Film Review
And so began the most successful and longest running film series in
history. No one, not even the film's producers Harry Saltzman and
Albert R. Broccoli, could have foreseen the popularity of the James
Bond films, which they unleashed on an unsuspecting audience in 1962
with this first entry, a stylish albeit pretty routine adaptation of an
Ian Fleming novel. Despite being made on a tight budget (a
shoestring compared with what was spent on the later films),
Dr No was an instant hit, not the
box office triumph that was customary for the subsequent Bond
films, but enough of a success to warrant at least a handful of follow
ups. Welcome to the movies, Mr Bond.
Dr No made an instant star of
the virtually unknown Scottish actor Sean Connery, whose charisma, dry
wit, understated machismo and obvious sex appeal made him ideal for the
part of Agent 007. In the space of just five films, Connery would
make the character his own, and many would argue that he is the only
true James Bond, the many actors
who succeeded him being mere impersonators. Certainly, no one
delivers the line 'Bond, James Bond' quite like Connery, and it is a
testament to his acting prowess that he was able to pursue a successful
career after the Bond movies, and yet still be so closely associated
with them.
Less stylised and gimmicky, and somewhat more sober, than what was to
follow,
Dr No is the Bond
film that is perhaps closest to Fleming's original novel.
Although Connery's 007 is not quite the misogynistic gun-toting sadist
that the writer had envisaged, he is much rougher round the edges and a
far more mercurial character than his future incarnations, far more of
a maverick anti-hero. The one constant across the series is
Bond's seemingly insatiable appetite for beautiful young women, which
is met in this film by a ravishing Ursula Andress. Gulp.
Dr No introduces much of the
series' famous iconography - the gun barrel opening titles, the sexy
Bond girl, expansive sci-fi fantasy sets, exotic locations, a
disfigured criminal mastermind, 007's flirtations with Miss Moneypenny,
the agent's trusty Walther PPK and, most crucially, Monty Norman's
eternal
Bond theme.
This may not be the best in the series -
From Russia with Love (1963)
and
Goldfinger (1964)
alone deserve that accolade - but it was an admirable
start, made at a time when the British film industry (propped up
by Hollywood finance) appeared to be at its coolest and most
self-assured - qualities that would infect all of the early Bond films and
ensured their longevity. Now hand me a vodka martini, shaken not stirred...
© James Travers 2009
The above content is owned by filmsdefrance.com and must not be copied.
Next Terence Young film:
From Russia with Love (1963)
Film Synopsis
When John Strangways, a British intelligence operative, goes missing in
Jamaica, MI6 agent James Bond is sent to investigate. According
to Bond's CIA opposite number, Felix Leiter, Strangways's disappearance
may be linked to attempts to disrupt rocket launches at Cape Canaveral
with radio beams. Before he went missing, Strangways had been
collecting rock samples on Crab Key, an island which belongs to the
reclusive ore refiner Dr No. Convinced that the island holds the
key to the mystery, Bond goes there one evening with Strangways's
fishing guide, Quarrel. He finds far more than he bargained for:
a beautiful beachcomber, a fire-breathing dragon, and a megalomaniac
Oriental belonging to the crime consortium SPECTRE...
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.