became a global film sensation after cavorting in Rome’s Trevi Fountain for Federico Fellini’s La Dolce Vita (1960). Although demure and innocent by today’s standards, the scene caused a scandal and made the 29-year-old Swede a household name.
  
  Some gossip columnists sniffily nicknamed her “The Iceberg” due to her Scandinavian roots, yet her dramatic décolletage, glowering good looks and vivacious delivery proved an enticing and popular combination with cinema audiences of the Sixties.
  
  Director Frank Tashlin, who directed her in the 1956 comedy Hollywood or Bust – the pun was intended – claimed that Anita Ekberg’s appeal lay in “the immaturity of the American male: this breast fetish. There’s nothing more hysterical to me than big-breasted women, like walking, leaning towers.”
  
  Anita Ekberg was indeed a teetering tower. She was 5ft 7in tall and possessed a considerable bust, of which she once said: “It’s not cellular obesity, it’s womanliness.” Yet in the same year that Tashlin had typecast her, Ekberg showed that she could really act, if given the opportunity, when she played Hélène Kuragin, the unfaithful wife of Pierre Bezukhov (Henry Fonda) in King Vidor’s epic War and Peace. However, she was fully aware that her allure was centred on her physicality. “I have a mirror,” she said in the late Sixties, “I would be a hypocrite if I said I didn’t know I am beautiful.”
  
  Kerstin Anita Marianne Ekberg was born on September 29 1931 in Malmö, Sweden, one of a large family (she had seven siblings). As a youngster she had no desire to be famous. She wanted to marry and settle down to a conventional life. A childhood pleasure was to draw and fashion clothes.
  
  Out walking one day, a talent scout spotted her and persuaded her to enter the Miss Universe contest. Winning as Miss Sweden, she gained a trip to Hollywood. A screen test did not bring much work and she returned home disheartened. However, she was determined to make good as an actress and began saving for a return trip.
  
  Her break came when Bob Hope chose her to accompany him on a Christmas tour of American air force bases in Greenland in 1954. Studio moguls soon heard about the roars of approval for Anita and offered her a contract. She had small uncredited roles in films such as The Mississippi Gambler, Abbott and Costello go to Mars and The Golden Blade, before winning supporting parts in Artists and Models (1955) and Blood Alley (1955; playing a Chinese girl). Her first lead came in Back from Eternity (1956). By this time she was being touted as “Paramount’s Marilyn Monroe”.

  
  Anita Ekberg and Marcello Mastroianni in La Dolce Vita (Kobal Collection)

  She moved to London in the mid-Fifties but was lonely and hardly left her hotel. Having refused dozens of invitations to premieres, something impelled her to finally accept one offer. Her escort turned out to be Anthony Steel, a matinee idol alumnus of the “Rank School”. They were married in 1956.
  
  In her first British film, Zarak (1956), she met her match in Victor Mature. Playing a native dancer, with a few spangles and bangles judiciously placed, who falls in love with Mature’s hulking Zarak Khan. The film left audiences wondering who had the bigger chest. She teamed up again with Mature the following year for the thriller Interpol.
  
  At this time her marriage to Steel was rarely out of the headlines, with reports of drunken driving, rows and violent recriminations. Eventually the union completely soured and they divorced after three years.

  
  Anita Ekberg with her first husband Anthony Steel (REX)

  She did not have time to mourn the marriage. Her performance in Fellini’s La Dolce Vita the following year made her a star. Shot in Rome at a time when the Italian obsession with celebrity was at its height, she played the starlet Sylvia opposite Marcello Mastroianni’s philandering paparazzo journalist. The part fixed her in audience’s minds as the European blonde “sex bomb” – stylish, sensual, shallow and ephemeral.
  
  In the film’s most famous scene, she splashes with abandon in the Trevi Fountain, her black low-necked dress trailing in the frothy waters, cooing: “Marcello, come here.” In fact the scene had been shot in February and Mastroianni was doped up on vodka. “I was freezing,” she recalled. “They had to lift me out of the water because I couldn’t feel my legs any more.”

  Following the success of Fellini’s masterpiece, Anita Ekberg appeared opposite Bob Hope in Call Me Bwana and Frank Sinatra in 4 for Texas (both 1963). She was also considered for the part of Honey Ryder in Dr No but lost out to Ursula Andress. When she did appear in a Bond film, it was both unwitting and unflattering: in From Russia with Love (1963) Sean Connery shoots a spy escaping through a gigantic Call Me Bwana poster featuring Anita Ekberg’s face. “She should have kept her mouth shut,” says Bond.

  
  Anita Ekberg in the Trevi Fountain (Alamy)

  Anita Ekberg’s on-screen persona – a freewheeling man-eater from overseas – soon spilt over into her private life. Sinatra was one of the many leading men she was rumoured to have taken as a lover, along with Errol Flynn, Yul Brynner, Tyrone Power and Gary Cooper.
  
  She often played characters possessed of an untethered and wild spirit. As a “war lady” in The Mongols (1961) she indulged in torture and sado-masochism, striding in thigh-high boots among the slave girls cracking a bullwhip. For “The Temptation of Dr Antonio”, Fellini’s episode in the portmanteau feature Boccaccio '70 (1962), she was once again the sex object, this time as the model featured on a “Drink More Milk” billboard poster who is brought to life to trap a puritanical doctor. Thus Fellini followed Tashlin in using her abilities for erotic satire.

  In 1963 Ekberg married Rik Van Nutter (who later played Felix Leiter in Thunderball). They lived in Spain and Switzerland and in 1969 became entrepreneurs. “Rick and I have gone into the shipping business. We found a cargo ship and we’re in business with the captain,” she said (the couple also bought a Chinese junk). “Ours is a good marriage. There are so many good times in marriage, that the bad times are really unimportant. Anyway, I learnt from my parents that difficulties are there to be overcome.”

  As with all sex symbols, age diminished her currency. By the end of the Sixties she was complaining about the lack of available roles. “I should be able to get work myself on the strength of my acting. I shouldn’t have to sleep with producers to get parts. It’s depressing to see parts going to actresses who can’t act their way out of a wet paper bag but who are friendly with producers,” she observed. “My life has changed quite a bit, of course. The Ferrari’s gone – now I have a Mini Moke.”
  
  The downward spiral continued throughout the Seventies. She made films but they were more often than not B-movies with salacious titles such as The French Sex Murders (1972) and The Killer Nun (1979). Her scenes for Valley of the Dancing Widows (1975) were left on the cutting room floor. At home things also began to disintegrate: she accused Van Nutter of cheating her over a car-hire business they owned. The couple divorced in 1975.

  
  Anita Ekberg in 2010 (AFP)

  Two years later, her house was robbed, with the thieves stealing fur coats, jewels and silver, the fruits of her once-famous career. “My last 10 years have brought nothing but bad luck,” she stated.
  
  After a second robbery in 2011, she appealed to the Fellini Foundation for financial help. It was a sad sign of decline from the Amazonian actress who had five decades earlier threatened paparazzi with a bow and arrow.
  
  Her final years were spent living in semi-reclusion in a run-down Italian villa outside Rome, where her only companions were two great Danes.
  
  Anita Ekberg, born September 29 1931, died January 11 2015

  

  Anita Ekberg (1931–2015)

  https://www.imdb.com/name/nm0001179/?ref_=nv_sr_srsg_0
  

  
  
  with husband Rick van Nutter
  
  
  
  

  1933: James Michael Hyde Villiers is born--London, England.
  (He dies 18 January 1998 at age 64--Arunddel, Sussex, England.)

  

  Obituary: James Villiers

  See the complete article here:
  

  https://www.independent.co.uk/news/obituaries/obituary-james-villiers-1139946.html

  Tom Vallance | Wednesday 21 January 1998 01:02
  
  James Michael Hyde Villiers, actor: born London 29 September 1933; married 1966 Patricia Donovan (marriage dissolved 1984), 1994 Lucy Jex; died Arundel, West Sussex 18 January 1998.
  
  One of the country's most distinctive character actors, with ripe articulation and a flair for displaying supercilious arrogance that put him in the Vincent Price class of screen villains, James Villiers was often cast in such roles in his early years. He was also the most English of actors, and not surprisingly his career was liberally sprinkled with the works of Shaw, Coward, Wilde and dramatists of the Restoration.
  
  His film career flourished in the Sixties when he was a particular favourite of the director Joseph Losey, while his work in the theatre spans over 40 years. On television he achieved particular success and recognition with his portrayal of Charles II (to whom he bore a strong resemblance) in the series The First Churchills.
  
  Born in London in 1933, Villiers (pronounced Villers) was proud of his aristocratic lineage (his family tree goes back to the Duke of Rockingham). He was brought up in Shropshire and later at Ormeley Lodge in Richmond, more recently the home of James Goldsmith, and educated at Wellington College. He had, however, become stage-struck as a child (his brother John recalls Villiers as a boy begging Colchester Repertory to take him on in any capacity whatever and being heartbroken when they refused) and at prep school he gained a reputation as their best actor.
  
  After training at the Royal Academy of Dramatic Art, where he formed lifelong friendships with fellow students and cricket enthusiasts Peter O'Toole and Ronald Fraser, he made his stage debut at the Summer Theatre in Frinton as William Blore in Agatha Christie's thriller Ten Little Niggers (1953), and the following year made his first West End appearance with the Shakespeare Memorial Company in Toad of Toad Hall.
  
  In 1955 he started a two-year period with the Old Vic Company, his roles including Trebonius in Julius Caesar and Bushy in Richard II. He made his Broadway debut in the latter role in 1956 during the Old Vic tour of the United States and Canada, then spent a year with the English Stage Company. In 1960 he made his film debut in Tony Richardson's The Entertainer (which also marked the screen debuts of Alan Bates and Albert Finney), and the following year made his first thriller (in a rare heroic role), The Clue of the New Pin (1961).
  
  He first worked with Losey on The Damned (1961), and for the same director played in Eve (1962) and as an officer in the finely acted pacifist piece King and Country (1964). In Roman Polanski's Repulsion (1965) he was the friend who ambiguously gives John Fraser a kiss, in Seth Holt's The Nanny (1965) Villiers and Wendy Craig were the parents of a disturbed child left in the care of Bette Davis at her most neurotic, and in George Sidney's Half a Sixpence (1968) he was the snobbish father of the society girl Kipps (Tommy Steele) hopes to marry.

  Other films included Nothing But the Best (1963), Blood from the Mummy's Tomb (1971), For Your Eyes Only (1981) and Let Him Have It (1991). His many television appearances included Pygmalion (as Professor Higgins), Lady Windermere's Fan, Fortunes of War and most recently Dance to the Music of Time. Stage successes include the thriller Write Me a Murder (1962), a superbly droll and highly acclaimed performance as Victor Prynne in John Gielgud's 1972 revival of Coward's Private Lives, starring Maggie Smith and Robert Stephens, a forceful Earl of Warwick in John Clements's 1974 production of Saint Joan, and prominent roles in such classics as Pirandello's Henry IV (with Rex Harrison), The Way of the World and The Last of Mrs Cheyney.

  A few years ago he created the role of Lord Thurlow in Nicholas Hytner's staging for the National Theatre of Alan Bennett's The Madness of George III, and most recently was featured as Mr Brownlow in the hit revival of Oliver! at the London Palladium.

  
  James Villiers (1933–1998)
  https://www.imdb.com/name/nm0898376/?ref_=fn_al_nm_1
  
  Filmography

  Actor (128 credits)
  
  2005 The Kingdom of Shadows (Short) - The Man At The Lake
  
  1998 The Tichborne Claimant - Uncle Henry
  1997 A Dance to the Music of Time (TV Mini-Series) - Buster Foxe
  - The Thirties (1997) ... Buster Foxe
  1996 The Willows in Winter (TV Movie) - Magistrate (voice)
  1996 E=mc2 - Dr. James Mallinson
  1995 The Wind in the Willows (TV Movie) - Magistrate (voice)
  1994 Uncovered - Montegrifo
  1994 The Memoirs of Sherlock Holmes (TV Mini-Series) - Lord Cantlemere
  - The Mazarin Stone (1994) ... Lord Cantlemere
  1992 Lovejoy (TV Series) - Lionel Beckwith
  - Out to Lunch (1992) ... Lionel Beckwith
  1991 The Gravy Train Goes East (TV Mini-Series) - Penhurst
  1991 Let Him Have It - Cassels
  1991 A Perfect Hero (TV Mini-Series) - Air Commodore
  - Episode #1.6 (1991) ... Air Commodore
  1991 King Ralph - Hale
  1990 House of Cards (TV Mini-Series) - Charles Collingridge
  1990 Mountains of the Moon - Lord Oliphant
  
  1989 Anything More Would Be Greedy (TV Mini-Series) - Lord Fyson
  - Georgian Silver (1989) ... Lord Fyson
  - Second Term (1989) ... Lord Fyson
  - Trading Favours (1989) ... Lord Fyson
  - Enigma Variations (1989) ... Lord Fyson
  1989 Chelworth (TV Mini-Series) - Ronnie Esholt
  - A Real House (1989) ... Ronnie Esholt
  - Taking Your Profits (1989) ... Ronnie Esholt
  - Shopping Around (1989) ... Ronnie Esholt
  - A Wonderfully Wrong Thing (1989) ... Ronnie Esholt
  - Coming Home (1989) ... Ronnie Esholt
  1989 Scandal - Conservative M.P.
  1988 Hemingway (TV Mini-Series) - Perceval
  - The Old Man and the Sea (1988) ... Perceval
  - For Whom the Bell Tolls (1988) ... Perceval
  - The Snows of Kilimanjaro (1988) ... Perceval
  - Discovery of Europe (1988) ... Perceval
  1988 The Dirty Dozen (TV Series) - Lord Welbourne
  - Heavy Duty (1988) ... Lord Welbourne (as Jimmie Villiers)
  1988 Blind Justice (TV Mini-Series) - Peter Steinsson
  - The One About the Irishman (1988) ... Peter Steinsson
  1988 A Gentlemen's Club (TV Series) - Fabian
  - The New Boy (1988) ... Fabian
  1988 Room at the Bottom (TV Series) - Director General
  - The Hostage (1988) ... Director General
  1987 Fortunes of War (TV Mini-Series) - Inchcape
  - Romania: June 1940 (1987) ... Inchcape
  - Romania: January 1940 (1987) ... Inchcape
  - The Balkans: September 1939 (1987) ... Inchcape
  1987 Running Out of Luck
  1986 If Looks Could Kill: The Power of Behaviour (Video short)
  1986 Call Me Mister (TV Series) - Sir Edward
  - Humpty Dumpty (1986) ... Sir Edward
  1986 The Good Doctor Bodkin-Adams (TV Movie) - Sir Reginald Manningham-Buller
  1985 Honour, Profit & Pleasure (TV Movie) - Addison
  1984 The Irish R.M. (TV Series) - General Portius
  - A Horse! A Horse! (1984) ... General Portius
  1984 Under the Volcano - Brit
  1983 ABC Mantrap - Tony Walmsley
  1983 Rumpole of the Bailey (TV Series) - Sir Arthur Remnant
  - Rumpole and the Golden Thread (1983) ... Sir Arthur Remnant
  1983 All for Love (TV Series) - Mr. Lyng
  - Mrs. Silly (1983) ... Mr. Lyng
  1983 Jack of Diamonds (TV Series) - George Billyard
  - The Fun of the Fair (1983) ... George Billyard
  - Herr of the Dog (1983) ... George Billyard
  - Going Dutch (1983) ... George Billyard
  - A Drip in the Ocean (1983) ... George Billyard
  1982 The Scarlet Pimpernel (TV Movie) - Baron de Batz
  1982 Spooner's Patch (TV Series) - Film Producer
  - The Sting (1982) ... Film Producer
  1981 For Your Eyes Only - Tanner
  1980-1981 The Other 'Arf (TV Series) - Freddy Apthorpe
  1981 Brendon Chase (TV Series) - Colonel Hensman
  1981 BBC2 Playhouse (TV Series) - Hilary Martin
  - Unity (1981) ... Hilary Martin
  1980 The Marquise (TV Movie) - Esteban (the Duke)
  1980 Dick Turpin (TV Series) - Lord Fordingham
  
  1979 The Music Machine - Hector Woodville (uncredited)
  1979 Saint Jack - Frogget
  1978-1979 Crown Court (TV Series) - Richard Ireland QC
  - Boys Will Be Boys: Part 1 (1979) ... Richard Ireland QC
  - Meeting Place: Part 1 (1978) ... Richard Ireland QC
  1978 The Famous Five (TV Series) - Johnson
  1978 Two's Company (TV Series) - Peter Boatwright
  1978 Wilde Alliance (TV Series) - Roper
  1977 Spectre (TV Movie) - Sir Geoffrey Cyon
  1977 Joseph Andrews - Mr. Booby
  1976 Seven Nights in Japan - Finn
  1975 Making Faces (TV Series) - Peter de Witt
  - December 1974: Waiting for the Monsoon (1975) ... Peter de Witt
  - April 1968: Late Sitting, Finance Bill (1975) ... Peter de Witt
  - Summer 1966: In Funland (1975) ... Peter de Witt
  1975 Whodunnit? (TV Series) - John Harley
  - Beware, Wet Paint (1975) ... John Harley
  1975 Thriller (TV Series) - Paul
  - The Double Kill (1975) ... Paul
  1974 Marty Back Together Again (TV Series) - Various Characters
  
  1973 Ghost in the Noonday Sun - Parsley-Freck
  1972-1973 BBC Play of the Month (TV Series) - Professor Henry Higgins / Alastair Fitzfassenden / Cecil Graham
  1972 E. Nesbit (TV Movie) - 1972 The Edwardians (TV Mini-Series) - Hubert Bland
  - E. Nesbit (1972) ... Hubert Bland
  1972 The Amazing Mr. Blunden - Uncle Bertie
  1972 The Public Eye - Dinner Guest (uncredited)
  1972/I Asylum - George (segment "Lucy Comes to Stay")
  1972 The Ruling Class - Dinsdale Gurney
  1972 Mogul (TV Series) - Lord Hawdcombe
  - Whatever Became of the Year 2000? (1972) ... Lord Hawdcombe
  1971 Shirley's World (TV Series) - Morgan
  - Knightmare (1971) ... Morgan
  1971 Now Look Here (TV Series) - Jeremy
  - Episode #1.4 (1971) ... Jeremy
  1963-1971 Armchair Theatre (TV Series) - Billy / Derek / Robin Fiske / ...
  1971 Blood from the Mummy's Tomb - Corbeck
  1971 Masterpiece Classic (TV Series) - Charles II
  1970 ITV Sunday Night Theatre (TV Series) - Philipott
  - Married Alive (1970) ... Philipott
  
