Issue #54 of Cinema Retro has now shipped to subscribers worldwide. There was a delay in the mailings to North and South America and Asia due to a snafu in the distribution and importation process which we had no control over. We apologize for any inconvenience.
This the last issue of this season. If you order Season 18 now, you will receive all three copies for 2022 (issues #52, 53 and 54).
Thanks for all of our subscribers who are renewing for Season 19. If you would care to do so and receive all three issues for 2023, please click here.
Highlights of issue #54 include:
Mike Siegel reveals his involvement in the restoration of lost footage for the Blu-ray releases of Sam Peckinpah's "Convoy" and "The Osterman Weekend".
Mark Mawston presents part 2 of his exclusive interview with John Leyton about co-starring with Frank Sinatra in "Von Ryan's Express".
Nicholas Anez revisits director Richard Lester's "Robin and Marian" starring Sean Connery, Audrey Hepburn and Robert Shaw.
Simon Lewis explores the endless trials in bringing the WWII epic "Tora! Tora! Tora!" to the big screen.
Gareth Owen celebrates the 60th anniversary of the James Bond films with behind-the-scenes stories, events and rare photos from Pinewood Studios.
Hank Reineke looks back on "The Last Man on Earth" starring Vincent Price.
Plus columns by Raymond Benson, Darren Allison and Brian Hannan.
The James Bond web site MI6-HQ.com provides full coverage of last weekend's "60 Years of Bond" event held at Pinewood Studios. The sold-out event was planned and hosted by Cinema Retro's own Gareth Owen of Bondstars.com and featured many dignitaries from the Bond series. CR's Dave Worrall led a tour of the studio grounds and contributing writer Matthew Field provides this detailed report.
Actors and directors have a long tradition of trying to pass off exotic vacations as legitimate film making. Sometimes the cynical gambit pays unexpected dividends such as the Rat Pack's decision to shoot Oceans Eleven in between their nightly gigs on stage in the Sands hotel and casino in Las Vegas. They somehow turned out a good movie in between all the drinking, screwing and gambling. John Ford rounded up his stock company and headed to Hawaii for Donovan's Reef, but even with John Wayne on board, Paramount balked at the reed-thin script and old Pappy ended up having to front some of the production costs himself. In 1990, director Michael Winner teamed two of the wittiest and most likable stars- Michael Caine and Roger Moore- for what would appear to be a "no lose" proposition: casting them in an espionage comedy. Winner was well past his sell date as a director by then and ended up reinventing himself as a grouchy political pundit and much-feared restaurant critic. Still, how could he lose by teaming Harry Palmer and James Bond? It's a rhetorical question because the resulting film, Bullseye, was considered almost unreleasable. It's one of the least-seen movies of Caine and Moore's careers and with good reason. The ridiculous plot finds the two charismatic actors cast as two low-grade London con men who become embroiled in a plot to impersonate two renegade nuclear scientists who plan to sell top secrets to dangerous foreign powers. The silliest aspect of the film is that the scientists just happen to be physically identical to the con men. Moore and Caine are subjected to a series of increasingly weird scenarios that see them running about like the Keystone Cops as any shred of sensibility in the script is tossed out the window. They are joined by B movie mainstay of the era Sally Kirkland and Moore's daughter Deborah (billed here as "Deborah Barrymore") but not even the resurrection of Marilyn Monroe's sex appeal could salvage this cinematic train wreck. Winner seems to be directing as an afterthought as he indulges in some gorgeous locations in Scotland where the on-screen antics become so confusing that you literally have no idea whether you are observing the con men or the scientists. Winner films the final scene in an exotic island location which is quite obviously an indication of his ability to actually fly everyone there simply to shoot a few seconds of inconsequential footage. Winner wrote the non-screenplay with another otherwise talented person, the great lyricist and songwriter Leslie Bricusse. The only consolation they must have had is that they had a hell of a time on location and no one saw the movie anyway.
Personal observation: In 2017, following the death of Sir Roger Moore, a suitably opulent memorial service was held for him at Pinewood Studios, arranged by his friend, personal assistant and frequent co-author, Cinema Retro's own Gareth Owen. The service reflected the man himself: it was sentimental and funny as hell. Following the memorial, there was a champagne reception in the fabled gardens area. I found myself sipping bubbly next to Sir Michael Caine. In the parlance of the Brits, he and Roger had been best mates for decades. I mentioned to him that it was a shame that the only time they had teamed on screen was for "Bullseye". Sir Michael grinned and said he and Roger referred to the film as "Our "Ishtar", a reference to the notorious flop comedy from 1987. He said they had figured out very quickly that Michael Winner wasn't interested in the film. That was evidenced by the fact that every night he would whisk his stars away for dinner at another opulent restaurant and bill the entire meal to the studio. A great time was had by all. Consequently, he said that he and Roger agreed on two things: "Bullseye" was the worst film of their careers and, paradoxically, it was the most fun they ever had on a film set.
(The film is currently streaming on Amazon Prime.)
Cinema Retro's 18th season begins with issue #52, which is now shipping worldwide.
Highlights of this issue include:
"The Sand Pebbles"- James Sherlock explores the trials and tribulations behind the filming of Robert Wise's epic film which gained Steve McQueen his only Oscar nomination.
"Dr. Syn: Alias the Scarecrow"- Dave Worrall's in-depth history of the character in film and literature, concentrating on the evolution of the Walt Disney three-part TV episodes starring Patrick McGoohan which would later emerge as a feature film.
"Tarzan's Greatest Adventure"- Nick Anez argues it's the best Tarzan film ever and his analysis might convince you to agree with him. Gordon Scott starred as the King of the Jungle and te gang of villains included young Sean Connery.
"The Pink Panther"- John LeMay presents the fascinating history behind the first film to showcase Peter Sellers as Inspector Clouseau.
"The Golden Lady"- Tim Greaves shines the spotlight on the little-seen and little-remembered spy flick that featured a female James Bond-type character- with Desmond Llewelyn in the supporting cast!
"The Bad News Bears"- Robert Leese celebrates the hit comedy with the unlikely teaming of Walter Matthau and Tatum O'Neal
"The Crimson Kimono"- Lee Pfeiffer covers director Sam Fuller's controversial and underrated crime thriller that was packed with racial conflicts.
Plus regular columns by Raymond Benson, Gareth Owen, Darren Allison and Brian Hannan.
(Please note: this issue will not be available for individual purchase until some time in January, after all subscriptions have been filled.)
Subscribe or renew your subscription to get this issue as well as issues #53 and #54 when they are printed in 2022.
If you haven't subscribed for Season 17 of Cinema Retro, here's what you've been missing:
Issue #49 (January, 2021)
Lee Pfeiffer goes undercover for Robert Vaughn's spy thriller "The Venetian Affair" .
Cai Ross goes to hell for "Damien- Omen II"
Ernie Magnotta continues our "Elvis on Film" series with "Elvis: That's the Way It Is"..
Robert Leese scare up some memories of the cult classic "Carnival of Souls"
Dave Worrall and Lee Pfeiffer look back on the 1976 Sensurround sensation "Midway"
Remembering Sir Sean Connery
James Sherlock examines Stanley Kramer's pandemic Cold War classic "On the Beach".