  1969 A Nice Girl Like Me - Freddie
  1969 Thirty-Minute Theatre (TV Series) - Oscar
  - Aggers and Torters: Back to Nature (1969) ... Oscar
  1969 The First Churchills (TV Mini-Series) - Charles II
  - Rebellion (1969) ... Charles II
  - The Lion and the Unicorn (1969) ... Charles II
  - Plot, Counter-Plot (1969) ... Charles II
  - Bridals (1969) ... Charles II
  - The Chaste Nymph (1969) ... Charles II
  1969 Counterstrike (TV Series) - Wyatt
  - The Lemming Syndrome (1969) ... Wyatt
  1969 Otley - Hendrickson
  1969 Some Girls Do - Carl Petersen
  1969 Absolute Aggers and Torters (TV Short)
  1968 The Touchables - Twyning
  1967 Half a Sixpence - Hubert
  1967 Man in a Suitcase (TV Series) - Peters
  - Dead Man's Shoes (1967) ... Peters
  1967 ITV Playhouse (TV Series) - Lord Darlington
  - Lady Windermere's Fan (1967) ... Lord Darlington
  1965-1967 Theatre 625 (TV Series) - Ian Kilbannock / John Styles / Lord Strange / ...
  - The Siege of Manchester (1965) ... Lord Strange
  1967 Stiff Upper Lip (TV Movie) - Antrobus
  1966 The Wednesday Play (TV Series) - Lt. Cmdr. Paul Williams
  - A Piece of Resistance (1966) ... Lt. Cmdr. Paul Williams
  1966 The Wrong Box - Sydney Whitcombe Sykes
  1966 The Baron (TV Series) - Roddy Harrington
  - The Persuaders (1966) ... Roddy Harrington
  1966 The Avengers (TV Series) - Simon Trent
  - Small Game for Big Hunters (1966) ... Simon Trent
  1965 The Alphabet Murders - Franklin
  1965 The Nanny - Bill Fane
  1965 You Must Be Joking! - Bill Simpson
  1965 A World of Comedy (TV Mini-Series) - Voice only - role unknown
  - The Enormous Ear (1965) ... Voice only - role unknown
  1965 Those Magnificent Men in Their Flying Machines or How I Flew from London to Paris in 25 hours 11 minutes - Yamamoto (voice, uncredited)
  1965 Repulsion - John
  1964 Daylight Robbery
  1964 Thursday Theatre (TV Series) - Clive Rodingham
  - Write Me a Murder (1964) ... Clive Rodingham
  1964 The Human Jungle (TV Series) - Paul
  - Solo Performance (1964) ... Paul
  1964 King & Country - Captain Midgley
  1964 The Indian Tales of Rudyard Kipling (TV Series) - Wander
  - A Germ Destroyer (1964) ... Wander
  1964 Nothing But the Best - Hugh
  1964 The Saint (TV Series) - Inspector Pryor
  - The High Fence (1964) ... Inspector Pryor
  1964 Father Came Too! - Benzil Bulstrode
  1964 The Plane Makers (TV Series) - Harvey 'Smiler' Graves
  - The Smiler (1964) ... Harvey 'Smiler' Graves
  1963 Comedy Playhouse (TV Series) - Jeremy Trout
  - Nicked at the Bottle (1963) ... Jeremy Trout
  1963 The Model Murder Case - David Dane
  1963 Festival (TV Series) - Willy
  - Fallen Angels (1963) ... Willy
  1963 Bomb in the High Street - Stevens
  1963 Love Story (TV Series) - Gregory
  - Snakes and Ladders (1963) ... Gregory
  1963 Murder at the Gallop - Michael Shane
  1963 ITV Television Playhouse (TV Series) - Capt. Hamilton
  - Beachhead (1963) ... Capt. Hamilton
  1963 Hancock (TV Series)
  - The Man on the Corner (1963)
  1963 Zero One (TV Series) - The sheikh
  - The Man Who Waited (1963) ... The sheikh
  1962 These Are the Damned - Captain Gregory
  1962 Eva - Alan McCormick - a screenwriter
  1962 Operation Snatch - Lt. Keen
  1962 Thirty Minute Theatre (TV Series) - Mathias
  - Dare to Be a Daniel (1962) ... Mathias
  1961 Petticoat Pirates - English Lieutenant
  1961 The Final Test (TV Movie) - Alexander Whitehead
  1961 Harpers West One (TV Series) - Lucien Harper
  - Episode #1.2 (1961) ... Lucien Harper
  1961 No Hiding Place (TV Series) - Andrew Thurbank
  - A Girl Like Xanthe (1961) ... Andrew Thurbank
  1961 Clue of the New Pin - Tab Holland
  1961 BBC Sunday-Night Play (TV Series) - Miller
  - The Wrong Side of the Park (1961) ... Miller
  1961 The Edgar Wallace Mystery Theatre (TV Series) - Tab Holland
  - Clue of the New Pin (1961) ... Tab Holland
  1960 The Strange World of Gurney Slade (TV Mini-Series) - Studio Representative
  - Episode #1.6 (1960) ... Studio Representative
  1960 No Wreath for the General (TV Series) - Peake-Harmon
  
  1958 Carry On Sergeant - Seventh Recruit
  1958 Ivanhoe (TV Series)
  - Murder at the Inn (1958)
  1954 Late Night Final (Short) - Lab Assistant (uncredited)
  
  Soundtrack (1 credit)
  
  1972 The Ruling Class (performer: "Dry Bones" - uncredited)

  
  
  
  

  1939: British Director of Naval Intelligence Admiral John Godfrey issues a document, later credited to his assistant Ian Fleming, that compares deception in war to the sport of fishing.

  

  James Bond came from the author's
  real-world experiences in WWII

  See the complete article here:
  

  https://www.wearethemighty.com/articles/james-bond-came-from-the-authors-real-world-experiences-in-wwii

  James Elphick | Jun. 03, 2016 12:44PM EST
  
  Ian Fleming, the creator of James Bond, served with British Naval Intelligence during World War II, and his service influenced the character and his stories.

  

  Fleming was recruited into the Royal Navy in 1939 by Rear Admiral John Godfrey, Head of Naval Intelligence. Fleming entered as a lieutenant and quickly promoted to lieutenant commander. Although initially tasked as Admiral Godfrey's assistant, Commander Fleming had greater ambitions. He is widely believed to be the author of the "Trout Memo" circulated by Godfrey that compared intelligence gathering to a fisherman casting for trout. In the memo, he independently came up the plan to use a corpse with false documents to deceive the Germans, originally conceived by another agent and later used in Operation Mincemeat.

  

  "Oh, no. We dropped our secret plans."

  Fleming was obsessed with collecting intelligence and came up with numerous ways to do so, some seemingly right out of spy novels. One such mission, Operation Ruthless, called for acquiring a German bomber, crashing it into the English Channel, and then having the crew attack and subdue the German ship that would come to rescue them. Mercifully, it was called off. Fleming was also the mastermind of an intelligence gathering unit known as (No. 30 Commando or 30 Assault Unit, 30 AU). Instead of traditional combat skills, members of 30 AU were trained in safe-cracking, lock-picking, and other spycraft and moved with advancing units to gain intelligence before it could be lost or destroyed.
  
  Fleming was in charge of Operation Goldeneye and involved with the T-Force. These would also influence his work. Operation Goldeneye was a scheme to monitor Spain in the event of an alliance with Germany and to conduct sabotage operations should such an agreement take place. Fleming would later name his Jamaican home where he wrote the James Bond novels "Goldeneye." It would also be the title of seventeenth James Bond movie. As for the T-Force, or Target Force, Fleming sat on the committee that selected targets, specifically German scientific and technological advancements before retreating troops destroyed them. The seizure by the T-Force of a German research center at Kiel which housed advanced rocket motors and jet engines was featured prominently in the James Bond novel Moonraker.

  

  The movie was much less grounded in reality.

  In the actual creation of the character James Bond, Fleming drew inspiration from himself and those around him. Fleming said the character of James Bond was an amalgamation of all the secret agent and commando types he met during the war. In particular, Bond was modeled after Fleming's brother Peter, who conducted work behind enemy lines, Patrick Dalzel-Job, who served in the 30 Assault Unit Fleming created, and Bill "Biffy" Dunderdale, who was the Paris station chief for MI6 and was known for his fancy suits and affinity for expensive cars. Fleming used his habits for many of Bond's. He was known to be a heavy drinker and smoker. Bond purchased the same specialty cigarettes Fleming smoked and even added three gold rings to the filter to denote his rank as a Commander in the Royal Navy, something Fleming also did.

  

  Bond's code number, 007, comes from a means of classifying highly secretive documents starting with the number 00. The number 007 comes from the British decryption of the Zimmerman Note, labeled 0075, that brought America into World War I. Bond received his name from a rather innocuous source, however, an ornithologist. Bond's looks are not Fleming's but rather were inspired by the actor/singer Hoagy Carmichael, with only a dash of Fleming's for good measure.

  

  Hoagy Carmichael

  Fleming did draw on those around him for other characters in the James Bond novels. Villains had a tendency to share a name with people Fleming disliked while other characters got their names from his friendly acquaintances. The character of M, James Bond's boss, was based on Fleming's boss Rear Admiral Godfrey. The inspiration for the single-letter moniker came from Maxwell Knight, the head of MI5, who was known to sign his memos with only his first initial, M. Also, the fictional antagonistic organization SMERSH, takes its name from a real Russian organization called SMERSH that was active from 1943-1946. In the fictional version, SMERSH was an acronym of Russian words meaning "Special Methods of Spy Detection" and was modeled after the KGB; the real SMERSH was a portmanteau in Russian meaning "Death to Spies" and was a counterintelligence organization on the Eastern Front during WWII.
  
  Finally, the plots for many of the Bond novels came from real-world missions carried out by the Allies. Moonraker is based on the exploits of the 30 AU in Kiel, Germany, while Thunderball has loose connections to Fleming's canceled Operation Ruthless. Fleming also ties in his fictional world to the historical one after the war and during the Cold War.
  
  Fleming's novels became very popular during his life and have remained so long after his death in 1964. His work spawned one of the most successful movie franchises in history.

  
  1986: Principal photography begins at Pinewood Studios for The Living Daylights.
  
  1990: Molly Peters and Desmond Llewelyn appear for the first James Bond 007 Fan Convention at Pinewood.
  
  2007: Lois Maxwell dies at age 80--Freemantle, Australia.
  (Born 14 February 1927--Kitchener, Ontario, Canada.)

  
  https://www.telegraph.co.uk/news/obituaries/1564693/Lois-Maxwell.html

  Lois Maxwell: she played Miss Moneypenny for 23 years

  

  Lois Maxwell, the Canadian actress who died on Saturday aged 80, played Miss Moneypenny in 14 James Bond films; although other younger women later took over the part, she was widely regarded as the definitive Moneypenny, M's spinsterly secretary secretly in love with 007.
  
  She was 33 when she screen-tested for Dr No (1962), the first Bond film, and was originally offered the part eventually played by Eunice Grayson, one of Bond's conquests, seen putting golf balls down the hall of his flat dressed only in his pyjama top.
  
  But Lois Maxwell did not regard her legs as her strongest point, and while Bond's creator Ian Fleming told her she had the most kissable lips in the world, one film director took a different view: "Lois, you don't smell of sin. You look as though you smell of soap."
  
  Accordingly - in crisp blouse and skirt - she landed the Moneypenny role, cast originally against Sean Connery in Dr No. Lois Maxwell later mused on the on-screen chemistry between the chaste Miss Moneypenny and the swashbuckling agent, licensed to kill: "Say there'd been an affair a long time before, only she knew he would have broken her heart, just as he knew it would have ruined his career in the Secret Service. So they were doomed to appreciate each other's qualities."
  
  Although she played the part for 23 years, she was on screen for less for an hour and spoke fewer than 200 words in all 14 films, her lines running an emotional gamut from "James, you're late" to "When are we going to have that dinner?" Her last Moneypenny appearance was opposite Roger Moore as Bond in A View To A Kill (1985).
  
  Never paid more than £100 a day, her first appearance in Dr No took only two days to shoot, and those in her 13 subsequent Bond films were just as modest in scale. For her first five films, Lois Maxwell wore her own clothes.
  
  "Always the same role, the smallest," she remarked ruefully in an interview for the Telegraph Magazine in 1997. The camera would find her sitting at a desk in the corner of a nondescript office, on the telephone or riffling papers. But when Bond enters, she greets him with a grin of pure joy.
  
  "It is not a beautiful face," observed Byron Rogers, who interviewed her for the Telegraph 10 years ago, "it is a wonderful face, long and funny and older than all the others… The other women in Bond films are two-dimensional, who only ever want to go to bed with him or stab him, but there is one who loves him, though she knows nothing will ever come of this.
  
  "That is the way Lois Maxwell played Moneypenny, making her the one grown-up among sexpots and psychopaths."
  
  Not everyone realised that she was Canadian. "Moneypenny," exclaimed the Prince of Wales on meeting her. "I would never have believed you're not English. I must tell the family."

  Born Lois Ruth Hooker on February 14 1927 at Kitchener, Ontario, one of four children, her early career as a child radio performer was disrupted by the outbreak of the Second World War when her father, a teacher, enlisted and sailed for England. At the age of 16 she ran away from home to join the Canadian Army Show, but failed to tell the authorities about her age, and after touring England in the back of a truck was eventually dishonourably dismissed. Just before she was due to be shipped home, she went AWOL in London.
  
  While living in a garret in Paddington, Lois won a Lady Louis Mountbatten scholarship to Rada, where she first met Roger Moore, then 17 and later to star in seven Bond films, and - crowned in a red wig - played his uncle in a student production of Henry V.
  
  At 20 she was working in the professional theatre when a talent scout spotted her and took her to Hollywood. At Warner Brothers, Lois found herself in the same intake as another promising actress named Norma Jeane Baker, with whom she was photographed for Life magazine. Both changed their name, Norma Jeane becoming Marilyn Monroe and Lois Hooker, advised that this was an infelicitous name for an starlet, changing to Lois Maxwell, a name borrowed from a gay ballet dancer friend and which was adopted by the rest of her family too.
  
  She won a Golden Globe award as best newcomer for her role in the Shirley Temple comedy That Hagen Girl (1947).
  
  Playing opposite Ronald Reagan in Bedtime For Bonzo (1951) she found the future president handsome and attractive, but became less enamoured of the studio system, and moved to Rome for five years, becoming an amateur racing driver. After a broken love affair with the brother of an Italian prince, she married a British television executive called Peter Marriott, a former commander of the Viceroy of India's household troops who, by coincidence, was screen-tested as a possible James Bond by the producer Cubby Broccoli.
  
  In addition to her career in the Bond films Lois Maxwell was a successful television actress, appearing in episodes of UFO, The Persuaders, The Baron, The Saint and Randall and Hopkirk (Deceased). She also provided the voice for Troy Tempest's love interest, Atlanta Shore, in Gerry Anderson's puppet series Stingray.
  
  In the late 1960s she starred in Adventures In Rainbow Country, a popular Canadian television series, and in 1967 appeared as Moneypenny in a television special Welcome To Japan, Mr Bond. More recently, she became a regular fixture at Bond film festivals.
  
  Her last feature film was The Fourth Angel (2001) starring Jeremy Irons and Forest Whitaker.
  
  Widowed at 46 when her husband died of a heart attack in 1973, Lois Maxwell returned to her native Canada, bought a farm and worked for a business importing crowd-control barriers. She later wrote a column for the Toronto Sun which she signed "Moneypenny" and in which, for 14 years, she expounded trenchant Right-wing opinions.
  
  Always an adventurous woman, she held a pilot's licence, regularly went on safari and in the 1980s sailed the South China Sea from Hong Kong to Singapore, armed with M16 machine guns and incendiary rockets to ward off pirates.
  
  In the 1980s she settled at Frome in Somerset, and after a successful cancer operation went to recuperate at her son's home at Freemantle, near Perth, western Australia. At the time of her death, she was working on her autobiography, to be called Born A Hooker.
  
  Lois Maxwell is survived by her daughter and son.

  
  Lois Maxwell (I) (1927–2007)
  https://www.imdb.com/name/nm0561755/?ref_=nv_sr_1?ref_=nv_sr_1
  
  Filmography

  Actress (88 credits)
  
  2001 The Fourth Angel - Olivia
  
  1998 Hard to Forget (TV Movie) - Helen Applewhite
  
  1989 Lady in the Corner (TV Movie) - Mary Smith
  1988 Martha, Ruth & Edie - Edie Carmichael
  1988 Rescue Me (TV Movie) - Phyllis
  1987 Alfred Hitchcock Presents (TV Series) - Ms. Golden
  - If the Shoe Fits (1987) ... Ms. Golden
  1985 Eternal Evil - Monica Duval
  1985 A View to a Kill - Miss Moneypenny
  1985 The Edison Twins (TV Series) - Charlotte Gateau
  - Let Them Eat Cake (1985) ... Charlotte Gateau
  1984 Peep (TV Movie) - Mrs. Powell
  1983 Octopussy - Miss Moneypenny
  1981 For Your Eyes Only - Miss Moneypenny
  1980 Mr. Patman - Director
  
  1979 Lost and Found - English Woman
  1979 Moonraker - Miss Moneypenny
  1977 The Spy Who Loved Me - Miss Moneypenny
  1977 Age of Innocence - Mrs. Hogarth
  1975 From Hong Kong with Love - Miss Moneypenny
  1974 The Man with the Golden Gun - Moneypenny
  1973 Live and Let Die - Moneypenny
  1972/I Endless Night - Cora
  1971 The Persuaders! (TV Series) - Louise Cornell
  - Someone Waiting (1971) ... Louise Cornell
  1971 Diamonds Are Forever - Moneypenny
  1970-1971 UFO (TV Series) - Miss Holland
  - The Man Who Came Back (1971) ... Miss Holland
  - The Cat with Ten Lives (1970) ... Miss Holland
  1969-1970 Adventures in Rainbow Country (TV Series) - Nancy Williams
  - The Tower (1970) ... Nancy Williams
  - The Skydiver (1969) ... Nancy Williams
  - The Return of Eli Rocque (1969) ... Nancy Williams
  - Night Caller (1969) ... Nancy Williams
  - The Muskies Are Losing Their Teeth (1969) ... Nancy Williams
  1970 The Adventurers - Woman at Fashion Show (uncredited)
  1970 Department S (TV Series) - Mary Burnham
  - The Ghost of Mary Burnham (1970) ... Mary Burnham
  
  1969 On Her Majesty's Secret Service - Moneypenny
  1969 My Partner the Ghost (TV Series) - Kim Wentworth
  - For the Girl Who Has Everything (1969) ... Kim Wentworth
  1967 You Only Live Twice - Miss Moneypenny
  1967 Welcome to Japan, Mr. Bond (TV Movie) - Miss Moneypenny
  1967 Operation Kid Brother - Max
  1966-1967 The Saint (TV Series) - Beth Parish / Helen
  - Simon and Delilah (1967) ... Beth Parish
  - Interlude in Venice (1966) ... Helen
  1966 Rome, Sweet Home (TV Movie)
  1966 Gideon C.I.D. (TV Series) - Felisa Henderson
  - The Millionaire's Daughter (1966) ... Felisa Henderson
  1966 The Baron (TV Series) - Charlotte Russell
  - Something for a Rainy Day (1966) ... Charlotte Russell
  1965 Thunderball - Moneypenny
  1964-1965 Stingray (TV Series) - Lieutenant Atlanta Shore / Milly Carson / Marinville Tracking Station / ...
  - Aquanaut of the Year (1965) ... Lieutenant Atlanta Shore (voice)
  - Marineville Traitor (1965) ... Lieutenant Atlanta Shore (voice)
  - Hostages of the Deep (1965) ... Lieutenant Atlanta Shore / Milly Carson (voice)
  - The Golden Sea (1965) ... Lieutenant Atlanta Shore (voice)
  - The Master Plan (1965) ... Lieutenant Atlanta Shore (voice)
  1965 The Ambassadors (TV Movie) - Sarah Pocock
  1964 Goldfinger - Moneypenny
  1964 Ghost Squad (TV Series) - Elizabeth Creasey
  - Party for Murder (1964) ... Elizabeth Creasey
  1964 The Avengers (TV Series) - Sister Johnson
  - The Little Wonders (1964) ... Sister Johnson
  1963 From Russia with Love - Miss Moneypenny
  1963 The Haunting - Grace Markway
  1957-1963 ITV Play of the Week (TV Series) - Helen Hunter / Genevieve Lang / Miss Baumer
  - The Touch of a Dead Hand (1963) ... Helen Hunter
  - Skyline for Two (1959) ... Genevieve Lang
  - Heaven and Earth (1957) ... Miss Baumer
  1963 Come Fly with Me - Gwen Sandley
  1962 Zero One (TV Series) - Miss. Smith
  - The Marriage Broker (1962) ... Miss. Smith
  1962 Dr. No - Miss Moneypenny
  1962 Lolita - Nurse Mary Lore
  1961 The Unstoppable Man - Helen Kennedy
  1961 No Hiding Place (TV Series) - Margot
  - Nina and the Night People (1961) ... Margot
  1961 One Step Beyond (TV Series)- Esther Hollis
  - The Room Upstairs (1961) ... Esther Hollis
  1960 Danger Man (TV Series) - Sandi Lewis
  - Position of Trust (1960) ... Sandi Lewis
  1960 Rendezvous (TV Series) - Mother
  - The Dodo (1960) ... Mother
  
  1959 Face of Fire - Ethel Winter
  1958 Television Playwright (TV Series) - Ruth Ann Wicker
  - The Transmogrification of Chester Brown (1958) ... Ruth Ann Wicker
  1957 O.S.S. (TV Series) - Virginia
  - Operation Orange Blossom (1957) ... Virginia
  1957 Sailor of Fortune (TV Series) - Judith
  - Port Jeopardy (1957) ... Judith
  1957 Kill Me Tomorrow - Jill Brook
  1957 Time Without Pity - Vickie Harker
  1956 BBC Sunday-Night Theatre (TV Series) - Cass Edgerton
  - The Reclining Figure (1956) ... Cass Edgerton
  1956 Rheingold Theatre (TV Series) - Tracy Carmichael / Ann / Cynthia
  - One Can't Help Feeling Sorry (1956) ... Tracy Carmichael
  - Someone Outside (1956) ... Ann
  - A Fast Buck (1956) ... Cynthia
  1956 High Terrace - Stephanie Blake
  1956 Aggie (TV Series) - Barbara
  - Monk's Prior (1956) ... Barbara
  1956 Satellite in the Sky - Kim Hamilton
  1956 The Petrified Forest (TV Movie) - Gabby Maple
  1956 Passport to Treason - Diane Boyd
  1955 Torpedo Zone - Lt. Lily Donald
  1953 Aida - Amneris
  1953 Man in Hiding - Thelma Speight / Tasman
  1952 Orient Express (TV Series) - Lynn Walker
  - Blue Camellia (1952) ... Lynn Walker
  1952 Twilight Women - Christine
  1952 Scotland Yard Inspector - Margaret 'Peggy' Maybrick
  1952 Ha da venì... don Calogero - Maestrina
  1952 The Woman's Angle - Enid Mansell
  1952 Love and Poison - Queen Christina
  1952 Viva il cinema!
  1951 Lebbra bianca - Erika
  1950 Tomorrow Is Too Late - Signorina Anna, teacher
  
  1949 Kazan - Louise Maitlin
  1949 The Crime Doctor's Diary - Jane Darrin
  1948 The Decision of Christopher Blake - Miss McIntyre (uncredited)
  1948 The Dark Past - Ruth Collins
  1948 The Big Punch - Karen Long
  1948 Corridor of Mirrors - Lois
  1947 That Hagen Girl - Julia Kane
  1946 Springtime - Penelope Cobb (uncredited)
  1946 A Matter of Life and Death - Actress (uncredited)

  
  Lois Hooker in the Life Magazine photo, upper left. Norma Jean, front and center.
  
  
  
  
  
  
  

  2008: Via Youtube, Scouting for Girls release the fifth song from their first album, "I Wish I Was James Bond."

  
  007, Britain's finest secret agent, licensed to kill
  Mixing business with girls and thrills
  I've seen you walk the screen, it's you that I adore
  Since I was a boy I wanted to be like Roger Moore…

  

  
  2021: No Time To Die release in Belgium.
  2021: No Time To Die (Mourir peut attendre; To Die can wait) release in Switzerland (French speaking region).

  
  
  

  2021: 007 노 타임 투 다이 ( 007 No tah-eem tu dah-ee) release in the Republic of Korea.

  
  
  
  
  

  
  2021: No Time To Die premiere at the Opéra de Monte-Carlo, Monaco. Honoring Sir Roger Moore and benefiting the Princess Grace Foundation.

  
  
  
  
  
  

  
  
• MSL49 Finland

  September 29 Posts: 648

  RichardTheBruce wrote: »

  September 29th
  
  1931: Kerstin Anita Marianne Ekberg is born--Malmö Municipality, Skåne län, Sweden.
  (She dies 11 January 2015 at age 83--Rocca di Papa, Italy.)

  

  Anita Ekberg - obituary

  https://www.telegraph.co.uk/news/obituaries/11338898/Anita-Ekberg-obituary.html
  Anita Ekberg was a Swedish actress who found fame cavorting in Rome’s Trevi Fountain for Fellini’s La Dolce Vita

  
  Anita Ekberg in Back from Eternity (1956) Photo: Allstar Picture Library

  8:35PM GMT 11 Jan 2015
  
  Anita Ekberg, who has died aged 83, was the statuesque former Miss Sweden who became a global film sensation after cavorting in Rome’s Trevi Fountain for Federico Fellini’s La Dolce Vita (1960). Although demure and innocent by today’s standards, the scene caused a scandal and made the 29-year-old Swede a household name.
  
  Some gossip columnists sniffily nicknamed her “The Iceberg” due to her Scandinavian roots, yet her dramatic décolletage, glowering good looks and vivacious delivery proved an enticing and popular combination with cinema audiences of the Sixties.
  
  Director Frank Tashlin, who directed her in the 1956 comedy Hollywood or Bust – the pun was intended – claimed that Anita Ekberg’s appeal lay in “the immaturity of the American male: this breast fetish. There’s nothing more hysterical to me than big-breasted women, like walking, leaning towers.”
  
  Anita Ekberg was indeed a teetering tower. She was 5ft 7in tall and possessed a considerable bust, of which she once said: “It’s not cellular obesity, it’s womanliness.” Yet in the same year that Tashlin had typecast her, Ekberg showed that she could really act, if given the opportunity, when she played Hélène Kuragin, the unfaithful wife of Pierre Bezukhov (Henry Fonda) in King Vidor’s epic War and Peace. However, she was fully aware that her allure was centred on her physicality. “I have a mirror,” she said in the late Sixties, “I would be a hypocrite if I said I didn’t know I am beautiful.”
  
  Kerstin Anita Marianne Ekberg was born on September 29 1931 in Malmö, Sweden, one of a large family (she had seven siblings). As a youngster she had no desire to be famous. She wanted to marry and settle down to a conventional life. A childhood pleasure was to draw and fashion clothes.
  
  Out walking one day, a talent scout spotted her and persuaded her to enter the Miss Universe contest. Winning as Miss Sweden, she gained a trip to Hollywood. A screen test did not bring much work and she returned home disheartened. However, she was determined to make good as an actress and began saving for a return trip.
  
  Her break came when Bob Hope chose her to accompany him on a Christmas tour of American air force bases in Greenland in 1954. Studio moguls soon heard about the roars of approval for Anita and offered her a contract. She had small uncredited roles in films such as The Mississippi Gambler, Abbott and Costello go to Mars and The Golden Blade, before winning supporting parts in Artists and Models (1955) and Blood Alley (1955; playing a Chinese girl). Her first lead came in Back from Eternity (1956). By this time she was being touted as “Paramount’s Marilyn Monroe”.

  
  Anita Ekberg and Marcello Mastroianni in La Dolce Vita (Kobal Collection)

  She moved to London in the mid-Fifties but was lonely and hardly left her hotel. Having refused dozens of invitations to premieres, something impelled her to finally accept one offer. Her escort turned out to be Anthony Steel, a matinee idol alumnus of the “Rank School”. They were married in 1956.
  
  In her first British film, Zarak (1956), she met her match in Victor Mature. Playing a native dancer, with a few spangles and bangles judiciously placed, who falls in love with Mature’s hulking Zarak Khan. The film left audiences wondering who had the bigger chest. She teamed up again with Mature the following year for the thriller Interpol.
  
  At this time her marriage to Steel was rarely out of the headlines, with reports of drunken driving, rows and violent recriminations. Eventually the union completely soured and they divorced after three years.

  
  Anita Ekberg with her first husband Anthony Steel (REX)

  She did not have time to mourn the marriage. Her performance in Fellini’s La Dolce Vita the following year made her a star. Shot in Rome at a time when the Italian obsession with celebrity was at its height, she played the starlet Sylvia opposite Marcello Mastroianni’s philandering paparazzo journalist. The part fixed her in audience’s minds as the European blonde “sex bomb” – stylish, sensual, shallow and ephemeral.
  
  In the film’s most famous scene, she splashes with abandon in the Trevi Fountain, her black low-necked dress trailing in the frothy waters, cooing: “Marcello, come here.” In fact the scene had been shot in February and Mastroianni was doped up on vodka. “I was freezing,” she recalled. “They had to lift me out of the water because I couldn’t feel my legs any more.”

  Following the success of Fellini’s masterpiece, Anita Ekberg appeared opposite Bob Hope in Call Me Bwana and Frank Sinatra in 4 for Texas (both 1963). She was also considered for the part of Honey Ryder in Dr No but lost out to Ursula Andress. When she did appear in a Bond film, it was both unwitting and unflattering: in From Russia with Love (1963) Sean Connery shoots a spy escaping through a gigantic Call Me Bwana poster featuring Anita Ekberg’s face. “She should have kept her mouth shut,” says Bond.

  
  Anita Ekberg in the Trevi Fountain (Alamy)

  Anita Ekberg’s on-screen persona – a freewheeling man-eater from overseas – soon spilt over into her private life. Sinatra was one of the many leading men she was rumoured to have taken as a lover, along with Errol Flynn, Yul Brynner, Tyrone Power and Gary Cooper.
  
  She often played characters possessed of an untethered and wild spirit. As a “war lady” in The Mongols (1961) she indulged in torture and sado-masochism, striding in thigh-high boots among the slave girls cracking a bullwhip. For “The Temptation of Dr Antonio”, Fellini’s episode in the portmanteau feature Boccaccio '70 (1962), she was once again the sex object, this time as the model featured on a “Drink More Milk” billboard poster who is brought to life to trap a puritanical doctor. Thus Fellini followed Tashlin in using her abilities for erotic satire.

  In 1963 Ekberg married Rik Van Nutter (who later played Felix Leiter in Thunderball). They lived in Spain and Switzerland and in 1969 became entrepreneurs. “Rick and I have gone into the shipping business. We found a cargo ship and we’re in business with the captain,” she said (the couple also bought a Chinese junk). “Ours is a good marriage. There are so many good times in marriage, that the bad times are really unimportant. Anyway, I learnt from my parents that difficulties are there to be overcome.”

  As with all sex symbols, age diminished her currency. By the end of the Sixties she was complaining about the lack of available roles. “I should be able to get work myself on the strength of my acting. I shouldn’t have to sleep with producers to get parts. It’s depressing to see parts going to actresses who can’t act their way out of a wet paper bag but who are friendly with producers,” she observed. “My life has changed quite a bit, of course. The Ferrari’s gone – now I have a Mini Moke.”
  
  The downward spiral continued throughout the Seventies. She made films but they were more often than not B-movies with salacious titles such as The French Sex Murders (1972) and The Killer Nun (1979). Her scenes for Valley of the Dancing Widows (1975) were left on the cutting room floor. At home things also began to disintegrate: she accused Van Nutter of cheating her over a car-hire business they owned. The couple divorced in 1975.

  
  Anita Ekberg in 2010 (AFP)

  Two years later, her house was robbed, with the thieves stealing fur coats, jewels and silver, the fruits of her once-famous career. “My last 10 years have brought nothing but bad luck,” she stated.
  
  After a second robbery in 2011, she appealed to the Fellini Foundation for financial help. It was a sad sign of decline from the Amazonian actress who had five decades earlier threatened paparazzi with a bow and arrow.
  
  Her final years were spent living in semi-reclusion in a run-down Italian villa outside Rome, where her only companions were two great Danes.
  
  Anita Ekberg, born September 29 1931, died January 11 2015

  

  Anita Ekberg (1931–2015)

  https://www.imdb.com/name/nm0001179/?ref_=nv_sr_srsg_0
  

  
  
  with husband Rick van Nutter
  
  
  
  

  1933: James Michael Hyde Villiers is born--London, England.
  (He dies 18 January 1998 at age 64--Arunddel, Sussex, England.)

  

  Obituary: James Villiers

  See the complete article here:
  

  https://www.independent.co.uk/news/obituaries/obituary-james-villiers-1139946.html

  Tom Vallance | Wednesday 21 January 1998 01:02
  
  James Michael Hyde Villiers, actor: born London 29 September 1933; married 1966 Patricia Donovan (marriage dissolved 1984), 1994 Lucy Jex; died Arundel, West Sussex 18 January 1998.
  
  One of the country's most distinctive character actors, with ripe articulation and a flair for displaying supercilious arrogance that put him in the Vincent Price class of screen villains, James Villiers was often cast in such roles in his early years. He was also the most English of actors, and not surprisingly his career was liberally sprinkled with the works of Shaw, Coward, Wilde and dramatists of the Restoration.
  
  His film career flourished in the Sixties when he was a particular favourite of the director Joseph Losey, while his work in the theatre spans over 40 years. On television he achieved particular success and recognition with his portrayal of Charles II (to whom he bore a strong resemblance) in the series The First Churchills.
  
  Born in London in 1933, Villiers (pronounced Villers) was proud of his aristocratic lineage (his family tree goes back to the Duke of Rockingham). He was brought up in Shropshire and later at Ormeley Lodge in Richmond, more recently the home of James Goldsmith, and educated at Wellington College. He had, however, become stage-struck as a child (his brother John recalls Villiers as a boy begging Colchester Repertory to take him on in any capacity whatever and being heartbroken when they refused) and at prep school he gained a reputation as their best actor.
  
  After training at the Royal Academy of Dramatic Art, where he formed lifelong friendships with fellow students and cricket enthusiasts Peter O'Toole and Ronald Fraser, he made his stage debut at the Summer Theatre in Frinton as William Blore in Agatha Christie's thriller Ten Little Niggers (1953), and the following year made his first West End appearance with the Shakespeare Memorial Company in Toad of Toad Hall.
  
  In 1955 he started a two-year period with the Old Vic Company, his roles including Trebonius in Julius Caesar and Bushy in Richard II. He made his Broadway debut in the latter role in 1956 during the Old Vic tour of the United States and Canada, then spent a year with the English Stage Company. In 1960 he made his film debut in Tony Richardson's The Entertainer (which also marked the screen debuts of Alan Bates and Albert Finney), and the following year made his first thriller (in a rare heroic role), The Clue of the New Pin (1961).
  
  He first worked with Losey on The Damned (1961), and for the same director played in Eve (1962) and as an officer in the finely acted pacifist piece King and Country (1964). In Roman Polanski's Repulsion (1965) he was the friend who ambiguously gives John Fraser a kiss, in Seth Holt's The Nanny (1965) Villiers and Wendy Craig were the parents of a disturbed child left in the care of Bette Davis at her most neurotic, and in George Sidney's Half a Sixpence (1968) he was the snobbish father of the society girl Kipps (Tommy Steele) hopes to marry.

  Other films included Nothing But the Best (1963), Blood from the Mummy's Tomb (1971), For Your Eyes Only (1981) and Let Him Have It (1991). His many television appearances included Pygmalion (as Professor Higgins), Lady Windermere's Fan, Fortunes of War and most recently Dance to the Music of Time. Stage successes include the thriller Write Me a Murder (1962), a superbly droll and highly acclaimed performance as Victor Prynne in John Gielgud's 1972 revival of Coward's Private Lives, starring Maggie Smith and Robert Stephens, a forceful Earl of Warwick in John Clements's 1974 production of Saint Joan, and prominent roles in such classics as Pirandello's Henry IV (with Rex Harrison), The Way of the World and The Last of Mrs Cheyney.

  A few years ago he created the role of Lord Thurlow in Nicholas Hytner's staging for the National Theatre of Alan Bennett's The Madness of George III, and most recently was featured as Mr Brownlow in the hit revival of Oliver! at the London Palladium.