Dave Worrall goes in search of the Disco Volante hydrofoil from "Thunderball"
Raymond Benson's Cinema 101 column
Gareth Owen's "Pinewood Past" column
Darren Allison reviews the latest soundtrack releases
Issue #50 (May, 2021)
50th anniversary celebration of "The French Connection" : Todd Garbarini interviews director William Friedkin
"Scars of Dracula": Mark Cerulli interviews stars Jenny Hanley and Christopher Matthews
Mark Mawston interviews Luc Roeg about his father Nicholas Roeg's "Walkabout"
James Bond producer Kevin McClory-Matthew Field and Ajay Chowdhury interview his family members
John Harty pays tribute to "Young Cassidy" starring Rod Taylor
"The Curse of the Werewolf"- Nicholas Anez pays tribute to the underrated Hammer horror film
Dave Worrall on the moving 1974 adventure film "The Dove"
Lee Pfeiffer on what worked and didn't work in "Goodbye, Columbus"
PLUS! You will also receive our fall issue:
Issue #51 (September, 2021)
Dave Worrall chronicles the challenges of bringing Cleopatra to the big screen in a 14 page Film in Focus feature loaded with rare photos.
John Harty looks at the ambitious but disastrous Soviet/Italian co-production of "The Red Tent" starring Sean Connery, Claudia Cardinale and Peter Finch
Terence Denman rides tall in the saddle with his story behind "The Savage Guns", the only Western ever made by Hammer Films
Dave Worrall and Lee Pfeiffer unveil the secrets of "Ice Station Zebra" starring Rock Hudson, Ernest Borgnine, Patrick McGoohan and Jim Brown
Rare original U.S. drive-in movie theater adverts
Brian Davidson's exclusive interview with David McGillivray (aka McG), screenwriter of 1970s horror flicks and looks back at "Hoffman", the bizarre film that Peter Sellers wanted destroyed.
Nicholas Anez examines the underrated thriller "The Night Visitor" starring Max Von Sydow, Liv Ullmann, Per Oscarsson and Trevor Howard
Plus regular columns by Raymond Benson, Darren Allison and Gareth Owen
Mark
Mawston lands
a rare exclusive interview with A Hard Day's Night director Richard
Lester, who recalls the making of the iconic film on its 50th
anniversary- with insights from former United Artists production
head David V. Picker, who brought the film to the screen.
Denis
Meilke looks
at the legacy of the Steve Reeves Hercules films and the
spin off Italian sword and sandal flicks in "Blood, Sweat and
Togas".
Nicholas
Anez compares
the John Wayne/Howard Hawks classics Rio
Bravo and El Dorado in the concluding part of
his essay.
Matthew
Field provides
the moving and informative final interview with legendary
cinematographer Oswald Morris, who shot such diverse
films as Fiddler on the Roof, Oliver!, Death Wish and The
Guns of Navarone.
Lee
Pfeiffer on the
legacy of the late, great Eli Wallach.
Brian
Davidson pays
tribute to the short, tragic career of 1960s glamour girl Francoise
Dorleac.
Tim
Greaves celebrates
the guilty pleasures of Warlords of Atlantis
Gareth
Owen's tribute
to legendary Gerry Anderson and his work at Pinewood
Studios
Brian
Davidson revisits
the kinky, British cult thriller Fright starring Susan
George and Honor Blackman
Howard
Hughes concludes
The Oakmont Story with a look at their last production, Hell
Boats starring James Franciscus.
John
M. Whalen explores
the strange tale of One-Eyed Jacks starring and directed
by Marlon Brando
Sergio
Leone's A Fistful of Dollars- the 50th anniversary of the Clint
Eastwood classic
Raymond
Benson's
10 best films of 1989
Plus
the latest film book, soundtrack and DVD reviews
Sheldon
Hall's 13 page spectacular tribute to the 50th anniversary of Zulu starring
Stanley Baker and Michael Caine. Rare behind the scenes photos and
international movie posters.
Dave
Worrall takes on you on a locations "now and then" tour of
where Goldfinger starring Sean Connery was filmed at the
legendary Pinewood Studios.
Ray
Morton's exclusive interview with cinematographer Richard Kline, who
shot King Kong (1976), Death Wish, Star Trek: The Motion
Picture and Camelot.
Dean
Brierly looks at classic American crime movies including The
Killers (1974), The Driver, Point Blank, Bring Me the Head of Alfredo
Garcia and The Taking of Pelham One Two Three.
Brian
Hannan tells the fascinating story of Elizabeth Taylor's
BUtterfield 8, the film she did not want to do but won an Oscar
for!
Tim
Greaves looks at the short but exotic career of Victoria
Vetri, star of Hammer Films' When Dinosaurs Ruled the
Earth- and provides some rare provocative photos!
Illustrated
tribute to movie comic book tie-ins from the 1960s and 1970s.
Howard
Hughes continues his history of Oakmont Productions with The
Thousand Plane Raid starring Christopher George.
Harvey
Chartrand tells the fascinating story behind Mary Rose, the
dream project that Alfred Hitchcock never filmed.
Trevor
Chapman remembers the glorious Gaumont Theatre, one of Britain's Cinerama
gems.
Gareth
Owen looks at Pinewood Studios in the 1970s and 1980s.
Raymond
Benson's top ten films of 1987
Plus
the latest film book, soundtrack and DVD reviews
Don L. Stradley
examines the dramatic life and career of Lolita star Sue
Lyon
John Exshaw's
unpublished interview with screen legend Peter Cushing
Adrian Smith
interviews Hugh Hudson, director of Revolution and Greystoke:
The Legend of Tarzan, Lord of the Apes
Dean Brierly
looks at classic Japanese crime movies
Stephen C. Jilks
celebrates the Hammer horror flick Curse of the Werewolf
David Savage
examines Liz Taylor's little-seen, late career bizarro cult
movie The Driver's Seat
Howard Hughes
continues his history of Oakmont Productions with Submarine
X-1 starring James Caan
Paul Thomson
provides in-depth coverage of the Amicus Edgar Rice Burroughs film
adaptations The Land That Time Forgot, At the Earth's Core and The
People That Time Forgot and reviews the long-forgotten electric
rock Western Zachariah
Remember Ray
Harryhausen
Raymond Benson's
top ten films of 1986
Lee Pfeiffer's
Take Two column looks back on The Valachi Papersstarring Charles
Bronson
Burt
Reynolds underrated
dark comedy The End is re-evaluated by Tim Greaves
Gareth Owen's
Pinewood Past column features Reach for the Sky starring Kenneth
More
Plus the latest
film book, soundtrack and DVD reviews.
Sam
Peckinpah's Straw Dogs: Mike Siegel provides in-depth
coverage of the legendary director's controversial 1971 classic starring
Dustin Hoffman and Susan George. Includes extensive rarely seen behind the
scenes production photos and rare international ad campaigns.
Lee
Pfeiffer interviews comedy genius Mel Brooks, who
reflects on his long career in TV and feature films.
Howard
Hughes examines the 1969 spaghetti Western classic The Five Man
Army starring Peter Graves, Bud Spencer and Tetsuro Tamba
Dean
Brierly pays tribute to the great French crime films of the 1960s and
1970s
David
McCallum recalls
the making of Oakmont Studio's 1969 WWII film Mosquito Squadron
Cinema
Retro attends the 40th anniversary cast and crew reunion of Bob
Fosse's Cabaret and gets interviews with Joel Grey,
Michael York, Marisa Berenson and Robert Osborne of Turner
Classic Movies. Plus we cover the "re-premiere" at New York's
Ziegfeld Theatre, attended by Liza Minnelli herself.