  
  James Villiers (1933–1998)
  https://www.imdb.com/name/nm0898376/?ref_=fn_al_nm_1
  
  Filmography

  Actor (128 credits)
  
  2005 The Kingdom of Shadows (Short) - The Man At The Lake
  
  1998 The Tichborne Claimant - Uncle Henry
  1997 A Dance to the Music of Time (TV Mini-Series) - Buster Foxe
  - The Thirties (1997) ... Buster Foxe
  1996 The Willows in Winter (TV Movie) - Magistrate (voice)
  1996 E=mc2 - Dr. James Mallinson
  1995 The Wind in the Willows (TV Movie) - Magistrate (voice)
  1994 Uncovered - Montegrifo
  1994 The Memoirs of Sherlock Holmes (TV Mini-Series) - Lord Cantlemere
  - The Mazarin Stone (1994) ... Lord Cantlemere
  1992 Lovejoy (TV Series) - Lionel Beckwith
  - Out to Lunch (1992) ... Lionel Beckwith
  1991 The Gravy Train Goes East (TV Mini-Series) - Penhurst
  1991 Let Him Have It - Cassels
  1991 A Perfect Hero (TV Mini-Series) - Air Commodore
  - Episode #1.6 (1991) ... Air Commodore
  1991 King Ralph - Hale
  1990 House of Cards (TV Mini-Series) - Charles Collingridge
  1990 Mountains of the Moon - Lord Oliphant
  
  1989 Anything More Would Be Greedy (TV Mini-Series) - Lord Fyson
  - Georgian Silver (1989) ... Lord Fyson
  - Second Term (1989) ... Lord Fyson
  - Trading Favours (1989) ... Lord Fyson
  - Enigma Variations (1989) ... Lord Fyson
  1989 Chelworth (TV Mini-Series) - Ronnie Esholt
  - A Real House (1989) ... Ronnie Esholt
  - Taking Your Profits (1989) ... Ronnie Esholt
  - Shopping Around (1989) ... Ronnie Esholt
  - A Wonderfully Wrong Thing (1989) ... Ronnie Esholt
  - Coming Home (1989) ... Ronnie Esholt
  1989 Scandal - Conservative M.P.
  1988 Hemingway (TV Mini-Series) - Perceval
  - The Old Man and the Sea (1988) ... Perceval
  - For Whom the Bell Tolls (1988) ... Perceval
  - The Snows of Kilimanjaro (1988) ... Perceval
  - Discovery of Europe (1988) ... Perceval
  1988 The Dirty Dozen (TV Series) - Lord Welbourne
  - Heavy Duty (1988) ... Lord Welbourne (as Jimmie Villiers)
  1988 Blind Justice (TV Mini-Series) - Peter Steinsson
  - The One About the Irishman (1988) ... Peter Steinsson
  1988 A Gentlemen's Club (TV Series) - Fabian
  - The New Boy (1988) ... Fabian
  1988 Room at the Bottom (TV Series) - Director General
  - The Hostage (1988) ... Director General
  1987 Fortunes of War (TV Mini-Series) - Inchcape
  - Romania: June 1940 (1987) ... Inchcape
  - Romania: January 1940 (1987) ... Inchcape
  - The Balkans: September 1939 (1987) ... Inchcape
  1987 Running Out of Luck
  1986 If Looks Could Kill: The Power of Behaviour (Video short)
  1986 Call Me Mister (TV Series) - Sir Edward
  - Humpty Dumpty (1986) ... Sir Edward
  1986 The Good Doctor Bodkin-Adams (TV Movie) - Sir Reginald Manningham-Buller
  1985 Honour, Profit & Pleasure (TV Movie) - Addison
  1984 The Irish R.M. (TV Series) - General Portius
  - A Horse! A Horse! (1984) ... General Portius
  1984 Under the Volcano - Brit
  1983 ABC Mantrap - Tony Walmsley
  1983 Rumpole of the Bailey (TV Series) - Sir Arthur Remnant
  - Rumpole and the Golden Thread (1983) ... Sir Arthur Remnant
  1983 All for Love (TV Series) - Mr. Lyng
  - Mrs. Silly (1983) ... Mr. Lyng
  1983 Jack of Diamonds (TV Series) - George Billyard
  - The Fun of the Fair (1983) ... George Billyard
  - Herr of the Dog (1983) ... George Billyard
  - Going Dutch (1983) ... George Billyard
  - A Drip in the Ocean (1983) ... George Billyard
  1982 The Scarlet Pimpernel (TV Movie) - Baron de Batz
  1982 Spooner's Patch (TV Series) - Film Producer
  - The Sting (1982) ... Film Producer
  1981 For Your Eyes Only - Tanner
  1980-1981 The Other 'Arf (TV Series) - Freddy Apthorpe
  1981 Brendon Chase (TV Series) - Colonel Hensman
  1981 BBC2 Playhouse (TV Series) - Hilary Martin
  - Unity (1981) ... Hilary Martin
  1980 The Marquise (TV Movie) - Esteban (the Duke)
  1980 Dick Turpin (TV Series) - Lord Fordingham
  
  1979 The Music Machine - Hector Woodville (uncredited)
  1979 Saint Jack - Frogget
  1978-1979 Crown Court (TV Series) - Richard Ireland QC
  - Boys Will Be Boys: Part 1 (1979) ... Richard Ireland QC
  - Meeting Place: Part 1 (1978) ... Richard Ireland QC
  1978 The Famous Five (TV Series) - Johnson
  1978 Two's Company (TV Series) - Peter Boatwright
  1978 Wilde Alliance (TV Series) - Roper
  1977 Spectre (TV Movie) - Sir Geoffrey Cyon
  1977 Joseph Andrews - Mr. Booby
  1976 Seven Nights in Japan - Finn
  1975 Making Faces (TV Series) - Peter de Witt
  - December 1974: Waiting for the Monsoon (1975) ... Peter de Witt
  - April 1968: Late Sitting, Finance Bill (1975) ... Peter de Witt
  - Summer 1966: In Funland (1975) ... Peter de Witt
  1975 Whodunnit? (TV Series) - John Harley
  - Beware, Wet Paint (1975) ... John Harley
  1975 Thriller (TV Series) - Paul
  - The Double Kill (1975) ... Paul
  1974 Marty Back Together Again (TV Series) - Various Characters
  
  1973 Ghost in the Noonday Sun - Parsley-Freck
  1972-1973 BBC Play of the Month (TV Series) - Professor Henry Higgins / Alastair Fitzfassenden / Cecil Graham
  1972 E. Nesbit (TV Movie) - 1972 The Edwardians (TV Mini-Series) - Hubert Bland
  - E. Nesbit (1972) ... Hubert Bland
  1972 The Amazing Mr. Blunden - Uncle Bertie
  1972 The Public Eye - Dinner Guest (uncredited)
  1972/I Asylum - George (segment "Lucy Comes to Stay")
  1972 The Ruling Class - Dinsdale Gurney
  1972 Mogul (TV Series) - Lord Hawdcombe
  - Whatever Became of the Year 2000? (1972) ... Lord Hawdcombe
  1971 Shirley's World (TV Series) - Morgan
  - Knightmare (1971) ... Morgan
  1971 Now Look Here (TV Series) - Jeremy
  - Episode #1.4 (1971) ... Jeremy
  1963-1971 Armchair Theatre (TV Series) - Billy / Derek / Robin Fiske / ...
  1971 Blood from the Mummy's Tomb - Corbeck
  1971 Masterpiece Classic (TV Series) - Charles II
  1970 ITV Sunday Night Theatre (TV Series) - Philipott
  - Married Alive (1970) ... Philipott
  
  1969 A Nice Girl Like Me - Freddie
  1969 Thirty-Minute Theatre (TV Series) - Oscar
  - Aggers and Torters: Back to Nature (1969) ... Oscar
  1969 The First Churchills (TV Mini-Series) - Charles II
  - Rebellion (1969) ... Charles II
  - The Lion and the Unicorn (1969) ... Charles II
  - Plot, Counter-Plot (1969) ... Charles II
  - Bridals (1969) ... Charles II
  - The Chaste Nymph (1969) ... Charles II
  1969 Counterstrike (TV Series) - Wyatt
  - The Lemming Syndrome (1969) ... Wyatt
  1969 Otley - Hendrickson
  1969 Some Girls Do - Carl Petersen
  1969 Absolute Aggers and Torters (TV Short)
  1968 The Touchables - Twyning
  1967 Half a Sixpence - Hubert
  1967 Man in a Suitcase (TV Series) - Peters
  - Dead Man's Shoes (1967) ... Peters
  1967 ITV Playhouse (TV Series) - Lord Darlington
  - Lady Windermere's Fan (1967) ... Lord Darlington
  1965-1967 Theatre 625 (TV Series) - Ian Kilbannock / John Styles / Lord Strange / ...
  - The Siege of Manchester (1965) ... Lord Strange
  1967 Stiff Upper Lip (TV Movie) - Antrobus
  1966 The Wednesday Play (TV Series) - Lt. Cmdr. Paul Williams
  - A Piece of Resistance (1966) ... Lt. Cmdr. Paul Williams
  1966 The Wrong Box - Sydney Whitcombe Sykes
  1966 The Baron (TV Series) - Roddy Harrington
  - The Persuaders (1966) ... Roddy Harrington
  1966 The Avengers (TV Series) - Simon Trent
  - Small Game for Big Hunters (1966) ... Simon Trent
  1965 The Alphabet Murders - Franklin
  1965 The Nanny - Bill Fane
  1965 You Must Be Joking! - Bill Simpson
  1965 A World of Comedy (TV Mini-Series) - Voice only - role unknown
  - The Enormous Ear (1965) ... Voice only - role unknown
  1965 Those Magnificent Men in Their Flying Machines or How I Flew from London to Paris in 25 hours 11 minutes - Yamamoto (voice, uncredited)
  1965 Repulsion - John
  1964 Daylight Robbery
  1964 Thursday Theatre (TV Series) - Clive Rodingham
  - Write Me a Murder (1964) ... Clive Rodingham
  1964 The Human Jungle (TV Series) - Paul
  - Solo Performance (1964) ... Paul
  1964 King & Country - Captain Midgley
  1964 The Indian Tales of Rudyard Kipling (TV Series) - Wander
  - A Germ Destroyer (1964) ... Wander
  1964 Nothing But the Best - Hugh
  1964 The Saint (TV Series) - Inspector Pryor
  - The High Fence (1964) ... Inspector Pryor
  1964 Father Came Too! - Benzil Bulstrode
  1964 The Plane Makers (TV Series) - Harvey 'Smiler' Graves
  - The Smiler (1964) ... Harvey 'Smiler' Graves
  1963 Comedy Playhouse (TV Series) - Jeremy Trout
  - Nicked at the Bottle (1963) ... Jeremy Trout
  1963 The Model Murder Case - David Dane
  1963 Festival (TV Series) - Willy
  - Fallen Angels (1963) ... Willy
  1963 Bomb in the High Street - Stevens
  1963 Love Story (TV Series) - Gregory
  - Snakes and Ladders (1963) ... Gregory
  1963 Murder at the Gallop - Michael Shane
  1963 ITV Television Playhouse (TV Series) - Capt. Hamilton
  - Beachhead (1963) ... Capt. Hamilton
  1963 Hancock (TV Series)
  - The Man on the Corner (1963)
  1963 Zero One (TV Series) - The sheikh
  - The Man Who Waited (1963) ... The sheikh
  1962 These Are the Damned - Captain Gregory
  1962 Eva - Alan McCormick - a screenwriter
  1962 Operation Snatch - Lt. Keen
  1962 Thirty Minute Theatre (TV Series) - Mathias
  - Dare to Be a Daniel (1962) ... Mathias
  1961 Petticoat Pirates - English Lieutenant
  1961 The Final Test (TV Movie) - Alexander Whitehead
  1961 Harpers West One (TV Series) - Lucien Harper
  - Episode #1.2 (1961) ... Lucien Harper
  1961 No Hiding Place (TV Series) - Andrew Thurbank
  - A Girl Like Xanthe (1961) ... Andrew Thurbank
  1961 Clue of the New Pin - Tab Holland
  1961 BBC Sunday-Night Play (TV Series) - Miller
  - The Wrong Side of the Park (1961) ... Miller
  1961 The Edgar Wallace Mystery Theatre (TV Series) - Tab Holland
  - Clue of the New Pin (1961) ... Tab Holland
  1960 The Strange World of Gurney Slade (TV Mini-Series) - Studio Representative
  - Episode #1.6 (1960) ... Studio Representative
  1960 No Wreath for the General (TV Series) - Peake-Harmon
  
  1958 Carry On Sergeant - Seventh Recruit
  1958 Ivanhoe (TV Series)
  - Murder at the Inn (1958)
  1954 Late Night Final (Short) - Lab Assistant (uncredited)
  
  Soundtrack (1 credit)
  
  1972 The Ruling Class (performer: "Dry Bones" - uncredited)

  
  
  
  

  1939: British Director of Naval Intelligence Admiral John Godfrey issues a document, later credited to his assistant Ian Fleming, that compares deception in war to the sport of fishing.

  

  James Bond came from the author's
  real-world experiences in WWII

  See the complete article here:
  

  https://www.wearethemighty.com/articles/james-bond-came-from-the-authors-real-world-experiences-in-wwii

  James Elphick | Jun. 03, 2016 12:44PM EST
  
  Ian Fleming, the creator of James Bond, served with British Naval Intelligence during World War II, and his service influenced the character and his stories.

  

  Fleming was recruited into the Royal Navy in 1939 by Rear Admiral John Godfrey, Head of Naval Intelligence. Fleming entered as a lieutenant and quickly promoted to lieutenant commander. Although initially tasked as Admiral Godfrey's assistant, Commander Fleming had greater ambitions. He is widely believed to be the author of the "Trout Memo" circulated by Godfrey that compared intelligence gathering to a fisherman casting for trout. In the memo, he independently came up the plan to use a corpse with false documents to deceive the Germans, originally conceived by another agent and later used in Operation Mincemeat.

  

  "Oh, no. We dropped our secret plans."

  Fleming was obsessed with collecting intelligence and came up with numerous ways to do so, some seemingly right out of spy novels. One such mission, Operation Ruthless, called for acquiring a German bomber, crashing it into the English Channel, and then having the crew attack and subdue the German ship that would come to rescue them. Mercifully, it was called off. Fleming was also the mastermind of an intelligence gathering unit known as (No. 30 Commando or 30 Assault Unit, 30 AU). Instead of traditional combat skills, members of 30 AU were trained in safe-cracking, lock-picking, and other spycraft and moved with advancing units to gain intelligence before it could be lost or destroyed.
  
  Fleming was in charge of Operation Goldeneye and involved with the T-Force. These would also influence his work. Operation Goldeneye was a scheme to monitor Spain in the event of an alliance with Germany and to conduct sabotage operations should such an agreement take place. Fleming would later name his Jamaican home where he wrote the James Bond novels "Goldeneye." It would also be the title of seventeenth James Bond movie. As for the T-Force, or Target Force, Fleming sat on the committee that selected targets, specifically German scientific and technological advancements before retreating troops destroyed them. The seizure by the T-Force of a German research center at Kiel which housed advanced rocket motors and jet engines was featured prominently in the James Bond novel Moonraker.

  

  The movie was much less grounded in reality.

  In the actual creation of the character James Bond, Fleming drew inspiration from himself and those around him. Fleming said the character of James Bond was an amalgamation of all the secret agent and commando types he met during the war. In particular, Bond was modeled after Fleming's brother Peter, who conducted work behind enemy lines, Patrick Dalzel-Job, who served in the 30 Assault Unit Fleming created, and Bill "Biffy" Dunderdale, who was the Paris station chief for MI6 and was known for his fancy suits and affinity for expensive cars. Fleming used his habits for many of Bond's. He was known to be a heavy drinker and smoker. Bond purchased the same specialty cigarettes Fleming smoked and even added three gold rings to the filter to denote his rank as a Commander in the Royal Navy, something Fleming also did.

  

  Bond's code number, 007, comes from a means of classifying highly secretive documents starting with the number 00. The number 007 comes from the British decryption of the Zimmerman Note, labeled 0075, that brought America into World War I. Bond received his name from a rather innocuous source, however, an ornithologist. Bond's looks are not Fleming's but rather were inspired by the actor/singer Hoagy Carmichael, with only a dash of Fleming's for good measure.

  

  Hoagy Carmichael

  Fleming did draw on those around him for other characters in the James Bond novels. Villains had a tendency to share a name with people Fleming disliked while other characters got their names from his friendly acquaintances. The character of M, James Bond's boss, was based on Fleming's boss Rear Admiral Godfrey. The inspiration for the single-letter moniker came from Maxwell Knight, the head of MI5, who was known to sign his memos with only his first initial, M. Also, the fictional antagonistic organization SMERSH, takes its name from a real Russian organization called SMERSH that was active from 1943-1946. In the fictional version, SMERSH was an acronym of Russian words meaning "Special Methods of Spy Detection" and was modeled after the KGB; the real SMERSH was a portmanteau in Russian meaning "Death to Spies" and was a counterintelligence organization on the Eastern Front during WWII.
  
  Finally, the plots for many of the Bond novels came from real-world missions carried out by the Allies. Moonraker is based on the exploits of the 30 AU in Kiel, Germany, while Thunderball has loose connections to Fleming's canceled Operation Ruthless. Fleming also ties in his fictional world to the historical one after the war and during the Cold War.
  
  Fleming's novels became very popular during his life and have remained so long after his death in 1964. His work spawned one of the most successful movie franchises in history.

  
  1986: Principal photography begins at Pinewood Studios for The Living Daylights.
  
  1990: Molly Peters and Desmond Llewelyn appear for the first James Bond 007 Fan Convention at Pinewood.
  
  2007: Lois Maxwell dies at age 80--Freemantle, Australia.
  (Born 14 February 1927--Kitchener, Ontario, Canada.)

  
  https://www.telegraph.co.uk/news/obituaries/1564693/Lois-Maxwell.html

  Lois Maxwell: she played Miss Moneypenny for 23 years

  

  Lois Maxwell, the Canadian actress who died on Saturday aged 80, played Miss Moneypenny in 14 James Bond films; although other younger women later took over the part, she was widely regarded as the definitive Moneypenny, M's spinsterly secretary secretly in love with 007.
  
  She was 33 when she screen-tested for Dr No (1962), the first Bond film, and was originally offered the part eventually played by Eunice Grayson, one of Bond's conquests, seen putting golf balls down the hall of his flat dressed only in his pyjama top.
  
  But Lois Maxwell did not regard her legs as her strongest point, and while Bond's creator Ian Fleming told her she had the most kissable lips in the world, one film director took a different view: "Lois, you don't smell of sin. You look as though you smell of soap."
  
  Accordingly - in crisp blouse and skirt - she landed the Moneypenny role, cast originally against Sean Connery in Dr No. Lois Maxwell later mused on the on-screen chemistry between the chaste Miss Moneypenny and the swashbuckling agent, licensed to kill: "Say there'd been an affair a long time before, only she knew he would have broken her heart, just as he knew it would have ruined his career in the Secret Service. So they were doomed to appreciate each other's qualities."
  
  Although she played the part for 23 years, she was on screen for less for an hour and spoke fewer than 200 words in all 14 films, her lines running an emotional gamut from "James, you're late" to "When are we going to have that dinner?" Her last Moneypenny appearance was opposite Roger Moore as Bond in A View To A Kill (1985).
  
  Never paid more than £100 a day, her first appearance in Dr No took only two days to shoot, and those in her 13 subsequent Bond films were just as modest in scale. For her first five films, Lois Maxwell wore her own clothes.
  
  "Always the same role, the smallest," she remarked ruefully in an interview for the Telegraph Magazine in 1997. The camera would find her sitting at a desk in the corner of a nondescript office, on the telephone or riffling papers. But when Bond enters, she greets him with a grin of pure joy.
  
  "It is not a beautiful face," observed Byron Rogers, who interviewed her for the Telegraph 10 years ago, "it is a wonderful face, long and funny and older than all the others… The other women in Bond films are two-dimensional, who only ever want to go to bed with him or stab him, but there is one who loves him, though she knows nothing will ever come of this.
  
  "That is the way Lois Maxwell played Moneypenny, making her the one grown-up among sexpots and psychopaths."
  
  Not everyone realised that she was Canadian. "Moneypenny," exclaimed the Prince of Wales on meeting her. "I would never have believed you're not English. I must tell the family."