Don
R. Stradley looks at Sextette, the bizarre cinematic swan
song of Mae West
Raymond
Benson's ten best films of 1985
Gareth
Owen examines the making of the 1969 spy flick The Chairman (aka The
Most Dangerous Man in the World) starring Gregory
Peck
Dave
Worrall covers the new restoration of the Hammer horror classic Dracula (aka Horror
of Dracula)
Remembering
the brilliant, cynical comedy of Paddy Chayefsky in The
Hospital starring George C. Scott and Diana
Rigg
Plus
the latest DVD, soundtrack and film book reviews
James
Bond at 50: Cinema Retro interviews Daniel Craig,
producers Barbara Broccoli and Michael G.
Wilson and Skyfall director Sam Mendesabout the screen
legacy of Agent 007.
Dr. No cast
and crew reunion at Pinewood Studios, England: Gareth Owen reports
Matthew R.
Bradley covers the Blofelds of screen and literature in The Importance of
Being Ernst: Part 2
Major coverage
of Hammer Films events: convention report, Hammer horror film
locations then and now and coverage of the latest Blu-ray releases.
In-depth look at
the new restoration of David Lean's masterpiece Lawrence of
Arabia and exclusive interview with Sony's Grover Crisp, the man who
spearheaded the restoration process.
Best-selling
author Robert Sellers provides a fascinating look at the life and career
of the ultimate "bad boy" of British cinema, Oliver Reed.
Dean Brierly
looks at the best Italian crime movies of the 60s and 70s.
Tribute to the
creator of master of British film posters, artist Tom Chantrell.
Michael Davey
interviews British sex symbol Liz Fraser
Sands of the
Kalahari starring Stuart Whitman and Susannah
York: Lee Pfeiffer revisits an underrated classic adventure
Nicholas
Anez pays tribute to Burt Lancaster's controversial The
Swimmer
The"B"
British war film Attack on the Iron Coast starring Lloyd
Bridges- part one of Howard Hughes' history of Oakmont Studios
Raymond Benson's
top ten films of 1984
Plus the latest
DVD, soundtrack and film book reviews
Our "Girl Power" issue
celebrates female screen heroes of the 1960s and 1970s!
Dawn Dabell examines the phenomenon unleashed by Emmanuelle, a
breakthrough in eroticism from a female perspective. Diane A. Rodgers looks back on two female secret agent heroines of the
1960s: Monica Vitti as Modesty Blaise and Raquel Welch as Fathom. Lee Pfeiffer's exclusive interview with Stefanie Powers about her
title role as The Girl from U.N.C.L.E. Mike Siegel provides a rare, exclusive interview with Marianne Koch, who
recalls filming Leone's A Fistful of Dollars
Glamour model Pamela Green recalls her role in the notorious Peeping
Tom Hayley Mills is the target of gigolos Oliver Reed and Noel
Harrison in Take a Girl Like You Olivia de Havilland is terrorized by thugs led by James Caan in
the chilling Lady in a Cage Gareth Owen celebrates the career of pioneer female producer Betty
Box Dolores Hart, Pamela Tiffin and Lois Nettleton are
"stewardesses" seeking love on land and in the skies in Come Fly
with Me.
Tribute to the 50th anniversary of the James Bond classic "On
Her Majesty's Secret Service" starring George Lazenby:
a five-page photo feature packed with rare images, some never published before.
"Mackenna's Gold"- a look back fifty years on at
the much-hyped big budget fiasco that has a fascinating back story behind it.
This major article by Dave Worrall and Lee Pfeiffer is the
most comprehensive ever written about the troubled production that starred Gregory
Peck, Omar Sharif,Telly Savalas and an all star
cast.
Cai Ross provides an exclusive interview with director Peter
Medak, who recalls the little-seen Peter Sellers
pirate comedy "Ghost in the Noonday Sun" and relates
the maddening experience of working with the volatile comedy genius.
Dawn Dabell covers the 1966 British coming-of-age comedy "The
Family Way", which allowed Hayley Mills her
first adult role in a scathing comedy about coming of age during the sexual
revolution.
Brian Davdison looks back on the controversial "Assault",
which is regarded as Britain's only true giallo.
Nick Anez analyzes director Robert Aldrich's
bizarre-but-gripping Depression era crime drama "The Grissom
Gang".
Gareth Owen examines the clues in the making of "Sleuth"
starring Laurence Olivier and Michael Caine
at Pinewood Studios
Brian Davidson pays tribute to actress Virginia
Maskell, whose career and life were tragically short, but very
impressive.
John V. Watson takes a nightmarish journey back to 1971 to
examine the release of numerous high profile films that were extremely violent.
Among them: "A Clockwork Orange", "Get Carter",
"Villain", "Dirty Harry", "Straw Dogs" and
"The Devils".
Plus Raymond Benson's "Cinema 101" column, Darren
Allison's news about the latest soundtrack releases and our extensive
reviews of new Blu-ray and DVD releases.
THIS ISSUE SHIPS FROM OUR UK OFFICE, AS IT IS SOLD OUT IN THE U.S.
ISSUE #36 (SEPTEMBER/OCTOBER 2016) OF CINEMA RETRO MAGAZINE:
Highlights of this issue include:
*Dave Worrall and Lee Pfeiffer celebrate the 50th
anniversary of "The Professionals" starring Burt
Lancaster, Lee Marvin, Claudia Cardinale, Robert Ryan, Woody Strode and Jack
Palance.
*Mark Mawston with a rare exclusive interview with 70's sex
siren Linda Hayden
*Cai Ross takes a bite at covering the underrated 1979
version of "Dracula" starring Frank Langella and Laurence
Olivier
*John LeMay uncovers the top secret story of the unfilmed
"Romance of the Pink Panther" that was to have starred Peter
Sellers.
*Peter Cook continues his celebration of matte painting
artists
*Tim Greaves uncovers the fascinating career of British
"Sex Queen" Mary Millington
*Mark Mawston concludes his interviews with legendary stills
photographer Keith Hamshere, who recalls shooting "Indiana Jones
and the Temple of Doom" and the James Bond films
*Lee Pfeiffer's personal tribute to the late Euan Lloyd,
producer of such films as "The Wild Geese" and "Shalako"
*Brigitte Bardot and Jeanne Moreau burn up
the Old West in "Viva Maria!"
ISSUE #34 (JANUARY 2016) OF CINEMA RETRO MAGAZINE:
HIGHLIGHTS OF ISSUE
#34 INCLUDE:
Steven Jay Rubin presents part 2 of the remarkable
story about the making of The Bridge at Remagen and gets
insights from stars Robert Vaughn, George Segal & Bradford
Dillman .
Legendary stills photographer Keith Hamshere shares
insights from his remarkable career and provides rare images from the
filming of Kubrick's 2001: A Space Odyssey
Bestselling author Robert Sellers presents the in-depth
story behind the making of The Three Musketeers and The
Four Musketeers with exclusive archival comments from producer Ilya
Salkind and cast members including Michael
York and Sir Christopher Lee.
James Bond mania! Matthew
Field returns to Piz Gloria, the Swiss mountaintop location of "On
Her Majesty's Secret Service" for a celebration of the film
with star George Lazenby; Gareth Owen recalls the 007
40th anniversary production kick-off of "Die Another
Day" at Pinewood Studios and Cinema Retro attends the London
royal premiere of "Spectre".
Dawn Dabell examines three WWII films that featured
women in the starring roles.
Tom Lisanti interviews Dean Martin's Matt
Helm Slaygirl Jan Watson
Tim Greaves celebrates the Amicus horror classic Dr.