  Born Lois Ruth Hooker on February 14 1927 at Kitchener, Ontario, one of four children, her early career as a child radio performer was disrupted by the outbreak of the Second World War when her father, a teacher, enlisted and sailed for England. At the age of 16 she ran away from home to join the Canadian Army Show, but failed to tell the authorities about her age, and after touring England in the back of a truck was eventually dishonourably dismissed. Just before she was due to be shipped home, she went AWOL in London.
  
  While living in a garret in Paddington, Lois won a Lady Louis Mountbatten scholarship to Rada, where she first met Roger Moore, then 17 and later to star in seven Bond films, and - crowned in a red wig - played his uncle in a student production of Henry V.
  
  At 20 she was working in the professional theatre when a talent scout spotted her and took her to Hollywood. At Warner Brothers, Lois found herself in the same intake as another promising actress named Norma Jeane Baker, with whom she was photographed for Life magazine. Both changed their name, Norma Jeane becoming Marilyn Monroe and Lois Hooker, advised that this was an infelicitous name for an starlet, changing to Lois Maxwell, a name borrowed from a gay ballet dancer friend and which was adopted by the rest of her family too.
  
  She won a Golden Globe award as best newcomer for her role in the Shirley Temple comedy That Hagen Girl (1947).
  
  Playing opposite Ronald Reagan in Bedtime For Bonzo (1951) she found the future president handsome and attractive, but became less enamoured of the studio system, and moved to Rome for five years, becoming an amateur racing driver. After a broken love affair with the brother of an Italian prince, she married a British television executive called Peter Marriott, a former commander of the Viceroy of India's household troops who, by coincidence, was screen-tested as a possible James Bond by the producer Cubby Broccoli.
  
  In addition to her career in the Bond films Lois Maxwell was a successful television actress, appearing in episodes of UFO, The Persuaders, The Baron, The Saint and Randall and Hopkirk (Deceased). She also provided the voice for Troy Tempest's love interest, Atlanta Shore, in Gerry Anderson's puppet series Stingray.
  
  In the late 1960s she starred in Adventures In Rainbow Country, a popular Canadian television series, and in 1967 appeared as Moneypenny in a television special Welcome To Japan, Mr Bond. More recently, she became a regular fixture at Bond film festivals.
  
  Her last feature film was The Fourth Angel (2001) starring Jeremy Irons and Forest Whitaker.
  
  Widowed at 46 when her husband died of a heart attack in 1973, Lois Maxwell returned to her native Canada, bought a farm and worked for a business importing crowd-control barriers. She later wrote a column for the Toronto Sun which she signed "Moneypenny" and in which, for 14 years, she expounded trenchant Right-wing opinions.
  
  Always an adventurous woman, she held a pilot's licence, regularly went on safari and in the 1980s sailed the South China Sea from Hong Kong to Singapore, armed with M16 machine guns and incendiary rockets to ward off pirates.
  
  In the 1980s she settled at Frome in Somerset, and after a successful cancer operation went to recuperate at her son's home at Freemantle, near Perth, western Australia. At the time of her death, she was working on her autobiography, to be called Born A Hooker.
  
  Lois Maxwell is survived by her daughter and son.

  
  Lois Maxwell (I) (1927–2007)
  https://www.imdb.com/name/nm0561755/?ref_=nv_sr_1?ref_=nv_sr_1
  
  Filmography

  Actress (88 credits)
  
  2001 The Fourth Angel - Olivia
  
  1998 Hard to Forget (TV Movie) - Helen Applewhite
  
  1989 Lady in the Corner (TV Movie) - Mary Smith
  1988 Martha, Ruth & Edie - Edie Carmichael
  1988 Rescue Me (TV Movie) - Phyllis
  1987 Alfred Hitchcock Presents (TV Series) - Ms. Golden
  - If the Shoe Fits (1987) ... Ms. Golden
  1985 Eternal Evil - Monica Duval
  1985 A View to a Kill - Miss Moneypenny
  1985 The Edison Twins (TV Series) - Charlotte Gateau
  - Let Them Eat Cake (1985) ... Charlotte Gateau
  1984 Peep (TV Movie) - Mrs. Powell
  1983 Octopussy - Miss Moneypenny
  1981 For Your Eyes Only - Miss Moneypenny
  1980 Mr. Patman - Director
  
  1979 Lost and Found - English Woman
  1979 Moonraker - Miss Moneypenny
  1977 The Spy Who Loved Me - Miss Moneypenny
  1977 Age of Innocence - Mrs. Hogarth
  1975 From Hong Kong with Love - Miss Moneypenny
  1974 The Man with the Golden Gun - Moneypenny
  1973 Live and Let Die - Moneypenny
  1972/I Endless Night - Cora
  1971 The Persuaders! (TV Series) - Louise Cornell
  - Someone Waiting (1971) ... Louise Cornell
  1971 Diamonds Are Forever - Moneypenny
  1970-1971 UFO (TV Series) - Miss Holland
  - The Man Who Came Back (1971) ... Miss Holland
  - The Cat with Ten Lives (1970) ... Miss Holland
  1969-1970 Adventures in Rainbow Country (TV Series) - Nancy Williams
  - The Tower (1970) ... Nancy Williams
  - The Skydiver (1969) ... Nancy Williams
  - The Return of Eli Rocque (1969) ... Nancy Williams
  - Night Caller (1969) ... Nancy Williams
  - The Muskies Are Losing Their Teeth (1969) ... Nancy Williams
  1970 The Adventurers - Woman at Fashion Show (uncredited)
  1970 Department S (TV Series) - Mary Burnham
  - The Ghost of Mary Burnham (1970) ... Mary Burnham
  
  1969 On Her Majesty's Secret Service - Moneypenny
  1969 My Partner the Ghost (TV Series) - Kim Wentworth
  - For the Girl Who Has Everything (1969) ... Kim Wentworth
  1967 You Only Live Twice - Miss Moneypenny
  1967 Welcome to Japan, Mr. Bond (TV Movie) - Miss Moneypenny
  1967 Operation Kid Brother - Max
  1966-1967 The Saint (TV Series) - Beth Parish / Helen
  - Simon and Delilah (1967) ... Beth Parish
  - Interlude in Venice (1966) ... Helen
  1966 Rome, Sweet Home (TV Movie)
  1966 Gideon C.I.D. (TV Series) - Felisa Henderson
  - The Millionaire's Daughter (1966) ... Felisa Henderson
  1966 The Baron (TV Series) - Charlotte Russell
  - Something for a Rainy Day (1966) ... Charlotte Russell
  1965 Thunderball - Moneypenny
  1964-1965 Stingray (TV Series) - Lieutenant Atlanta Shore / Milly Carson / Marinville Tracking Station / ...
  - Aquanaut of the Year (1965) ... Lieutenant Atlanta Shore (voice)
  - Marineville Traitor (1965) ... Lieutenant Atlanta Shore (voice)
  - Hostages of the Deep (1965) ... Lieutenant Atlanta Shore / Milly Carson (voice)
  - The Golden Sea (1965) ... Lieutenant Atlanta Shore (voice)
  - The Master Plan (1965) ... Lieutenant Atlanta Shore (voice)
  1965 The Ambassadors (TV Movie) - Sarah Pocock
  1964 Goldfinger - Moneypenny
  1964 Ghost Squad (TV Series) - Elizabeth Creasey
  - Party for Murder (1964) ... Elizabeth Creasey
  1964 The Avengers (TV Series) - Sister Johnson
  - The Little Wonders (1964) ... Sister Johnson
  1963 From Russia with Love - Miss Moneypenny
  1963 The Haunting - Grace Markway
  1957-1963 ITV Play of the Week (TV Series) - Helen Hunter / Genevieve Lang / Miss Baumer
  - The Touch of a Dead Hand (1963) ... Helen Hunter
  - Skyline for Two (1959) ... Genevieve Lang
  - Heaven and Earth (1957) ... Miss Baumer
  1963 Come Fly with Me - Gwen Sandley
  1962 Zero One (TV Series) - Miss. Smith
  - The Marriage Broker (1962) ... Miss. Smith
  1962 Dr. No - Miss Moneypenny
  1962 Lolita - Nurse Mary Lore
  1961 The Unstoppable Man - Helen Kennedy
  1961 No Hiding Place (TV Series) - Margot
  - Nina and the Night People (1961) ... Margot
  1961 One Step Beyond (TV Series)- Esther Hollis
  - The Room Upstairs (1961) ... Esther Hollis
  1960 Danger Man (TV Series) - Sandi Lewis
  - Position of Trust (1960) ... Sandi Lewis
  1960 Rendezvous (TV Series) - Mother
  - The Dodo (1960) ... Mother
  
  1959 Face of Fire - Ethel Winter
  1958 Television Playwright (TV Series) - Ruth Ann Wicker
  - The Transmogrification of Chester Brown (1958) ... Ruth Ann Wicker
  1957 O.S.S. (TV Series) - Virginia
  - Operation Orange Blossom (1957) ... Virginia
  1957 Sailor of Fortune (TV Series) - Judith
  - Port Jeopardy (1957) ... Judith
  1957 Kill Me Tomorrow - Jill Brook
  1957 Time Without Pity - Vickie Harker
  1956 BBC Sunday-Night Theatre (TV Series) - Cass Edgerton
  - The Reclining Figure (1956) ... Cass Edgerton
  1956 Rheingold Theatre (TV Series) - Tracy Carmichael / Ann / Cynthia
  - One Can't Help Feeling Sorry (1956) ... Tracy Carmichael
  - Someone Outside (1956) ... Ann
  - A Fast Buck (1956) ... Cynthia
  1956 High Terrace - Stephanie Blake
  1956 Aggie (TV Series) - Barbara
  - Monk's Prior (1956) ... Barbara
  1956 Satellite in the Sky - Kim Hamilton
  1956 The Petrified Forest (TV Movie) - Gabby Maple
  1956 Passport to Treason - Diane Boyd
  1955 Torpedo Zone - Lt. Lily Donald
  1953 Aida - Amneris
  1953 Man in Hiding - Thelma Speight / Tasman
  1952 Orient Express (TV Series) - Lynn Walker
  - Blue Camellia (1952) ... Lynn Walker
  1952 Twilight Women - Christine
  1952 Scotland Yard Inspector - Margaret 'Peggy' Maybrick
  1952 Ha da venì... don Calogero - Maestrina
  1952 The Woman's Angle - Enid Mansell
  1952 Love and Poison - Queen Christina
  1952 Viva il cinema!
  1951 Lebbra bianca - Erika
  1950 Tomorrow Is Too Late - Signorina Anna, teacher
  
  1949 Kazan - Louise Maitlin
  1949 The Crime Doctor's Diary - Jane Darrin
  1948 The Decision of Christopher Blake - Miss McIntyre (uncredited)
  1948 The Dark Past - Ruth Collins
  1948 The Big Punch - Karen Long
  1948 Corridor of Mirrors - Lois
  1947 That Hagen Girl - Julia Kane
  1946 Springtime - Penelope Cobb (uncredited)
  1946 A Matter of Life and Death - Actress (uncredited)

  
  Lois Hooker in the Life Magazine photo, upper left. Norma Jean, front and center.
  
  
  
  
  
  
  

  2008: Via Youtube, Scouting for Girls release the fifth song from their first album, "I Wish I Was James Bond."

  
  007, Britain's finest secret agent, licensed to kill
  Mixing business with girls and thrills
  I've seen you walk the screen, it's you that I adore
  Since I was a boy I wanted to be like Roger Moore…

  

  
  2021: No Time To Die release in Belgium.
  2021: No Time To Die (Mourir peut attendre; To Die can wait) release in Switzerland (French speaking region).

  
  
  

  2021: 007 노 타임 투 다이 ( 007 No tah-eem tu dah-ee) release in the Republic of Korea.

  
  
  
  
  

  
  2021: No Time To Die premiere at the Opéra de Monte-Carlo, Monaco. Honoring Sir Roger Moore and benefiting the Princess Grace Foundation.

  
  
  
  
  
  

  86 was big day new Bond and everything...
  
  
• RichardTheBruce I'm motivated by my Duty.

  3:59am Posts: 14,758

  September 30th
  
  1921: Deborah Jane Trimmer (Deborah Kerr CBE) is born--Helensburgh, Scotland.
  (She dies 16 October 2007--Botesdale, England.)

  

  Deborah Kerr

  See the complete article here:
  

  https://www.theguardian.com/news/2007/oct/19/guardianobituaries.obituaries1

  Graceful and versatile British star whose work across four decades made her a Hollywood icon
  Brian Baxter | Thu 18 Oct 2007
  
  Many Hollywood stars of the wartime generation ended their careers in cameo roles or cult movies, even schlock horror or, worst of all, television soaps. But Deborah Kerr, who has died of Parkinson's disease aged 86, escaped that. Her health would not allow such a route, but it seems unlikely that such an innately graceful and consummately professional actor would have chosen it. The theatre at Chichester perhaps, but not movie Grand Guignol.
  
  She worked steadily, averaging one film a year, with directors of stature, and often opposite chums such as David Niven, Robert Mitchum and Cary Grant. The result was a career that sailed on rather majestically, like an elegant ocean liner, only occasionally hitting a squall or rough passage. There was little to interest gossip columnists or to shock the public and, at least on the surface, she seemed rather serene in the midst of such a frantic profession.
  
  It is impossible not to admire the performances and the performer herself. She achieved fame when barely 20, in a star-laden version of Major Barbara (1941), followed rapidly by four further movies, and for 45 years remained at or near the pinnacle of her profession. Within a period of 12 years, she received six Oscar nominations but did not receive the statuette until 1994, when an honorary Academy award was given for her lifetime's work.
  
  By the late 1980s, in poor health, she had effectively retired from acting, gravitating from her home in Switzerland to Spain with her second husband, the writer Peter Viertel (whose screen credits include The African Queen). Much later still, she was to return to England. Her rare public appearances reminded us of her great popularity in such contrasted roles as the governess in The King and I (1956) and the adulterous wife in From Here to Eternity (1953). She was greatly admired by her fellow actors and always brought a touch of class to the most mundane of roles.
  
  Kerr was born in Helensburgh, Scotland, the daughter of a first world war officer, and educated at Northumberland House, in the Bristol suburb of Clifton. She dabbled in acting during her teens, including radio work for the BBC West Region in Bristol, and in amateur theatricals. She moved to London to study at the Sadler's Wells ballet school, making her debut in Prometheus in 1939. That year too saw her in a small role in Much Ado About Nothing at the Regent's Park open air theatre, and from 1939 to 1940 she worked with the Oxford Repertory. An abortive screen debut as a cigarette girl in Contraband (1940), ended on the editing-room floor. But the directors Michael Powell and Emeric Pressburger were soon to remedy that unkind cut.
  
  Kerr's break came when the ebullient Gabriel Pascal, who had the confidence of George Bernard Shaw, cast her in Major Barbara, in which she gave a touching performance as Jenny Hill. Under contract to Pascal, she was given the lead in 1941 in Love on the Dole and rapidly followed this excellent movie with Penn of Pennsylvania and then a plum role as Robert Newton's downtrodden daughter in the melodramatic Hatter's Castle - where she encountered her first husband, fighter pilot Tony Bartley, who was involved in the nearby filming of The First of the Few. All this in that same year, followed by The Day Will Dawn (1942), opposite Ralph Richardson.
  
  In a piece of casting that Martin Scorsese has justly described as audacious, Powell and Pressburger gave the then 21-year-old the triple roles of driver, governess and wife/nurse, the women who appear throughout Blimp's story in their monumental The Life and Death of Colonel Blimp (1943). The film did not receive official approval or the critical acclaim now accorded it, and Kerr's film career paused as she toured and then went into the West End in Heartbreak House. She also worked for the forces' entertainment organisation Ensa throughout Europe, and again met Bartley. They married in 1945.
  
  That year she returned to the screen, opposite Robert Donat in Perfect Strangers, where they play - delightfully - a couple transformed and humanised by their wartime experiences. She moved on to an interesting role in I See a Dark Stranger (1946) as an Irish girl who, through hatred of the English, spies for the Germans. Her love for a British officer (Trevor Howard) reforms her. Her only other screen work that year was in a short in aid of the Cinema and Television Benevolent Fund. The best was yet to come.
  
  In 1947, Kerr was reunited with Powell and Pressburger for a heady masterwork, Black Narcissus. She played the pivotal role of Sister Clodagh, an insecure nun in charge of a Catholic missionary school (Pinewood stood in - remarkably - for the Himalayas). Jealousy, passion, frustration and death become the order of the day in this timeless work. A blend of repression, gentleness and inner turmoil was to feature in many later, often inferior, films but this remains a benchmark in her career.
  
  Meanwhile, Pascal had sold her contract to MGM and Kerr found herself in a postwar drama, The Hucksters (1947), opposite Clark Gable and Ava Gardner. A modestly successful Hollywood debut was soon followed by If Winter Comes (1947). She was subsequently directed by one of the studio's top names, George Cukor, in a rather stodgy version of Robert Morley's stage success, Edward My Son (1948). Despite fine credits and the presence of the screen's greatest actor, Spencer Tracy, the film fails to ignite.
  
  The studio began to use Kerr as decorative contract fodder opposite sturdy leading men and costume became the order of the day in such movies as King Solomon's Mines (1950), Quo Vadis (1951) and The Prisoner of Zenda (1952). She had the small role of Portia in Julius Caesar, but this movie - the best-ever screen treatment of Shakespeare - is remembered for Marlon Brando and John Gielgud, and not the refined Miss Kerr. The MGM period ended dismally with Young Bess (1953).
  
  That year was, however, to prove a highlight, if not a turning point in her fortunes. She extricated herself from the MGM straitjacket and landed the controversial role opposite Burt Lancaster in Fred Zinneman's From Here to Eternity. Cast against her seemingly fragile type, she was formidable as the sexually rapacious officer's wife who has an affair with an NCO, played by Lancaster, at the time of Pearl Harbor in 1941. Today, the famous beach scene - indeed the whole adaptation of James Jones's brutal novel - seems somewhat tame. Not so in the early 1950s.
  
  Adultery was a theme of a rather greater book, Graham Greene's The End of the Affair (1954), which brought Kerr back to England. An underrated film, it suffers from a miscast, rather lightweight Van Johnson as the writer, but she and a fine British cast save the day.
  
  An attempt was made to revamp Eternity, with William Holden replacing Lancaster, in The Proud and the Profane (1956) before she went on to her biggest popular success: a lacklustre version of The King and I. Kerr and Yul Brynner redeemed Walter Lang's rather staid direction and thanks to dubbing from Marni Nixon on the difficult passages and high notes, Kerr sang, danced and acted herself into a third Oscar nomination, and a box office smash.
  
  In 1957 she was reunited with friend Cary Grant in the romantic drama, An Affair to Remember and donned her nun's habit in the popular Heaven Knows, Mr Allison for a favourite director, John Huston. This virtual two-hander reworks Huston's great success, The African Queen, with Robert Mitchum as the reprobate marine who meets his match in the seemingly demure nun. Together they tackle the Japanese just as missionary Katharine Hepburn and drunk Humphrey Bogart had scuppered the Germans in the earlier movie.
  
  There were better parts and higher salaries than in the MGM days and Kerr moved on to Bonjour Tristesse (1957) and another spinster role in the botched version of Terence Rattigan's Separate Tables (1958). Only her old friend David Niven emerged with modest credit from this fiasco. Three duff movies followed before Zinnemann gave her a wonderfully rich part - opposite Robert Mitchum - in The Sundowners (1960). It proved one of the director's most relaxed and commercially successful films.
  
  Kerr joined Mitchum and Grant again in a conventional reworking of the stage hit, The Grass is Greener (1960), followed by an altogether less happy experience. At best The Naked Edge (1961) was a routine thriller, made painful by Gary Cooper, already ill with cancer, in his last role and the last year of his life.
  
  The highlight of this British period came the same year when she again played a governess - this time in Jack Clayton's version of Henry James's The Turn of the Screw. Transformed into a handsome CinemaScope film as The Innocents, it showed that Kerr was as good as the material allowed and often better. Her role as the haunted and taunted governess gave perfect rein to her upright demeanour and hidden depths.
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  After a dull version of The Chalk Garden (1963), she was rescued by John Huston and cast as the poet spinster in the steamy The Night of the Iguana (1964). After this she sank without trace in a Frank Sinatra vehicle, Marriage on the Rocks (1965), and then made a trio of films opposite Niven, her Swiss-based neighbour.
  
  They failed to salvage the thriller Eye of the Devil (1966), but had some fun working with Huston again on the chaotic James Bond spoof, Casino Royale (1967). This was followed by a dated comedy, Prudence and the Pill (1968).

  Two big movies in 1969 offered Kerr dull parts - with Burt Lancaster in the sky drama The Gypsy Moths and Kirk Douglas in The Arrangement. They proved only that she was still in demand opposite heavyweight actors. But the films, one lugubrious, the second overwrought, were not to her taste and she effectively retired from Hollywood.
  
  A handful of made-for-television films kept her occupied - Witness for the Prosecution (1982), Reunion at Fairborough (1985) and Hold the Dawn (1986) among them.
  
  Her greatest stage success had been in the once controversial Tea and Sympathy, in a role as a schoolteacher who seduces a pupil who believes himself to be gay. She filmed it in 1956, but the screen version was even milkier than the Broadway success. Her other stage successes included Separate Tables, Candida and The Last of Mrs Cheyney, among many others.
  
  But it is as a screen actor that Kerr will be best remembered, since she had the beauty, the reserve and the inner quality that the camera loves. By a happy chance, her farewell to the big screen utilised those attributes.
  
  In The Assam Garden (1985) Kerr played an isolated middle-class widow who befriends an Indian woman (Madhur Jaffrey) from a nearby council estate. A modest two-hander, it gave her an intriguing, somewhat unglamorous role that perfectly suited her subtle technique and quiet dignity.
  
  Visiting her on location in the Forest of Dean, I was touched by her commitment to the film and her determination to complete what was proving to be an extremely demanding role. She clearly missed her home comforts and had been greatly pleased by the film's attentive publicist - who brought her caviar from his London trips.
  
  The location, charming though it was, and the budget were a far cry from her Hollywood heyday, but the film turned out to be a success and she ended her screen career on a personal high note. She received a spontaneous ovation at the 1994 Oscar ceremony and few actors can so richly have deserved the award.
  
  In 1998 she was made a CBE, but said that she felt too frail to travel to London to receive it personally. In 45 films, in as many years, she seldom, if ever, gave a weak performance and certainly never gave a less than professional one.
  
  Her marriage to Tony Bartley ended in divorce in 1959. He died in 2001. She married Viertel in 1960. He survives her, as do two daughters from her first marriage and three grandsons.
  
  · Deborah Jane Kerr (Deborah Kerr Viertel), actor, born September 30 1921; died October 16 2007

  

  Deborah Kerr

  (I) (1921–2007)
  Actress | Soundtrack
  https://www.imdb.com/name/nm0000039/?ref_=fn_al_nm_1
  

  [img]vhttps://www.startpage.com/av/proxy-image?piurl=https://tse3.mm.bing.net/th/id/OIP.RXLVKJHo-j-2LkYu9rLt7QHaE0?pid=Api&sp=1759165618Tbd560fae5705fa5a743849f50b808f3347f3b182aecfb9087bb717c89237c56e[/img]
  The King and I
  
  Agent Mimi (Alias Lady Fiona). Casino Royale
  
  
  

  
  1952: Dennis Muldowney is executed for the murder of Polish Countess Krystyna Skarbek, aka Christine Granville. She was active in espionage during World War II, an acquaintance of Ian Fleming, and possibly the model for his character Vesper Lynd.

  

  https://eotd.wordpress.com/2008/09/30/30-september-1952-dennis-muldowney /
  30 September 1952 – Dennis Muldowney
  
  James Bond creator, Ian Fleming was inspired by the exotic Polish victim slain by today’s deadly desperado’s date with death.
  
  Dennis Muldowney was executed on this day in 1952 for the murder of a Cold-War countess.
  
  Marine steward, Muldowney was jailed and sentenced to death for killing Polish Countess Krystyna Skarbek, aka Christine Granville, who was known for her forays into espionage.
  
  The infamous World War II spy was a key player, passing secrets to the Brits while serving in Germany, Hungary and France. After the war, she came across Ian Fleming and they embarked on a year-long affair.
  
  That’s why she is said to have been the basis for Fleming’s character Vesper Lynd in his first James Bond novel, ‘Casino Royale’, written in 1953 and played by Eva Green in the consequent Bond movie of the same name, as well as Ursula Andress in the spoof version of 1967.
  
  Muldowney was similarly drawn to her and eventually became obsessed, which drove him to stab the 44-year-old to death on 15 June 1952.
  
  He was hanged for his crime at Pentonville prison, aged 41.

  
  
  
  

  
  1963: Arms expert Geoffrey Boothroyd writes his last letter to Ian Fleming. (The first was 31 May 1956.)
  1964: Monica Bellucci is born--Città di Castello, Umbria, Italy.
  
  1966: You Only Live Twice films Q in the field instructing Bond on Little Nellie.

  
  
  

  
  1976: Paul Dehn dies at age 63. (Born 5 November 1912--Manchester, England.)

  

  Tinker Tailor Soldier Schreiber
  The Unsung Achievement of Screenwriter Paul Dehn
  By David Kipen

  https://www.vqronline.org/articles/tinker-tailor-soldier-schreiber
  ISSUE: Winter 2013

  There are too many clues …
  —Hercule Poirot, Murder on the Orient Express, screenplay by Paul Dehn

  Born a hundred years ago this past November 5, the late poet and critic Paul Dehn won an Oscar, served as a spy in World War II and, notwithstanding his long and loving cohabitation with another man, helped create the epitome of twentieth-century hetero-sexual virility—yet today, even Google all but asks, “Paul who?”
  
  How could this be? What tastemakers did he offend? Did he throw a drink in Edmund Wilson’s face? Make a pass at Susan Sontag? Hardly. His only crime was to excel at the art that dare not speak its name: Paul Dehn was a screenwriter.

  In addition to the definitive James Bond picture (Goldfinger), Dehn adapted the works of John le Carré (The Spy Who Came in from the Cold, The Deadly Affair), Agatha Christie (Murder on the Orient Express), and Shakespeare (The Taming of the Shrew). He had a hand in the scripts of all four initial Planet of the Apes sequels and won the Oscar for his very first screenplay, the widely influential Cold War suspense film Seven Days to Noon.

  Dehn (pronounced “Dane”) resurrected or reinvented at least three genres given up for dead at the time: the British mystery, the Shakespeare adaptation, and the spy film. He understood a thing or two about espionage, having taught and then practiced it with distinction during World War II. Yet the hundredth anniversary of Dehn’s birth has passed without the merest hiccup of notice.
  
  I mean to lay out some of the reasons that make Paul Dehn worth remembering not just on his centenary by film critics, but by anybody fascinated with who’s responsible for their favorite movies. Dehn’s scripts suggest an intelligent, witty, morally engaged, cohesive sensibility. Even in his adaptations, he gravitated toward thematically idiosyncratic material. For example, his pictures often begin with the arrival of a threatening letter and fear of exposure (Seven Days to Noon, Murder on the Orient Express, The Deadly Affair)—surely fraught territory for a man acquainted with both deep-cover operations and the menace of British anti-sodomy laws.
  
  Dehn wasn’t the best screenwriter who ever lived. He wrote too few originals, and too often in collaboration, to claim anything of the kind. Nor was he the best author ever to approach film as an art form. That would be Graham Greene, or perhaps Harold Pinter, the only screenwriter ever to win the Nobel Prize. (Pinter wrote as many film and television scripts as he did stage plays.) No, Dehn was merely a very good screenwriter. His work carried a creative signature that withstood even the most overbearing director’s attempts to flatten it.
  
  Our Man in Hollywood
  Only one peacetime photograph of Paul Dehn survives. It shows him reclining in a dark leather chair with a book open on his lap. Behind him, level with his balding head, a rank of mostly hardcover books stands mustered for inspection. A writer works here. Close to Dehn’s left hand, atop the desk back of him, sits his only visible concession to modernity: a small British portable tv circa 1970, maybe six inches across, its screen convex with latent entertainment. Legs casually crossed and bent, Dehn looks up from his book and over at us. We’ve surprised him with our camera, but not unpleasantly so. He looks to be in his fifties, his eyeglasses seemingly borrowed from David Hockney, with round lenses and dark frames. His ears must have been prominent even before the hair started to go.
  
  What gets you is the smile. It’s not broad. Every third or fourth glance at him, it’s not there at all. Even when you see it, the smile has more curves than it should, like a sine wave. Dehn essentially resembles a taller, leaner Charlie Brown—already middle-aged and made good, but still a bit nervous.
  
  Military historian Raleigh Trevelyan’s brief but warm evocation of Dehn for the Oxford Dictionary of National Biography helps capture something of the spirit of the man: “He delighted everyone with his entertaining manner and piano playing, and could put on a ‘good nightclub act’. He is also recorded as having been a ‘serious thinker’, with a warm and romantic nature, not to mention an outstanding instructor. In America it was said that listening to him was more exciting than reading a spy novel.”

  Harold Pinter once described his own screenplay for a half-decent spy film, The Quiller Memorandum, as “between two stools: One, the Bond films and the other, The Spy Who Came in from the Cold.” In the photograph, Dehn inclines decidedly toward the Smiley end of the spectrum, yet the scripts written at this desk put both George Smiley and James Bond on the screen.
  
  The excellence of Dehn’s spy films derives partly from his wartime experiences as both a desk jockey, like George Smiley, and a field agent, like Bond. Or not like Bond—since how often does Bond do any actual spying?—but at least in the same line. Dehn spent the majority of his war service at the improbable Camp X, a disused estate in Canada commandeered for the training of British spies in what was then called “black warfare,” now “black ops.”

  Many walks of life are known for the exhaustiveness of their archival documentation: statesmen, for example, or Nazis. But Englishmen and screenwriters, especially at midcentury, each tended toward self-effacement. Spies and homosexuals were, by definition, outlaws, and likely even less inclined to careless diary-keeping. So the trail for Dehn—and a generation of other gifted screenwriters—is cold and getting colder.

  Researching the lives and careers of directors is much easier. Directors get interviewed vastly more often than screenwriters do. They also appear to live considerably longer. It’s uncanny just how many of Dehn’s variously talented directors are still alive, forty or fifty years after their work together. The men who shot Goldfinger (1964), Beneath the Planet of the Apes (1970), Fragment of Fear (1970),and The Taming of the Shrew (1967)—Guy Hamilton, Ted Post, Richard Sarafian, and Franco Zeffirelli—may well live to attend their own centennial retrospectives.
  
  Dehn, meanwhile, and all the writers ever credited alongside him, are dead. An actuary and a screenwriter’s analyst might have an interesting conversation about that.
  
  Tinker Tailor Soldier Screenwriter

  Goldfinger: I prefer to call it an atomic device. It’s small, but particularly dirty.
  —Goldfinger, screenplay by Paul Dehn and Richard Maibaum

  Death and radioactivity are abstractions. Corpses and running sores are not.
  —Paul Dehn, film review

  How did Paul Dehn become the preeminent screenwriter of the Cold War? Like most information about screenwriters, the answer might as well be top secret. There exists no biographical dictionary of screenwriters. The number of good biographies of screenwriters can probably be counted on the fingers of one hand. The late Bruce Cook’s dramatic three-act life of Dalton Trumbo, written with his subject’s dying cooperation, stands apart for its quality. A couple of volumes of different scriptwriters’ letters have survived into print as well, with Trumbo’s Additional Dialogue among the best correspondence ever written by an American.
  
  Screenwriter memoirs are just as scarce. Dehn’s fellow Bond scripter Tom Mankiewicz’s recent, addictive My Life as a Mankiewicz (2012) is an object lesson in the thoroughly untapped potential of the genre. After all, successful screenwriters can actually write. They also tend to meet interesting people, and travel in circles that many readers actively wonder about. Their careers split the difference between Horatio Alger and Dr. Faustus. What film buff wouldn’t want to read about that?
  
  If there were a biographical dictionary of screenwriters, Paul Dehn’s entry might begin like this:

  1912–1939: Born Manchester, of German Jewish descent, Nov. 5, 1912. Educated at Oxford. Fond of men. Contemporary of notorious Russian moles Philby, Burgess, Maclean. Upon graduation, down to London. Encouraged by godfather, drama critic James Agate, contributes numerous humorous film reviews to newspapers up one side of Fleet Street and down the other. Also writes poetry, lyrics, and libretti.

  So far, unspectacular. Dehn’s reviews amuse, but his proficient, highly formal poetry canters confidently toward critical oblivion. Had he kept on in this vein, he might have become a kind of road-show Ivor Novello, forever marooned in the 1930s as the world grew past him.
  
  Then came the war. Redacted for national security—and by the strictest of all censors, an ungrateful posterity—his sketchy wartime biographical listing might continue as follows:

  1939–1945: Joins Special Operations Executive (S.O.E.) early in the war. Stationed in Canada alongside Ian Fleming and Christopher Lee. Learns tradecraft, drills spies in same. Cowrites S.O.E. spy training manual. Dispatched on missions in continental Europe and Scandinavia. In 1944 meets composer James Bernard, begins lifelong domestic and creative partnership.

  Without at least a research trip to the Imperial War Museum in London, we’ll have to content ourselves with Dehn’s slender, self-deprecating version of his wartime experiences: “I was an instructor to a band of thugs called the S.O.E.,” he recalled to Chris Knight and Peter Nicholson in what may be his only surviving interview, “and I instructed them in various things on darkened estates, so I got a pretty good view of what counterespionage was like.” Dehn then nudges the conversation on to the next question. As with World War I, not the least of its sequel’s aftereffects was a reticence bordering on aphasia.
  
  But, as we learn from an interview with John le Carré that accompanies the 2008 DVD reissue of The Spy Who Came in from the Cold, there is more to be said on the subject of Dehn’s wartime service. “Paul actually had been in our Special Operations Executive during the war, and he had been, among other things, a professional assassin,” le Carré remembers. “It was a gruesome fact. Paul was a very gentle guy, lovely to work with.” He adds, “Great credit to Paul Dehn, the screenwriter, who, as I mentioned, had had pretty startling experience of the spook world.” This information speaks to the discernible—even preeminent—signature of the screenwriter. Quite literally, you can read him like a book.

  1946–1950: Demobbed, returns to London, resumes versatile writing career, begins moonlighting as screenwriter.

  Like Truffaut or Goddard in their magazine days, exalting the role of the director shortly before assuming it, Dehn’s film reviews from this era display a rare sensitivity to the contributions of the screenwriter. “One has waited with impatience for a script-writer of discernment,” he characteristically wrote, “to adapt James Thurber’s piteously funny parable about the fantasies of Walter Mitty.” For Dehn as well, the piteously funny was something of a critical stock in trade. Of Esther Williams, he cracked, “Only on dry land is she truly out of her depth.”
  
  Dehn had written amateur theatricals as a student and film reviews ever since, but never a movie. If his prior interview is to be believed, he got into screenwriting for a reason as unusual as it is laudable: Dehn hoped it might make him a better critic. “I started writing manuscripts,” he told his interlocutors in 1972, “because I found it so hard to allocate praise and blame justly in a composite work of art like a film.” Imagine the decades of damage undone, in other arts as well as film, if defections like Dehn’s over the firewall between critics and practitioners were not so rare, and usually so irreversible.
  
  So here begins one of the great runs in the annals of Anglo-American popular filmmaking. Dehn’s first script was not a spy story, but only a spy could have done it justice. No manuscript survives of Dehn and his partner Bernard’s screen treatment for Seven Days to Noon, the placidly terrifying Cold War thriller that won the 1952 Academy Award for best story. Absent any records, we can only speculate that more of the work fell to Dehn, who made his living at his typewriter, than to Bernard, who never received another writing credit—though the latter did go on to score almost all the Hammer horror films. The barest outline of Seven Days to Noon itself would read as follows:

  Principled government scientist Willingdon absconds from secret facility carrying suitcase-sized nuclear explosive. Writes to Prime Minister threatening to detonate bomb in London unless nuclear weapons research suspended. Londoners evacuated to countryside. Sappers sweep deserted city for Willingdon, confront him in ruined church as bomb timer ticks down to final seconds.

  What this précis leaves out are Dehn’s grace notes: a lapdog nosing around a satchel containing enough potential blast force to obliterate London, the paranoia of a fugitive whose face suddenly stares back at him from every hoarding and newsagent he sees. Already present in embryo are the signature Dehn themes: the plot set in motion by a letter, the overhanging shadow of nuclear annihilation, and the moral complexity of even the noblest motives.
  
  Dehn had trained men to lie and kill and, if necessary, die for queen and country. Impatient with teaching, he went on missions himself, took lives according to le Carré, and risked his own. Finally, with England all but free, he’d seen her allies slaughter one-fifth of a million people over four days in August of 1945. Is it any wonder that Seven Days to Noon and several of Dehn’s later films end with a lone man crouched over an atom bomb and time running out? Alone or with colleagues, from source material or from scratch, Dehn would write several of the most sophisticated, intelligent entertainments about the Cold War and its arsenal ever made. Perhaps 1952 struck some as a touch on the early side to be writing antinuclear films, but his style and polish conspired to help the strong medicine go down.
  
  If Seven Days to Noon and later Goldfinger hardly resulted in immediate nuclear disarmament, they nevertheless gave a shape to our nightmares. Dehn did not have it in him to do more than that. He was no diplomat. He’d seen enough of that breed at university, and too many would soon betray either their ideals or their country. Instead, Dehn did what he could with what he had. He did his bit.

  1951–1958: Fresh off his Oscar for Seven Days to Noon, newly sensitized to the screenwriter’s role, Dehn takes up reviewing again. Also writes well-received short films, including one about the Glyndebourne Opera. Returns to features in 1958 with script for Orders to Kill, French Resistance-set suspense film about American pilot recruited by British to kill possible Parisian double agent. Target appears kindly, gentle, harmless. Friendship develops between oblivious victim and his conflicted assassin.