Terror's House of Horrors starring Peter Cushing,
Christopher Lee and Donald Sutherland.
Brian Davidson's tribute to the guilty pleasure British
sexploitation film Au Pair Girls
Howard Hughes covers the Blu-ray release of the obscure
spaghetti Western "Cemetary Without Crosses"
Plus Raymond Benson's top ten films of 1953, Darren
Allison's soundtrack reviews and the latest movie book and DVD/Blu-ray
releases
"The Sand Pebbles"- James Sherlock explores the trials and
tribulations behind the filming of Robert Wise's epic film which gained
Steve McQueen his only Oscar nomination.
"Dr. Syn: Alias the Scarecrow"- Dave Worrall's in-depth
history of the character in film and literature, concentrating on the
evolution of the Walt Disney three-part TV episodes starring Patrick
McGoohan which would later emerge as a feature film.
"Tarzan's Greatest Adventure"- Nick Anez argues it's the best
Tarzan film ever and his analysis might convince you to agree with him.
Gordon Scott starred as the King of the Jungle and the gang of villains
included young Sean Connery.
"The Pink Panther"- John LeMay presents the fascinating history behind the first film to showcase Peter Sellers as Inspector Clouseau.
"The Golden Lady"- Tim Greaves shines the spotlight on the
little-seen and little-remembered spy flick that featured a female James
Bond-type character- with Desmond Llewelyn in the supporting cast!
"The Bad News Bears"- Robert Leese celebrates the hit comedy with the unlikely teaming of Walter Matthau and Tatum O'Neal
"The Crimson Kimono"- Lee Pfeiffer covers director Sam Fuller's controversial and underrated crime thriller that was packed with racial conflicts.
Plus regular columns by Raymond Benson, Gareth Owen, Darren Allison and Brian Hannan.
Dave Worrall chronicles the challenges of bringing Cleopatra to the big screen in a 14 page Film in Focus feature loaded with rare photos.
John Harty looks at the ambitious but disastrous Soviet/Italian co-production of "The Red Tent" starring Sean Connery, Claudia Cardinale and Peter Finch
Terence Denman rides tall in the saddle with his story behind "The Savage Guns", the only Western ever made by Hammer Films
Dave Worrall and Lee Pfeiffer unveil the secrets of "Ice Station Zebra" starring Rock Hudson, Ernest Borgnine, Patrick McGoohan and Jim Brown
Rare original U.S. drive-in movie theater adverts
Brian Davidson's exclusive interview with David McGillivray (aka McG), screenwriter of 1970s horror flicks and looks back at "Hoffman", the bizarre film that Peter Sellers wanted destroyed.
Nicholas Anez examines the underrated thriller "The Night Visitor" starring Max Von Sydow, Liv Ullmann, Per Oscarsson and Trevor Howard
Plus regular columns by Raymond Benson, Darren Allison and Gareth Owen
Peter Lamont interviewed by Gareth Owen at a celebration of his career at Pinewood Studios, 2016. (Photo: Mark Mawston).
We at Cinema Retro mourn the passing of our good friend Peter Lamont, the legendary Production Designer of many James Bond films as well as "Titanic", for which he received the Academy Award. CR columnist and author Gareth Owen reflects on Peter's life and career.
By Gareth Owen
British Oscar winning(and four-time nominee) Production Designer
Peter Lamont passed away on December 18th aged 91 after suffering
complications from pneumonia.
Having seen his name on the silver screen
throughout my formative years on films such as The Seven Percent Solution,
Sleuth, Fiddler On The Roof, and of course pretty much every James Bond
film, I first met Peter in 1990 at Pinewood Studios and was immediately struck
by his friendliness, charm and modesty. I bumped into him on the lot many times
in following years, and no matter how busy or pressured he was Peter always
made time to have a little chat, and to enthuse about his latest film and some
of the challenges he’d overcome.
Living nearby, in the mid 1940s, Peter
started his career at Pinewood Studios as a runner and after breaking for two
years for National Service in the Royal Air Force, he returned to Pinewood as a
junior draughtsman on films such as Captain Boycott (1950), The
Browning Version (1951), Hotel Sahara (1951), The Importance of
Being Earnest (1952) and The Seekers (1954). His talent, easy-going
demeanour and ability to keep a cool head in a crisis endeared him to many of
the days leading Production Designers of the day including Alex Vetchinsky and
Maurice Carter.
He then came on to the radar of Ken Adam who,
in 1964, asked Peter to join the art department of Goldfinger to help
recreate Fort Knox on the Pinewood backlot.
"I drew it all up and made a
model," he recalled, "and I remember [director] Guy Hamilton and
[producers] Cubby [Broccoli] and Harry [Saltzman] came up and they looked at it
and said, 'Well, let's get an estimate of how much it's going to cost.' And I
almost fell through the roof because the estimate was for £56,000 … I thought,
'Oh God, I'm going to get fired for this.' But nobody turned a hair."
Peter stayed with the Bond family until his
retirement in 2006 and graduated to Set Dresser, Assistant Art Director, Art
Director and – in 1981 – Production Designer, which was a position he kept
through Casino Royale (2006). Though he did actually miss one Bond
assignment (Tomorrow Never Dies in 197) due to being “on a sinking shipâ€
– namely, James Cameron’s Titanic (1997); a film which finally brought
him a much deserved Oscar win. His other nominations were for Fiddler on the
Roof (1971), The Spy Who Loved Me (1977) and Aliens (1986).
Peter was a great ambassador for the Bond
films and whilst his retirement probably came one film too early, he always
spoke with great pride about his association with the series and regularly
attended our Bondstars gatherings at Pinewood where he eagerly chatted with
fans and entertained everyone with stories of his adventures. I developed a closer
friendship with Peter often joining him and some of his art department
colleagues on a Thursday lunchtime at the White Horse pub near the studios for
a lunch, or his favourite Italian restaurant just around the corner from his
home in Farnham Common. They were always jolly affairs and conversation around
the table included anything from what was on TV the day before, the latest
advances in technology and science, to memories of far flung locations many
decades earlier – Peter’s recall and memory for detail was always astounding.
Lamont with Cinema Retro Lifetime Achievement Award, presented to him at Pinewood Studios in 2016. (L to R: Cinema Retro publishers Lee Pfeiffer, Dave Worrall and contributing writer Matthew Field.) (Photo: Mark Mawston.)
Having sadly lost his wife Ann six years ago,
Peter was surrounded by his family, son Neil and daughter Madeline with their
children and was very proud to have two great-grandchildren. He was also a
great friend to, and of, many.
Upon hearing of Peter’s death, Eon
Productions issued a press release:
"Peter Lamont was a much beloved member
of the Bond family and a giant in the industry, inextricably linked with the
design and aesthetic of James Bond since Goldfinger. He became Production
Designer on For Your Eyes Only (1981) working on 18 of the 25 films
including nine as Production Designer. He was a true success story proving that
with talent and hard work you will achieve your dreams.
Our hearts go out to his family and all those
who worked with him over many years. He will be very sorely missed."
Among Peter’s other notable films outside of
007 were: This Sporting Life (1963), The Ipcress File (1965), Chitty
Chitty Bang Bang (1968), The Boys From Brazil (1978), and True
Lies (1994).
Though never mentioned publicly, Peter did
sometimes feel his contribution to the film industry was overshadowed by his
frequent collaborator Ken Adam - but rest assured, his legacy is a rich and
unique one in itself and will continue through his children and grandchildren
who have followed in his footsteps.