  If a little centenary attention to Paul Dehn accomplishes nothing else, may it at least rescue Orders to Kill—which deservingly won the 1958 British Academy of Film and Television Arts (BAFTA) award for best screenplay—from the memory hole that’s swallowed altogether too many fine midcentury British genre pictures. Sending filmgoers back to familiar movies with fresh eyes is a mitzvah, of course. Even more satisfying is to spotlight rarities like this that no one has looked at carefully in years. So it is with this slow-starting, screw-turning, ultimately quite moving thriller, directed by Anthony Asquith, the man to whom Dehn’s 1956 oddments collection For Love and Money is dedicated.
  
  Aside from the sheer excellence of its craftsmanship, Orders to Kill rehearses themes that haunted Dehn his entire career. In Seven Days to Noon, he’s already introduced one idea that will preoccupy him from first film to last: the slaughter of innocents. In that film, Willingdon threatens to incinerate all of London, young and old, the blameless with the guilty. By the end, the potential toll of the suitcase bomb has shrunk to a few military men—and Willingdon himself. For Willingdon is the last innocent—a meek, mild man constitutionally unable to hear out the violent bluster of a stranger in a pub, yet prepared to destroy an entire city to save the world from science gone mad. His ambivalence becomes our own: We want London saved, but do we want him dead? We sympathize with his mission even as we deplore his methods. When the bomb is ultimately defused, we share his disappointment as much as his pursuers’ relief. A moment later, Willingdon’s death outside the church comes as a martyrdom.
  
  Similarly, the suspected double agent in Orders to Kill earns our sympathy long before his innocence is finally proven. Like Willingdon, he’s a milquetoast, an easy mark for stray kittens and lost souls—even the one who will ultimately kill him. His cat, and the floozy’s dog in Seven Days to Noon who sniffs at Willingdon’s mysterious parcel, echo and reinforce their masters’ guilelessness. War kills the complicit and the pure alike, as Dehn must have learned in his war work. To judge by his later scripts, no amount of writing about it would ever put this guilt fully to bed.

  1959–1964: Maintains steady work as film critic. Writes Quake, Quake, Quake in 1961, a miscellany of familiar comic verse, all rewritten to incorporate Sputnik-era subject matter and antinuclear politics. Sample stanza: “Hey diddle diddle, / The physicists fiddle, / The Bleep jumped over the moon. / The little dog laughed to see such fun / And died the following June.” Gives up reviewing in 1963 to become full-time screenwriter. Adapts Ian Fleming’s James Bond novel Goldfinger in 1964. Story concerns master criminal’s plot to irradiate America’s gold supply and increase value of own holdings. Goldfinger thwarted when Bond penetrates Fort Knox depository and helps defuse warhead with seconds remaining.

  Goldfinger is the most famous script Dehn ever worked on, and success never wants for paternity claims. His cowriter Richard Maibaum, who later became for James Bond what Dehn would become for the Apes films—the go-to writer and sheepish keeper of the franchise flame—claimed authorship of Goldfinger’s first and last drafts, with Dehn coming on in between. Film is “a composite work of art,” as Dehn the critic knew long before he ever set his tab stops at screenplay width. If we risk praising Dehn for any of Maibaum’s work, it’s no greater risk than too many film critics court every day by crediting a director with just about everything.
  
  The scene in Goldfinger we can most confidently ascribe to Dehn is, of course, the climax he pioneered a decade earlier in Seven Days to Noon. Even if Maibaum had written it, consciously or not he pinched the idea from Dehn. It may be hard nowadays to conceive of the climactic bomb-defusal countdown as one man’s invention, rather than part of our archetypal collective unconscious. But Dehn got there first in Seven Days to Noon, when the Cold War was young, and in Goldfinger he may just have done it best.
  
  At least two moments distinguish the Goldfinger countdown from all the rest. First, it may be the first scene in the Bond series in which 007 is overmatched. He’s arm-deep in the bomb’s guts—and he doesn’t know what he’s doing. Whether contemporary audiences realized it or not, the subtext here is most assuredly the fear of firepower that even 007 can’t save us from. As Connery plays it, Bond is on the verge of yanking a wire at random and hoping for the best—when a trusty nuclear scientist mercifully intervenes and neutralizes the bomb in seconds. “What kept you?” Bond asks. Even today, after half a century of hollow promises and unsecured plutonium, what’s keeping our deliverer now?

  1965–1969: Dehn adapts The Spy Who Came in from the Cold, The Deadly Affair (AKA Call for the Dead), from novels by John le Carré. Also two agreeably overproduced international coproductions, The Taming of the Shrew and The Night of the Generals.

  After Goldfinger, it took Dehn’s two le Carré adaptations to make the screen safe for espionage without lasers or martinis. As Dehn admits, “I am one of those writers who like darting about from one type of film to another. And when I’d collaborated on Goldfinger, I wanted to do a truthful spy story instead of a fantastic one, which is why I did The Spy Who Came in from the Cold and The Deadly Affair.”

  Le Carré himself deserves the laurels for Richard Burton’s great self-loathing monologues against idealism—Marxist and otherwise—in The Spy Who Came in from The Cold. But Dehn’s deft streamlining and word-pictures, filtered through Oswald Morris’s cinematography and Martin Ritt’s direction, help make those speeches play.
  
  There’s more to a script than dialogue, or Dehn’s later script for The Taming of the Shrew wouldn’t have required even a bad writer’s screenwriting services, let alone a great one’s. As Dehn himself said, “It isn’t just a question, as so many people think it is, of writing the dialogue. Some writers, myself included, go into great detail, and they have a strange physical sense, and they see that film on the wall and write down what they see.”
  
  Dehn also warrants credit for a mental image that sticks with a viewer, long after those soliloquies have left behind no residue but a willingness to hear Burton speak them again and again. I’m referring to all those small mounted animal heads in the courtroom at the final East German show trial, peering down at defense and prosecution alike. The long tribunal twists to its surprising end, unforgettably, under the specter of this profligate sacrifice of life.
  
  Animals meant the world to Dehn. He kept cats and watched birds, and composed the rhyming text for Cat’s Whiskers, an entire book of feline photography. As he once wrote, “My hobby is birdwatching: partly because sunlight and fresh air are more than normally vital to a film-critic who spends three weeks of the year’s daylight in the almost total darkness of a cinema.”
  
  If only film retrospectives would recapitulate a writer’s career every so often, recurrent Dehn subthemes—like this identification of animals with vulnerability—would unfailingly shine out. One can’t look back over Dehn’s career without noting a virtual arkful of innocuous fauna. The inquisitive dog in Seven Days to Noon, the contraband cat in Orders to Kill, Goldfinger’s stud horse—“Certainly better bred than the owner,” Bond muses—all testify to his benign preference for animal company over the human kind. Dehn later breathed fresh life into the Planet of the Apes films by focusing not on the humans, but on the chimpanzees.

  1970–1973: Writes or cowrites four Apes sequels in as many years. A true rarity: the non-horror studio film series in which every picture’s ending is bleak.

  The Apes sequels differ from their precursors in Dehn’s filmography chiefly by not being very good. Centenary or no centenary, nobody gets away with a speech like “You’re the beast in us that we have to whip into submission. You’re the savage that we need to shackle in chains.” That’s from his script for Conquest of the Planet of the Apes. If screenwriters are the true authors of their films (a case I tried to make in The Schreiber Theory [2006]), then they write the bad ones along with the good.
  
  Yet even a good screenwriter’s creatively unsuccessful films are interesting in the context of a career, and Dehn’s Apes scripts are nothing if not interesting. Beneath the Planet of the Apes may be a meddled-with, muddled, mediocre movie, but it’s saved by one great visual idea—a realistic portrait of New York as a sunless, corroded, post-apocalyptic hell, overrun by mutants—and a wryly remorseless ending. For the classic Dehn threat of wholesale slaughter, it’s hard to top Beneath the Planet of the Apes, in which a “cobalt bomb” carries off the entire world. The final title card breaks the news to us with sadistic understatement, especially for any viewers unlucky enough to be impressionable children at the time: “In one of the countless billions of galaxies in the universe lies a medium-sized star, and one of its satellites, a green and insignificant planet, is now dead.”
  
  Dehn originally fought this finale, which Charlton Heston pumped for in order to kill off the series for good, but ultimately Dehn submitted to it in high style. He was rightly anticipating the quandary he would face if Twentieth Century Fox commissioned another sequel after all—a dilemma he wound up solving, in Escape from the Planet of the Apes, through a characteristically ingenious time-travel kludge.

  1974: Adapts Agatha’s Christie’s Murder on the Orient Express, to great acclaim. Story finds detective Hercule Poirot aboard snowbound train, with sleeping car full of likely suspects in murder of industrialist implicated in Lindbergh-like kidnapping. Christie pronounces it best film from her work to date.

  Dehn began his career with the Oscar for Seven Days to Noon, and rounded it off with a nomination for Murder on the Orient Express. (Already ill with cancer, he lost to The Godfather, Part II.) Murder stands among his best work, not least for its use of humor and dramatic tension to distract from the original’s simultaneous predictability and outlandishness. How Dehn keeps viewers guessing as to which of the twelve other passengers has given the murder victim twelve stab wounds—why, whatever could that mean?—is itself a mystery.
  
  Save The Taming of the Shrew, Dehn never wrote a script that did not begin or end in death. His own came at sixty-three, likely the result of a lifelong cigarette habit. In the work of a writer as war-scarred as Dehn, death is rarely solitary. In Seven Days to Noon, he imperiled an entire city; in Goldfinger, half of Kentucky. In The Night of the Generals, Peter O’Toole orders the massacre of the surviving population of the Warsaw Ghetto. The “holy fallout” in Beneath the Planet of the Apes takes the whole planet with it. Meanwhile, Dehn’s own death, in 1976, met with scarcely more commemoration than his centenary this year.
  
  So who really misses Paul Dehn after a hundred years? Besides John le Carré, that is, and Dehn’s niece, the poet Jehane Markham, who remembers him “as a dear friend as well as top notch uncle”? Perhaps no one.
  
  There’s just one hitch. By end of next year, the same centennial odometer will turn over on the screenwriters of High Noon, Midnight Cowboy, The Defiant Ones, Salt of the Earth, and On the Waterfront—four blacklistees and one informer, all heroically gifted, each tragically either silenced, compromised, or redeemed. Will their fascinating careers share the Dehn curse of asterisked obscurity?
  
  It’s up to us. Think of a dead screenwriter’s reputation like an early silver nitrate print of a classic movie. It degrades, over time, into dust. But once touched with sunlight, it might yet flare into incandescence—and send all our prized assumptions about film authorship up in smoke. 

  
  Paul Dehn (I) (1912–1976)
  https://www.imdb.com/name/nm0214989/?ref_=nv_sr_1?ref_=nv_sr_1
  
  Filmography

  Writer (20 credits)
  
  1974 Murder on the Orient Express (screenplay by)
  1973 Battle for the Planet of the Apes (story)
  1972 Conquest of the Planet of the Apes (written by)
  1971 Escape from the Planet of the Apes (written by)
  1970 Fragment of Fear (screenplay)
  1970 Beneath the Planet of the Apes (screenplay) / (story)
  1970 Music on 2 (TV Series) (libretto - 1 episode)
  - The Bear (1970) ... (libretto)
  
  1968 Beryl Reid Says Good Evening (TV Series) (additional material - 1 episode)
  - Episode #1.3 (1968) ... (additional material)
  1967 Before the Fringe (TV Series) (1 episode)
  - Episode #2.1 (1967)
  1967 The Taming of the Shrew (screen play by)
  1967 The Night of the Generals (adapted for the screen by) / (additional dialogue)
  1967 The Deadly Affair (screenplay)
  1965 The Spy Who Came In from the Cold (screenplay)
  1964 Goldfinger (screenplay)
  1960 A Place for Gold (Documentary short) (commentary writer)
  1960 ITV Play of the Week (TV Series) (adaptation - 1 episode)
  - A Woman of No Importance (1960) ... (adaptation)
  
  1958 Orders to Kill (screenplay)
  1956 On Such a Night (Short) (screenplay)
  1951 Waters of Time (Documentary short)
  1950 Seven Days to Noon (original story)
  
  Music department (2 credits)
  
  1955 I Am a Camera (English lyric by)
  1952 Moulin Rouge (lyrics adaptd by)
  
  Producer (1 credit)
  
  1970 Fragment of Fear (associate producer)
  
  Soundtrack (1 credit)
  
  1961 The Innocents ("O Willow Waly")

  
  
  
  

  
  1989: 007 消されたライセンス (Kesa reta raisensu, Licence Expired) released in Japan.

  
  
  
  

  
  1991: James Bond Jr. in syndication releases episode 11 of 65 - "Valley of the Hungry Dunes" at Al-Khaline (in the Middle East).

  

  

  James Bond Jr - Valley of the Hungry Dunes

  Season 1 - Episode 11
  https://www.imdb.com/title/tt0807129/?ref_=ttep_ep11

  After rescuing the daughter of Sheikh Yabootie, Bond and his friends are invited to his royal palace, where they discover Dr. No's sinister plot to steal all the water supply of the middle east.

  James Bond Jr Episode 11 - Valley of the Hungry Dunes
  

  
  
  
  
  
  
  
  
  
  
  

  
  
  
• RichardTheBruce I'm motivated by my Duty.

  3:59am edited 4:03am Posts: 14,758

  2008: "Another Way to Die" released as a single in the US.

  US 7" vinyl, Third Man Records
  
  45 rpm
  
  
  

  
  2013: William Boyd's Bond novel Solo begins a 10-episode run on Books at Bedtime. BBC Radio 4. Read by Paterson Joseph, adapted by Libby Spurrier.
  
  2021: No Time To Die release in the UK, Denmark, Finland, Cyprus, Greece, Indonesia, Ireland, Israel, India, Italy, Cambodia, Malaysia, Netherlands, Sweden, Singapore, Thailand.

  

  
  2021: Sem Tempo Para Morrer release in Brazil.

  
  
  

  2021: 007: Sem Tempo Para Morrer release in Portugal.

  
  

  2021: Sin Tiempo Para Morir release in Chile, Mexico, Argentina, Colombia.

  
  

  
  2021: Keine Zeit zu sterben release in Germany.

  
  
  
  

  2021: James Bond 007 - Keine Zeit zu Sterben release in Austria.

  
  

  
  2021: 007：生死有時 (007: Life and death time) release in Hong Kong.

  

  
  2021: Не время умирать release in Russia.

  
  

  2021: 007: Не час помирати (007: Do not forget the time) release in Ukraine.

  
  

  2021: Није време за умирање (It's not time to die) release in Serbia.

  

  
  2021: Za smrt nema vremena (There is no time for death) release in Croatia.

  
  

  2021: Není čas zemřít release in Czechia.

  
  
  
  

  2021: Ni čas za smrt release in Slovenia.

  

  2021: Nie je čas zomrieť release in Slovakia.

  
  
  

  2021: Nincs idő meghalni release in Hungary.

  
  
  

  
  
• RichardTheBruce I'm motivated by my Duty.

  6:20pm Posts: 14,758

  October 1st
  
  1903: Richard Loo is born--Maui, Hawaii.
  (He dies 30 November 1983 at age 80--Los Angeles, California.)

  

  RICHARD LOO,
  ACTOR 5 DECADES

  See the complete article here:
  

  https://www.nytimes.com/1983/11/22/obituaries/richard-loo-actor-5-decades.html

  Nov. 22, 1983
  
  Richard Loo, a Chinese-American actor best known for his many portrayals of Japanese villains in World War II movies, died in Los Angeles on Sunday night at the age of 80.
  
  Mr. Loo, who was born in Maui, Hawaii, appeared in nearly 150 films over the course of almost 50 years in the movie business. ''He was known as the man who died to make a living,'' said his daughter Beverly Jane Loo.
  
  ''He was always either stabbing himself or committing hara-kiri or kamikaze,'' she said. ''He always played the big honcho who was really going to make life tough for the Americans, the really nasty Japanese general or colonel who ended up killing himself as a point of honor because he never got the best of the Americans.''
  
  Among Mr. Loo's movies were ''The Purple Heart,'' ''God Is My Co-pilot,'' ''Story of Dr. Wessell,'' ''Keys of the Kingdom,'' ''The Good Earth,'' ''The Bitter Tea of General Yen,'' and ''Back to Bataan.''
  
  In later years, he frequently appeared on television, and was featured in the ''Kung Fu'' television series. He was also the subject of impersonation by others; during his own television heyday, Dick Cavett was fond of doing Richard Loo imitations, particularly a scene from ''Purple Heart'' in which Mr. Loo, as a Japanese general, interrogated American fliers shot down in a raid over Tokyo.
  
  According to Miss Loo, Mr. Loo did not mind the typecasting that dominated his career. ''He felt very patriotic about being in those movies,'' she said.

  Mr. Loo's last film was a 1974 James Bond movie called ''The Man With the Golden Gun,'' in which he played a Chinese capitalist who financed the villain.

  He is survived by his wife, Hope; two daughters, Beverly Jane, the head of Beverly Jane Loo Associates, a New York book publishing company, and Angela Levy of Los Angeles, and one grandchild. His former wife, Bessie Loo, served as his agent and maintains her own talent agency, Bessie S. Loo Associates, in Los Angeles.