We pay tribute to the eternal cinematic love story Somewhere in Time starring Christopher Reeve and Jane Seymour. Cai Ross provides an exclusive interview with the film's director, Jeannot Szwarc.
Simon Lewis provides a 12-page "Film in Focus" article detailing the trials and tribulations of making David Lean's ill-fated Irish romance, Ryan's Daughter.
John P. Harty examines the merits of another high profile boxoffice misfire, Richard Brooks' Lord Jim starring Peter O'Toole.
Mark Mawston entices actor John Leyton to give a rare interview in which he discusses his successful career as a rock 'n roll heartthrob and, as an actor, filming The Great Escape.
Dave Worrall shines the spotlight on Helen Mirren's breakthrough film, Age of Consent.
Gareth Owen's "Pinewood Past" column
Brian Hannan looks at boxoffice performance of retro film releases
Darren Allison reviews the latest soundtrack releases
Thomas Hauerslev celebrates the recent restoration of MGM's Cinerama classic The Wonderful World of the Brothers Grimm
Lee Pfeiffer looks at the dark side of director Blake Edwards' films with Experiment in Terror starring Lee Remick, Glenn Ford and Stefanie Powers.
Plus regular columns by Raymond Benson, Gareth Owen, Darren Allison and Brian Hannan.
EVERY ISSUE CONTAINS:
64 FULL COLOR PAGES
RARE STILLS AND MOVIE POSTER ART
EXCLUSIVE FILMMAKER INTERVIEWS
STAFF REPORTS ON FILM EVENTS FROM AROUND THE GLOBE
One
of the greatest and most commercially successful fantasy series of the 1960s, The Avengers actually started out in
1961 as a gritty crime drama focused on Doctor Keel, played by Ian Hendry, one
of British television’s biggest stars at that time. In the first episode his
wife is killed by drug dealers, and a mysterious undercover agent named John
Steed, played of course by Patrick Macnee, helps him to avenge her death. The
two end up working together on a number of other crime cases, thus forming the
basis for a series that would ultimately outgrow its noir origins and become an outrageous Technicolor riot of science
fiction, martial arts, sexy fashion and comedy. Once Doctor Keel was out of the
picture, the playful ‘will they? – won’t they?’ (or even ‘have they? – haven’t
they?’) nature of John Steed’s relationship with his female partners – Cathy
Gale (Honor Blackman), Emma Peel (Diana Rigg) and Tara King (Linda Thorson) –provided
a frisson of excitement and the occasional wink towards the adults in the
audience of what was essentially a family show. After coming to an end in 1969,
John Steed was soon back in 1976 with The
New Avengers, as a mentor to his new younger companions Purdey (Joanna
Lumley) and Mike Gambit (Gareth Hunt).
Of
course, where there is success merchandising is never far behind, and The Avengers and The New Avengers was no exception. This new volume by John Buss,
following closely on the heels of his volume on The Man from U.N.C.L.E., features global examples of original
books, toys, magazines, records, clothing and promotional items, many from the
author’s own personal archive. One might expect novelisations and collectible
annuals to have been standard in the 1960s, but Honor Blackman’s Book of Self-Defence, in which she demonstrates a
number of techniques, is perhaps a little more surprising. As was common at the
time, most of the cast at some point released singles or albums, with the only
exception being Diana Rigg, who was far too serious for that kind of thing.
Macnee and Blackman released that notorious novelty record ‘Kinky Boots’
(recorded after a long session in the pub according to Honor Blackman), but
Linda Thorson had some success as well with her single ‘Here I am’, which was
released all over Europe. Blackman also released an entire solo album in 1964,
‘Everything I’ve Got’, capitalising on her popularity from both The Avengers and Goldfinger.
With
well over 100 items discussed in this full-colour volume, John Buss is clearly
Britain’s leading 1960s TV memorabilia collector and historian. This is an
essential purchase for anyone who remembers the thrill of owning an annual,
plastic gun, board game or jigsaw from your favourite show.
Originally published in paperback back in 1973 to promote
Roger Moore’s first appearance as 007, this is a most-welcome updated edition
that includes a foreword by Sir Roger’s good friend and occasional co-star
David Hedison as well as an afterword by his PA and sometimes co-author, Cinema
Retro’s own Gareth Owen. In reading the book for the first time since its
initial publication, I was Impressed that Eon Productions allowed such candor
from its new star. Moore traces the trials-and tribulations he faced behind the
scenes from stunt mishaps to stomach disorders, strains in personal
relationships and weather-related problems, all of it related in his trademark
style of humor that includes plenty of self-deprecating barbs. The production company must contend with ghastly filming conditions, health issues and racial tensions when black stuntmen are sometimes passed over to employ white men who are then "blacked up" to play African-American characters. Moore also chronicles some occasional tensions with producers Harry Saltzman and Albert R. Broccoli.The book emerges
as a wonderful time capsule not only in Bondian history but also in terms of
relating a warts-and-all, candid look at the making of a major film production.
It’s a pity that Moore didn’t write any other diaries relating to his 007 films
but this one probably bruised a few egos and thus it remained the only such
experiment.(The book contains a photo insert section that includes some shots that will probably be new to even the most ardent Bond fans.)
Cinema Retro columnist and author Gareth Owen was employed for 16 years as Sir Roger Moore's personal assistant, primarily working out of Sir Roger's office at Pinewood Studios, London. However, they also enjoyed a close personal friendship that saw Gareth co-authoring several books with Sir Roger as well as traveling the world with him, often in relation to Sir Roger's very popular stage appearances. Those shows played to packed houses throughout the UK, with Gareth engaging Sir Roger in lighthearted and very funny interviews in which the iconic star delighted audiences with some surprising anecdotes. Click here to read the Daily Post's interview with Gareth and view some clips relating to Sir Roger's career.
Bond girls Jenny Hanley, Caron Gardner, Francesca Tu.
BY MARK MAWSTON
The ultimate “Bonding†session once again
took place at the home of the 007 franchise, Pinewood Studios, on Sunday 24th
September. Those lucky enough to attend were treated to a dealer’s room, a 50th
Anniversary 4K screening of You Only Live
Twice, at which organizer Gareth Owen read a message received from the e
Prime Minister herself, Theresa May, which touched on the amazing feats of
ingenuity and sheer technical mastery that went into the construction of the
films famed volcano set; a three course lunch and afternoon tea and of course a "who’s who" from the world of Bond from both in front and behind the camera.
These included:
Peter Lamont - Assistant Art Director - Art Director and Production Designer of 18
Bond films, Terry Ackland-Snow - Art Director on two Bond films, Alan Tomkins - Art director on five Bond films, Monty Norman – Composer, Vic Armstrong - 2nd Unit Director and stunt performer /
supervisor, Rocky Taylor - Stunts - You Only Live
Twice and many other Bond films; Norman Wanstall - Dubbing Editor/ Oscar-winning Sound Designer, Paul Weston – Stunts, and
William P. Cartlidge- Assistant Director- You Only Live Twice and future
Bond Associate Producer.
Monty Norman, composer of "The James Bond Theme".
Shane Rimmer, a Bond film veteran cast member and his wife Sheila, lead the crowd out of the John Barry Theatre.
Alan Tomkins and Peter Lamont.
Brian Gorman presented his one-man Bond tribute show.
And from in front of the camera: Shane Rimmer - three Bond films including You Only Live
Twice, Eunice Gayson - Sylvia Trench in Dr. No & From Russia With Love, Jenny Hanley – “Irish
Girl†in On Her Majesty's Secret Service, Sylvanna Henriques - Title sequence - You Only Live Twice and “Jamaican
Girl†in On Her Majesty's Secret Service, Caron Gardner - Pussy Galore Flying Circus pilot in Goldfinger,
Nadja Regin - Kerim's girl
in From Russia With Love and Bonita in Goldfinger and Francesca
Tu, Osato’s secretary- You Only Live Twice.
Stunt Legends Vic Armstrong and Rocky Taylor enjoy some amusing anecdotes along with interviewer Gareth Owen.
William P. Cartlidge reflects on the trials and tribulations of bringing "You Only Live Twice" to the screen.
The highlight for many of those stars, as well
as the fans in attendance, was a special tribute to the late, great Sir Roger
Moore. The day was rounded off with a specialpremiere
of Brian Gorman’s wonderful 60 minute one-man show “One Man Bond†(every Bond
film in 60 minutes!). Afterwards Gorman said “It’s a dream to perform at
Pinewood at this event, as you already know that this audience will get it,
terrifying though it is if you get something wrong! It’s not like a normal
crowd and I’ve never used a microphone before!†He needn’t have worried though and
this rounded off what was another excellent event organized by Bondstars Andy
Boyle and Retro’s own Gareth Owen.
(All images copyright Mark Mawson. All rights reserved)
Sir Roger Moore, the iconic British actor who swept to fame playing The Saint and James Bond, has passed away from cancer at age 89. Moore grew up in a middle class lifestyle in Lambeth during WW2 and was among the children evacuated from the city during the Blitz. He had planned a career as a cartoonist but his good looks and charismatic personality drew him first to modeling and then studying acting at the Royal Academy of Dramatic Arts in London. He found success early in his career and was placed for a time under contract with MGM in Hollywood. However stardom didn't follow immediately. Moore mostly appeared in soap opera stories opposite big stars but none of the films were very successful and was dismissed as just another pretty face. In the 1956 period costume drama "Diane", he was Lana Turner's leading man- but the film was a dud and one critic described Moore as "a lump of English roast beef", something he would joke about through the rest of his life. Moore left MGM and starred in "The Alaskans" TV series and was brought in to star in "Maverick", appearing in 16 episodes over a three year period. That lead to his starring as Simon Templar, the world class adventurer in the TV series "The Saint". The show ran for seven seasons and was a major international hit. Following that he also starred with Tony Curtis in the popular TV series "The Persuaders". When that show left the air Moore was hired to star as the third actor to play James Bond, following in the footsteps of Sean Connery and George Lazenby. Moore's first Bond film "Live and Let Die" in 1973 was an important one for the franchise. Had audiences not responded well to his interpretation of 007, the series might have ended. Moore decided not to imitate Connery but to provide his own unique interpretation of the role, emphasizing the humorous aspects. Audiences responded with enthusiasm and Moore would play the role in seven films over a twelve year period. He left the series after "A View to a Kill" in 1985.
Spy Guys: Michael Caine, Roger Moore and Sean Connery made a hilarious joint appearance at the 1989 Oscars.
During Moore's tenure as Bond he made numerous other feature films including the highly successful 1978 adventure movie "The Wild Geese". Other notable films include "ffolkes" (aka "North Sea Hijack"), "Shout at the Devil" and "Gold". In the 1981 blockbuster comedy "The Cannonball Run" he played an eccentric who thought he was Roger Moore. In his post-Bond career Moore occasionally made films or appeared on television but devoted much of his time as Goodwill Ambassador for UNICEF. In that capacity Moore traveled the globe raising countless millions of dollars to help impoverished children. He often said that it was his work for UNICEF that he was most proud of. His charitable work was an obvious factor in his being knighted in 2003. His good friends Sean Connery and Michael Caine, both of whom achieved significant career boosts by also playing spies in the 1960s, were on hand for the ceremony. In recent years Moore had traveled extensively to promote numerous books he has authored with his personal assistant Gareth Owen. Sir Roger and Owen also developed speaking tours in which they would discuss his long film career in casual chats on stage in front of appreciative audiences generally in capacity-filled theaters.
Prior to becoming an actor, Sir Roger worked as a model.
On a personal note we at Cinema Retro had the pleasure of knowing Sir Roger Moore very well. He was an early supporter of our magazine and even provided an endorsement below our banner head. He remained a contributor to our publication and was always there to provide an amusing story or anecdote. He was completely devoid of egotistical behavior and found self-deprecating humor to be his best weapon against criticism. He once told this writer that he learned early on that critics found it no fun to mock an actor who mocked himself. Sir Roger was also beloved by his fans. He always had time to chat with them or sign autographs. Sir Roger's passing represents a sad day for all who loved and admired him- but his legacy as an actor and humanitarian remains secure. He is survived by his wife Kristina and his children Deborah, Geoffrey and Christian.
Steven J. Rubin's 40th anniversary tribute to "Rocky"; extensive coverage ON the making of this
landmark film with exclusive comments from key members of the cast and
crew.
Christopher Weedman celebrates the career of British actress Anne Heywood with insights from
the lady herself.
Diane Rodgers' homage to the Monkees' only feature film, "Head"- with a screenplay by Jack Nicholson!
Martin Gainsford diagnoses the problems of bringing Doc Savage to the big screen in
the ill-fated 1970s production.
Nick Anez extols the virtues of Sidney Lumet's brilliant but little-scene "The Offence" with a
powerhouse performance by Sean
Connery.
Tim Greaves examines the creepy-but-neglected chiller "The Little Girl Who Lives Down the
Lane" starring young Jodie
Foster.
Did Sergio Leone "ghost
direct" the cult Italian Western "My
Name is Nobody"? Chris Button examines the case for and against this theory.
Raymond Benson works overtime, providing us with his Ten
Best Films of 1956 as well as his favorite movie trilogies of all time.
Gareth Owen looks back at the founding of Pinewood Studios
Lee Pfeiffer rocks on with the Dave Clark Five in their feature film "Catch Us If You Can" (AKA "Having
a Wild Weekend"),which marked John Boorman's directorial debut.
ISSUE #39 (September, 2017)
Highlights
of this issue will appeal greatly to 007 fans:
50TH anniversary of the James Bond classic You Only Live Twice with exclusive interviews, rare photos & memorabilia and movie poster art.
Remembering Sir Roger Moore
Susan George's career- second and final part of our coverage
Vivan Pickles recalls filming Play Dirty with Michael Caine
The kinky, controversial thriller Night Hair Child (aka What the Peeper Saw)
Guy Hamilton and Roger Moore on the set of "The Man With the Golden Gun" in Thailand, 1974.
BY LEE PFEIFFER
Cinema Retro mourns the loss of director Guy Hamilton, who has passed away at age 93. Guy was an old friend and supporter of our magazine and a wonderful talent and raconteur. Hamilton, though British by birth, spent much of his life in France. After WWII, he entered the film industry in England and served as assistant director to Sir Carol Reed, working on the classic film "The Third Man". He also served as AD on John Huston's "The African Queen". Gradually, he moved up the ladder to director and helmed such films as "An Inspector Calls", "The Colditz Story" and "The Devil's Disciple", the latter starring Burt Lancaster, Kirk Douglas and Laurence Olivier. In 1964 Hamilton was hired to direct the third James Bond film "Goldfinger" and made cinema history. Hamilton found the perfect blend of humor and thrills and the film started the era of Bondmania that would see Sean Connery boosted to the status of international superstar. He also directed the Michael Caine spy thriller "Funeral in Berlin" for Bond producer Harry Saltzman in 1967. He worked once again for Saltzman on the ambitious epic WWII film "Battle of Britain" in 1969, a highly complex film to make given the logistics of recreating dogfights in the skies over England.