  
  Richard Loo (I) (1903–1983)
  https://www.imdb.com/name/nm0519618/?ref_=nv_sr_1?ref_=nv_sr_1
  
  Filmography

  Actor (172 credits)
  
  1981 The Incredible Hulk (TV Series) -Kam Chong
  - East Winds (1981) ... Kam Chong
  
  1977 The Hardy Boys/Nancy Drew Mysteries (TV Series) - Chen Lee
  - The Secret of the Jade Kwan Yin (1977) ... Chen Lee
  1977 Police Story (TV Series) - Eddie Lee
  - The Blue Fog (1977) ... Eddie Lee
  1976 The Quest (TV Series) - Dr. Li Po
  - Welcome to America, Jade Snow (1976) ... Dr. Li Po
  1976 Collision Course: Truman vs. MacArthur (TV Movie) - Chiang-Kai-Shek
  1974 The Man with the Golden Gun - Hai Fat
  1972-1974 Kung Fu (TV Series) - Master Sun / Ho Fai, The Weapons Master / Wu Chang / ...
  - Besieged: Cannon at the Gates (1974) ... Master Sun
  - The Devil's Champion (1974) ... Ho Fai, The Weapons Master
  - Arrogant Dragon (1974) ... Wu Chang
  - The Tong (1973) ... Chen
  - Blood Brother (1973) ... Master Sun
  1974 Owen Marshall, Counselor at Law (TV Series) - Tanaka
  - The Attacker (1974) ... Tanaka
  1973 McCloud (TV Series) - Y.S. Chen
  - The Solid Gold Swingers (1973) ... Y.S. Chen (uncredited)
  1973 Ironside (TV Series) - Lin Chu Tai
  - In the Forests of the Night (1973) ... Lin Chu Tai
  1972 The Delphi Bureau (TV Series) - Shen Si
  - The Deadly Little Errand (1972) ... Shen Si
  1972 The Sixth Sense (TV Series) - Matsuo
  - With This Ring, I Thee Kill! (1972) ... Matsuo
  1971 Chandler - Leo
  1971 One More Train to Rob - Mr. Chang
  1970 Which Way to the Front? - Japanese Naval Officer (uncredited)
  1970 One More Time (uncredited)
  1968-1970 It Takes a Thief (TV Series) - Wong / Dr. Langpoor / Clown
  - Project "X" (1970) ... Wong
  - Payoff in the Piazza (1969) ... Dr. Langpoor
  - A Case of Red Turnips (1968) ... Clown
  1970 Bewitched (TV Series) - Mr. Tanaka
  - Samantha's Better Halves (1970) ... Mr. Tanaka
  
  1969 Here Come the Brides (TV Series) - Chi Pei
  - Marriage, Chinese Style (1969) ... Chi Pei
  1969 Marcus Welby, M.D. (TV Series) - Kenji Yamashita
  - A Matter of Humanities (1969) ... Kenji Yamashita
  1968 Hawaii Five-O (TV Series) - Wong Tou
  - Twenty-Four Karat Kill (1968) ... Wong Tou
  1967 My Three Sons (TV Series) - Mr. Chang
  - Weekend in Paradise (1967) ... Mr. Chang
  1967 Family Affair (TV Series) - Mr. Chen
  - The Mother Tongue (1967) ... Mr. Chen
  1966 The Sand Pebbles - Major Chin
  1966 The Man from U.N.C.L.E. (TV Series) - Dr. Yahama
  - The Indian Affairs Affair (1966) ... Dr. Yahama
  1966 I Dream of Jeannie (TV Series) - Wong
  - Jeannie and the Kidnap Caper (1966) ... Wong
  1966 The Wild Wild West (TV Series) - Wang Chung
  - The Night the Dragon Screamed (1966) ... Wang Chung
  1966 The Wackiest Ship in the Army (TV Series) - Admiral Osuma
  - The Lamb Who Hunted Wolves: Part 2 (1966) ... Admiral Osuma
  - The Lamb Who Hunted Wolves: Part 1 (1966) ... Admiral Osuma
  1965 Burke's Law (TV Series) - Grass Slipper
  - Deadlier Than the Male (1965) ... Grass Slipper
  1965 Voyage to the Bottom of the Sea (TV Series) - Li Tung
  - Time Bomb (1965) ... Li Tung
  1965 Honey West (TV Series) - Tog - Chinese Fine Arts Thief
  - The Owl and the Eye (1965) ... Tog - Chinese Fine Arts Thief
  1965 I Spy (TV Series) - Mr. Tsung
  - So Long, Patrick Henry (1965) ... Mr. Tsung
  1963 Perry Mason (TV Series) - Mr. Eng
  - The Case of the Floating Stones (1963) ... Mr. Eng
  1963 Wagon Train (TV Series) - Liu Yang
  - The Widow O'Rourke Story (1963) ... Liu Yang
  1963 The Outer Limits (TV Series) - Li-Chin Sung
  - The Hundred Days of the Dragon (1963) ... Li-Chin Sung
  1963 The Dakotas (TV Series) - George Yang
  - The Chooser of the Slain (1963) ... George Yang
  1963 Hawaiian Eye (TV Series) - C.K. Yang
  - Two Too Many (1963) ... C.K. Yang
  1962 The Red Uncle (Short)
  1962 A Girl Named Tamiko - Otani
  1962 Diamond Head - Yamagata (uncredited)
  1962 Sam Benedict (TV Series) - Andrew Ling
  - So Various, So Beautiful (1962) ... Andrew Ling
  1962 Confessions of an Opium Eater - George Wah
  1962 The Beachcomber (TV Series) - Ah Wei
  - Charlie Six Kids (1962) ... Ah Wei
  1961 Espionage: Far East
  1961 Bonanza (TV Series) - General Mu Tsung
  - Day of the Dragon (1961) ... General Mu Tsung
  1961 7 Women from Hell - Sgt. Takahashi
  1961 Follow the Sun (TV Series) - District Attorney
  - The Woman Who Never Was (1961) ... District Attorney
  1961 Maverick (TV Series) - Lee Hong Chang
  - The Golden Fleecing (1961) ... Lee Hong Chang
  1960-1961 Hong Kong (TV Series) - Chung / Low
  - Suitable for Framing (1961) ... Chung
  - The Jade Empress (1960) ... Low
  
  1959 The Scavengers
  1958 Hong Kong Affair - Li Noon
  1958 The Quiet American - Mr. Heng
  1958 Tombstone Territory (TV Series) - Quong Key
  - Tong War (1958) ... Quong Key
  1957 Battle Hymn - Gen. Kim (scenes deleted)
  1956 Around the World in 80 Days - Hong Kong Saloon Manager (uncredited)
  1955-1956 TV Reader's Digest (TV Series) - Lew Gar Mun / Officer
  - The Smuggler (1956) ... Lew Gar Mun
  - The Brainwashing of John Hayes (1955) ... Officer
  1954-1956 Cavalcade of America (TV Series) - Ho Chung
  - Diplomatic Outpost (1956) ... Ho Chung
  - Ordeal in Burma (1954)
  1956 Four Star Playhouse (TV Series) - Jo-Kai
  - Wall of Bamboo (1956) ... Jo-Kai
  1956 The Man Called X (TV Series) -
  - Assassination (1956)
  1956 The Conqueror - Captain of Wang's Guard
  1956 Crossroads (TV Series) - Colonel
  - Calvary in China (1956) ... Colonel
  1956 Navy Log (TV Series) - General Hashimoto
  - Dr. Van (1956) ... General Hashimoto
  1955 Love Is a Many-Splendored Thing - Robert Hung
  1955 House of Bamboo - Inspector Kito's Voice (voice, uncredited)
  1955 Soldier of Fortune - Gen. Po Lin
  1954 The Bamboo Prison - Commandant Hsai Tung
  1954 My Little Margie (TV Series) - Mr. Tang
  - San Francisco Story (1954) ... Mr. Tang
  1954 December Bride (TV Series)
  - The Chinese Dinner (1954)
  1954 The Shanghai Story - Junior Officer
  1954 Living It Up - Dr. Lee
  1954 Hell and High Water - Hakada Fujimori
  1953 China Venture -0 Chang Sung
  1953 Fireside Theatre (TV Series) - Major Chang
  - The Traitor (1953) ... Major Chang
  - I Cover Korea (1953)
  1953 Summer Theatre (TV Series)
  - Foo Young (1953)
  1953 Mr. & Mrs. North (TV Series) - John Wing
  - Jade Dragon (1953) ... John Wing
  1953 Destination Gobi - Commanding Officer, Japanese POW Camp (uncredited)
  1953 Target Hong Kong - Fu Chao
  1952 5 Fingers - Japanese Ambassador (uncredited)
  1951 I Was an American Spy - Col. Masamato
  1951 Operation Pacific - Japanese Fighter Pilot (uncredited)
  1951 Chinatown Chump (Short) - Chinese Counterfeiter
  1951 The Steel Helmet - Sgt. Tanaka
  
  1949 Malaya - Colonel Genichi Tomura
  1949 The Clay Pigeon - Ken Tokoyama - aka The Weasel
  1949 State Department: File 649 - Marshal Yun Usu
  1948 Rogues' Regiment - Kao Pang
  1948 The Golden Eye - Undetermined Secondary Role (scenes deleted)
  1948 The Cobra Strikes - Hyder Ali
  1948 Half Past Midnight - Lee Gow
  1948 To the Ends of the Earth - Commissioner Lu (uncredited)
  1948 Women in the Night - Col. Noyama
  1947 Beyond Our Own - James Wong
  1947 Web of Danger - Wing
  1947 Seven Were Saved - Colonel Yamura
  1947 The Beginning or the End - Japanese Officer (uncredited)
  1946 Tokyo Rose - Colonel Suzuki
  1945 Prison Ship - Capt. Osikawa
  1945 First Yank Into Tokyo - Col. Hideko Okanura
  1945 Back to Bataan - Maj. Hasko
  1945 China's Little Devils - Colonel Huraji
  1945 China Sky - Col. Yasuda
  1945 God Is My Co-Pilot - Tokyo Joe
  1945 Betrayal from the East - Lt. Cmdr. Miyazaki, alias Tani
  1944 The Keys of the Kingdom - Lt. Shon
  1944 The Story of Dr. Wassell - Chinese Doctor on Train (uncredited)
  1944 The Purple Heart - General Ito Mitsubi
  1943 Rookies in Burma - Colonel Matsuda (uncredited)
  1943 Jack London - Japanese Ambassador (uncredited)
  1943 So Proudly We Hail! - Japanese Radio Announcer (voice, uncredited)
  1943 Destroyer - Japanese Submarine Commander (uncredited)
  1943 Behind the Rising Sun - Japanese Officer Dispensing Opium (uncredited)
  1943 Yanks Ahoy - Japanese Submarine Officer (uncredited)
  1943 China - Lin Yun
  1943 The Falcon Strikes Back - Jerry
  1943 The Amazing Mrs. Holliday - General Chan (uncredited)
  1943 Flight for Freedom - Mr. Yokahata (uncredited)
  1943 City Without Men - Japanese Spy (uncredited)
  1942 Star Spangled Rhythm - Emperor Hirohito - 'Sweater, Sarong & Peekaboo Bang' Number (uncredited)
  1942 Road to Morocco - Chinese Announcer (uncredited)
  1942 Flying Tigers - Dr. Tsing (uncredited)
  1942 Manila Calling - Filipino (uncredited)
  1942 Across the Pacific - First Officer Miyuma
  1942 Wake Island - Mr. Saburo Kurusu (uncredited)
  1942 Little Tokyo, U.S.A. - Oshima
  1942 Bombs Over Burma - Japanese Colonel
  1942 Submarine Raider - Chauffeur Suji (uncredited)
  1942 Remember Pearl Harbor - Mandolin-Playing Japanese Radioman (uncredited)
  1942 A Yank on the Burma Road - Commandant (uncredited)
  1941 Secret of the Wastelands - Quan
  1941 They Met in Bombay - Japanese Officer (uncredited)
  1941 Ellery Queen's Penthouse Mystery - Henchman (uncredited)
  1940 Doomed to Die - Tong Leader
  1940 The Fatal Hour - Jeweler
  
  1939 Barricade - Colonel Commander of Rescue Party (uncredited)
  1939 Daughter of the Tong - Wong - Hotel Clerk
  1939 Island of Lost Men - Gen. Ahn Ling
  1939 Lady of the Tropics - Delaroch's Chauffeur (uncredited)
  1939 Miracles for Sale - Chinese Soldier in Demo (uncredited)
  1939 Mr. Wong in Chinatown - Tong Chief
  1939 Panama Patrol - Tommy Young
  1939 Torchy Blane in Chinatown - Masked Chinese Hood (uncredited)
  1939 North of Shanghai - Jed's Pilot
  1938 Shadows Over Shanghai - Fong
  1938 Too Hot to Handle - Charlie (uncredited)
  1938 Blondes at Work - Sam Wong (uncredited)
  1937 Thank You, Mr. Moto - Cop at Shooting Site (uncredited)
  1937 West of Shanghai - Mr. Cheng
  1937 That Certain Woman - Elevator Operator (uncredited)
  1937 Outlaws of the Orient - The General (uncredited)
  1937 The Singing Marine - Shanghai Hotel Official (uncredited)
  1937 The Soldier and the Lady - Tartar (uncredited)
  1937 China Passage - Lia Sen's Husband (voice, uncredited)
  1937 Lost Horizon - Shanghai Airport Official (uncredited)
  1937 The Good Earth - Chinese Farmer (uncredited)
  1936 After the Thin Man - Lichee Club Headwaiter (uncredited)
  1936 Stowaway - Chinese Merchant (uncredited)
  1936 Mad Holiday - Li Yat (uncredited)
  1936/II Shadow of Chinatown - Chinese Man on Street (uncredited)
  1936/I Shadow of Chinatown - Loo, Chinese Man on Street [Chs. 5-7] (uncredited)
  1936 Roaming Lady - Chinese Seaman (uncredited)
  1935 China Seas - Chinese Inspector at Gangplank (uncredited)
  1935 Captured in Chinatown - Ling Hatchet Man (uncredited)
  1935 Shadows of the Orient - Yung Yow - Chinese Henchman (uncredited)
  1935 Stranded - Chinese Groom (uncredited)
  1934 The Mysterious Mr. Wong - Bystander Outside Store (uncredited)
  1934 Limehouse Blues - Customer at Harry Young's (uncredited)
  1934 The Painted Veil - Chinese Peasant (uncredited)
  1934 Student Tour - Geisha's Customer (uncredited)
  1934 Now and Forever - Hotel Clerk (uncredited)
  1932 The Bitter Tea of General Yen - Capt. Li
  1932 The Secrets of Wu Sin - Charlie San
  1932 War Correspondent - Bandit (uncredited)

  
  Sergeant Tanaka in Sam Fuller's The Steel Helmet
  
  
  
  
  

  
  1959: Ian Fleming sends nephews Christopher, David, and Valentine Fleming ‎£100 for their 21st birthdays (late for David and Valentine). With conditions.

  "Until now I had not got enough money to get people presents
  that were really presents, but now I send each of you ‎£100 on one
  condition--that at least ‎£75 must be spent within a month on one
  single object, or two or three objects, which you would really
  like to have."

  1959: Kinematograph Weekly announces pre-production on the film project James Bond of the Secret Service, with Ian Fleming writing an original script for producer Kevin McClory. Filming planned to start February 1960.
  1959: Ian Fleming writes to Ivar Bryce about Jack Whittingham.

  

  The Battle for Bond, Robert Sellers, 2007.
  Chapter 8 - Enter Jack Whittingham

  Fleming wrote to Bryce on 1 October in
  glowing praise of the new writer: "Whittingham, whom I think I told you I
  greatly liked, is fiddling about most creatively with the story."

  
  1960: James Bond comic strip Dr. No ends its run in The Daily Express. (Started 23 May 1960. 584-697)
  John McLusky, artist. Peter O'Donnell , writer.

  
  610
  
  632
  
  
  678
  
  680
  
  
  Swedish Semic https://www.mi6-hq.com/sections/comics/semic_1973.php3?s=comics&id=01777

  Döden På Jamaica
  (Death At Jamaica- Dr No)
  

  
  Danish 1965 https://www.bond-o-rama.dk/en/jb007dk-no-4-1964/

  James Bond Agent 007 no. 4: “Dr. No” (1965)
  "Doktor No"
  
  
  

  1963: This month the New York Herald Tribune prints "Agent 007 in New York".

  https://james-bond-literary.fandom.com/wiki/007_in_New_York

  

  1964: Dr. No re-released in the UK.
  1965: From Russia With Love released in Belgium.
  1965: This month Marvel Comics introduces the character Desmond Boothroyd, S.H.I.E.L.D. Armorer.

  
  
  https://marvel.fandom.com/wiki/Desmond_Boothroyd_(Earth-616)
  
  
  Strange Tales Volume 1, #137
  
  http://www.marvunapp.com/Appendix2/boothroyd.htm

  
  1976: Moonraker films Richard Kiel as Jaws.
  
  1982: NBC-TV premieres detective show Remington Steele, starring Pierce Brosnan and Stephanie Zimbalist.

  
  

  
  
  
  

  1987: The Living Daylights released in Belgium.
  
  1991: James Bond Jr. in syndication releases episode 12 of 65 "Pompei and Circumstance" in Italy.

  

  

  James Bond Jr - Pompeii and Circumstance
  Season 1 - Episode 12

  https://www.imdb.com/title/tt0807114/?ref_=ttep_ep12
  

  The Worm's plan to ransack the ancient treasury temple of Pompeii spells disaster for the city above.

  Directed by Bill Hutten, Tony Love
  Writing Credits (in alphabetical order)
  Andy Heyward ... (developer)
  Robby London ... (developer) (as Robbie London)
  Jeffrey Scott ... (writer)
  Michael G. Wilson ... (developer)
  
  Cast (in credits order)
  Jeff Bennett ... Horace 'IQ' Boothroyd (voice)
  Corey Burton ... James Bond Jr. (voice)
  Julian Holloway ... Mr.Bradford Milbanks (voice)
  Mona Marshall ... Tracy Milbanks (voice)
  Alan Oppenheimer ... Cricket (voice)
  Jan Rabson ... Gordon 'Gordo' Leiter / The Worm / Slug (voice)
  Susan Silo ... Phoebe Farragut (voice)
  Kath Soucie ... Luisa (voice)
  Simon Templeman ... Trevor Noseworthy IV (voice)
  Rest of cast listed alphabetically:
  Mari Devon ... (voice)
  

  
  James Bond Jr Episode 12 Pompei and Circumstance
  
  

  
  
  
  

  
  1992: This month Marvel comics releases James Bond Jr #10 Friends Like These", featuring Dr. Derange.

  
  James Bond Jr #10 "Friends Like These"
  https://comicvine.gamespot.com/james-bond-jr-10-friends-like-these/4000-36306/user-reviews/

  

  
  James Bond Jr Issue 10 Friends Like These
  http://readallcomics.com/james-bond-jr-010/

  

  1993: Original release month for the cancelled Dark Horse comic James Bond 007: A Silent Armageddon #4.
  John M. Burn, artist. Simon Jowett, writer.

  https://www.mi6-hq.com/sections/comics/asa.php3

  
  

  A Silent
  Armageddon -
  Unreleased Issue
  Synopses and
  Artwork

  https://www.comicsroyale.com/goldeneyetopps-comics#/a-silent-armageddon/

  Simon Jowett’s Bond story was never completed which is a shame because it’s an interesting tale with beautiful painted artwork by John M. Burns, but delays in said artwork meant that readers were left with a cliffhanger and a story was lost to the ether.
  
  According to Jowett, issue #3 was completed, artwork and all, and submitted but never saw publication. If you have information or access to this comic then we Bond fans would love to see it so feel free to contact me!
  
  In this gallery you’ll find issue synopses for the unfinished arc and cover artwork tests by the very talented Burns. And although issue #3 is still a mystery, thanks to friend of the site Colin Brown we have pencils and layouts for the unpublished issue #4!
  
  For more Bond action by Jowett, you can track down the thankfully completed two-issue series James Bond 007: Shattered Helix, featuring art by David Jackson and David Lloyd. For more fine artwork by John Burns, check out the John M. Burns Art Facebook page!
  https://www.facebook.com/groups/578915125862920/

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  2012: Adele is confirmed as the singer of the title song "Skyfall".
  2015: Sony's Made for Bond advertisement with Moneypenny and the Xperia Z5 premieres in the UK.

  
  

  
  
  
  
  

  
  2020: Video of the title theme "No Time To Die" sung by Billie Eilish released.

  Billie Eilish - No Time To Die (Official Music Video) (3:59)