Bond producers Saltzman and Cubby Broccoli reached out to Guy Hamilton again in 1971 to direct "Diamonds Are Forever", the film that marked Sean Connery's return to the James Bond series after a four year absence. The film was an enormous success but it also initiated a swing toward more overt humor, which reflected Hamilton's personal vision of the series. When this writer asked him over a dinner in London many years ago if he felt that the increase in jokes and gags was an artistic mistake, Hamilton insisted it was not, although he acknowledged that he had probably alienated some of the more traditional Bond fans. In fact, Hamilton said that his initial plans for the script of "Diamonds Are Forever" would have seen Bond in Disneyland battling SPECTRE agents dressed as famous Disney characters. Hamilton's emphasis on laughs in the Bond films perfectly paved the way for the Roger Moore era which began in 1973 with "Live and Let Die". Hamilton was retained to direct that film as well. Moore agreed with Hamilton's emphasis on overt humor and that angle would largely define the Moore films which lasted through "A View to a Kill" in 1985. Hamilton would direct Moore's second Bond film, "The Man With the Golden Gun" in 1974. He was initially scheduled to direct "The Spy Who Loved Me" but due to his residency in France, tax complications ensued regarding his ability to work for an extended period in England. Ultimately, Lewis Gilbert directed the film. Hamilton's post-Bond era movies included the Agatha Christie thrillers "The Mirror Crack'd" and "Evil Under the Sun", as well as "Remo Williams: The Adventure Begins" and "Force Ten From Navarone". Of the latter, I once asked him if the disappointing movie went wrong during filming. Characteristically, Hamilton told me that it had a lousy script from day one and he knew it would be a lousy movie. However, he was winding down his involvement in the film industry and agreed to do the movie because the producers purchased a beautiful home for him in Spain. He said it was truly "an offer I couldn't refuse".
As age took its toll, Hamilton made fewer trips outside of Spain. However a few years ago, Cinema Retro's Dave Worrall and Gareth Owen accompanied Hamilton to an outdoor screening of "Goldfinger" in London. He had the satisfaction of seeing how well received his movie was even after half a century. Guy Hamilton was the epitome of the British gentleman and a skilled filmmaker as well. His contributions to the movie industry, and the James Bond series in particular, are secure in film history.
Cinema Retro's own Gareth Owen is interviewed on Bloomberg TV regarding the reasons that Pinewood Studios has remained James Bond's 'home" for more than 50 years. The Broccoli family have always felt most comfortable at Pinewood and they maintain permanent offices there. However, there is an economic incentive to film there, as well. After decades of losing major film productions due to punitive tax measures, the UK is now attracting blockbuster franchises such as Star Wars, Batman and The Avengers due to lucrative incentives that allow producers to reclaim as much as 25% of their British expenditures. The new Bond film SPECTRE is filming at Pinewood and other locations around the world.
(Read Gareth Owen's "Pinewood Past" column in every issue of Cinema Retro!)
You can't keep a good man down. Sir Roger Moore is back on the road again. He'll tour the UK with stage appearances under the banner of (appropriately enough) An Afternoon with Sir Roger Moore. Sir Roger packed 'em in during his book tour of the UK last year and left fans in other areas clamoring for the former James Bond to visit their neck of the woods. Moore's ability to relate amusing and fascinating anecdotes about his many years in show business form the center of the show, but he always engages the audience in Q&A sessions. Cinema Retro columnist Gareth Owen, who co-authored books with Sir Roger, will act as emcee and interviewer for the stage appearances. The tour kicks off on 27 October at the Leeds Grand Theatre. Click here for boxoffice information.
Cinema Retro has received the following press release:
Sir Roger Moore, the legendary film star who played the iconic role of James Bond, is to play a series of exclusive dates at theatres around the UK.Following the huge success of his tour last year, Sir Roger will return with ten new dates in Autumn 2013, opening at the Leeds Grand Theatre on Sunday 27 October.
Roger will be discussing his astonishing life and career, with inside stories and exclusive anecdotes ranging from his internationally-renowned TV series The Saint and The Persuaders, through to Hollywood blockbusters and, of course, the 007 films, in which he starred as JamesBond between 1973 and 1985.
Gareth Owen will interview Roger. Gareth is an author of nine books and has worked with Roger Moore on his autobiography My Word Is My Bond and his latest book Bond On Bond. Gareth has interviewed Roger previously at the BFI Southbank, the Barbican Centre and at various UNICEF fundraisers throughout Europe. The show will be followed by an audience Q&A.
Presented by Jeremy Meadow & Suzanna Rosenthal, by arrangement with Pollinger Limited.
For further info, please see www.aneveningwithsirrogermoore.com
2013 Tour Dates:
An Afternoon with Sir Roger Moore An Evening with Sir Roger Moore
Sunday 27 October 2.00pm Wednesday 6 November 7.30pm
LEEDS GRAND THEATRE NEW ALEXANDRA THEATRE, BIRMINGHAM
Major
celebration of The Poseidon Adventure's 40th anniversary with
articles by David Savage, Tom Lisanti, James Radford and Chris Poggiali.
Includes many rare photos, international movie posters and interviews with
Carol Lynley and Mort Kunstler, the legendary artist who created the movie
poster. Kunstler also provides his original sketches for the ad campaign,
reproduced in this issue for the first time.
40th anniversary
tribute to Deliverance. John Exshaw visits director John Boorman
at his home in Ireland for exclusive interview about working with author
James Dickey on the landmark film.
Gary Giblin
takes an in-depth look at another classic film celebrating its 40th
anniversary: Alfred Hitchcock's Frenzy, complete with rare
stills from sequences that the Master cut from the final version of the
movie.
Matthew R.
Bradley looks at one of the screen's legendary baddies, James Bond
nemesis Blofeld in both literature and cinema. The title of the
article: The Importance of Being Ernst.
Remembering Ernest
Borgnine: a tribute to the legendary Oscar winner.
Raymond Benson's
ten best films of 1983.
Lee Pfeiffer
pays tongue-in-cheek tribute to the 1976 B movie cult
"classic" Grizzly starring Christopher George, Richard
Jaeckel and Andrew Prine.
Gareth Owen
revisits the early days of director Michael Winner's career at
Pinewood Studios.
Mark Mawston's
new column Desert Island Flicks covers underrated gems like John
Frankenheimer's Seconds, Frank Perry's The Swimmer and
Don Siegel's Coogan's Bluff.
Adrian Smith
titillates readers with part two of his extensive look at the history of
British sexploitation films in More Sex, Please. We're British.
Dean Brierly's
Crime Wave International covers British classic crime movies of the 60s
and 70s including Get Carter, Payroll, The Long Good Friday, Robbery,
Villain and Sitting Target.
Plus the usual reviews of the latest film books, DVDs and soundtracks. Limited supply. Price: $30 (includes postage worldwide).
July
1973. The Gaumont, Southampton. If someone had whispered to the boy sitting in
that cinema waiting for Roger Moore’s debut performance as James Bond to unfurl
before his excited-beyond-measure eyes, that he would one day be seeing the man
himself within the walls of that same building...well, he’d probably scarcely
have believed it. His fascination with 007 would continue and thrive throughout
the ensuing years (indeed, he would catch The
Man With the Golden Gun, The Spy Who
Loved Me and Moonraker at the Gaumont
during their first run).
October
2012. The Mayflower, Southampton (formerly The Gaumont). The years have flown
by and that little lad, now sharing his 50th year with the cinematic
incarnation of his favourite fictional spy, is spending “An Afternoon with Sir
Roger Mooreâ€. It’s one of a small number of stage appearances (also taking in
Malvern, Kingston, Bournemouth, Bath, Basingstoke and Norwich) that give the
legendary actor an opportunity to promote his new book, “Bond on Bondâ€, and
share his captivating memories of over six decades working in the entertainment
industry.
The
pleasantly informal show is presided over by Sir Roger’s assistant and friend
(not to mention “Cinema Retro†scribe) Gareth Owen – an endearing warmth
emanates from their jovial repartee – and Sir Roger proves to be not only a
natural raconteur, but a true gentleman, as his response to a question about an
actress with whom he didn’t get along so well testifies: “If you can’t say
something nice about someone, don’t say anything at all.â€
For the next couple of hours the packed auditorium is regaled with tales – from
his early days working in Hollywood to his most famous screen roles in The Saint, The Persuaders (his impression of co-star Tony Curtis is a delight)
and, of course, the James Bond films; from his glowing opinion of Daniel Craig’s
portrayal of 007 to his collaboration with Moonraker
co-star Irka Bochenko for the anniversary tribute single “Happy Birthday, Mr
Bondâ€; from his gleeful ribbing of Desmond Llewelyn over Q’s complicated
dialogue in the Bond films to his harrowing, often heart-breaking experiences
as an ambassador for UNICEF. Two hours has never passed so swiftly.
It’s
hardly a startling revelation that the boy so utterly beguiled by Live and Let Die back in 1973 was this
reviewer. And I’m sure my younger incarnation would have been thrilled to know
that one day his 40 odd years older self would have the chance to extend a
personal thank you to the man whose work has given countless hours of pleasure
to him and millions of others around the globe.
Sir Roger, you are one of the few remaining true gentlemen of the silver screen
and it was an incomparable privilege to spend time in your company.
Although we mainly stick to the golden
age of movies here at Cinema Retro, occasionally a new movie does grab our
attention. This summer saw the release of
The Expendables 2, a creaking collection of aging action stars desperate to
get one last gasp out of a tired genre. It could have at least been a comedy,
about the relevance of the muscular Eighties hero in the 21st century, but
sadly it failed on all levels. One look at The
Expendables 2 would lead you to believe that the action genre needs a
bullet in the head to put it out of its misery.Thankfully a film has come along that firmly blows away the cobwebs and
kicks those geriatrics back to the retirement home they belong in. The Raid (known as The Raid: Redemption in the US), is a film which so utterly
revitalises the action genre that you will feel like you have never actually
seen people fighting in a movie before.
Shot in Indonesia with mostly
non-professional actors, The Raid is
the first major release from Welsh director Gareth Evans. A thirty story
building is home to gangsters, murderers, drug dealers and thieves, with one
major crime lord overseeing it all. The police, armed to the teeth, are sent in
with the express purpose of clearing the building and taking him down.
Outnumbered, outgunned and double-crossed, they find themselves trapped and
almost certain no to make it out alive. The plot of the film is mainly an
excuse for some phenomenal martial arts fighting which is photographed in such
inventive, bone-crunching and frenetic style that each scene feels fresh and
exciting. At the heart of the film is Iko Uwais, playing a rookie cop desperate
to make it out alive to get back to his pregnant wife. Incredibly he has only
acted once before, and he has terrific screen presence, balancing charisma and
vulnerability with the absolute assurance in his own skills. Discovered by
Evans in a Silat martial arts class just five years ago, he is clearly going to
become a major star, and it is no exaggeration to compare him with Bruce Lee or
a young Jackie Chan.
The Raid
will make you look at action cinema with raised expectations from now on, and
many films are going to struggle to make an impact in its wake. It is now
available on both DVD and Blu-ray, and is certainly worth seeing as soon as
possible. There are plenty of features which take you further into the story
behind the film, which will make you want to jump up from your armchair and get
straight to your nearest self-defense class.
(Note: Smith's review is of the UK Blu-ray release)
Click here to order the American Blu-ray special edition
Last
night saw Cinema Retro attend the exclusive private viewing of Designing OO7 - Fifty Years of Bond Style
at The Barbican in London. This unique exhibition showcasing the design, craft
and style of a screen icon - James Bond - is superblydesigned (by Ab Rogers, and guest-curated by
fashion historian Bronwyn Cosgrave and Oscar-winning costume designer Lindy
Hemming) . The exhibition is a must-see event for anyone with an interest in
film, let alone James Bond. Produced in partnership with Eon Productions, ably
assisted by the head of their archives, Meg Simmonds, the exhibition has
amassed over 400 items that reflect the history of Bond over the last 50 years.
Following
the press call in the day, the organizers invited people who have worked on the
films over the years and also friends of Eon to a champagne reception and
private view of the exhibition. And what a show it is! After walking down the
red carpet and past the fabled Aston Martin DB5, guests were given their own
'OO7 passport' to gain access to all areas and greeted with a glass (or two) of
Bollinger champagne.
Producer
Michael G. Wilson (with Barbara Broccoli at his side) addressed the guests with
a wonderful tribute speech to those 'background' women and men who have been
responsible for creating the 'look' of the James Bond films over the years.
Many were in attendance, including: Norman Wanstall, John Glenn, David Arnold,
Neal Purvis, Rob Wade, Arthur Wooster, Anthony Waye, John Richardson, Chris
Corbould, Debbie McWilliams, Lindy Hemming, and Peter Lamont, Wilson acknowledged Lamont as the production designer
who not only took over from Ken Adam, but also oversaw the building of two
studios for Eon Productions. Peter received a rapturous round of applause from
the appreciative audience.
The
entrance to the exhibition is designed to look like the now-famous gun barrel,
and after walking through this, you enter a chamber resembling part of Fort
Knox, with large metal bars adorning one wall from floor to ceiling. The
centre-piece is a large revolving circular bed with a life-size model figure of
a golden girl lying across it. From here, guests are led through five rooms and
travel down a lift to one exhibit of large-scale models and props. Very
impressive.
Entering through the legendary gun barrel.
There
are props and costumes galore, including Oddjob's bowler hat, Scaramanga's
'Golden Gun', and even the white bikini worn by Ursula Andress in Dr. No (on loan from Planet Hollywood).
The walls are adorned with production designs, sketches and storyboards, and
they have even managed to squeeze in the BMW motorcycle from Tomorrow Never Die, too. It was also
great to see the original attache case and prototype of Rosa Klebb's
flick-knife shoe, both iconic props seen in From
Russia With Love. It certainly brings back many memories of a series of
films that have entertained generations of movie goers the world over.
Cinema Retro has received the following press release:
Sir Roger Moore, the legendary film star who played the iconic role of James Bond, is to play a series of exclusive dates at theatres around the UK,opening at the Malvern Theatre on Sunday 7 October.
On the release of his new book Bond On Bond, Roger will be discussing his astonishing life and career, with inside stories and unheardanecdotes ranging from his internationally-renowned TV series The Saint and The Persuaders, through to Hollywood blockbusters and, of course, the 007 films, in which he starred as James Bond between 1973 and 1985.
Gareth Owen will interview Roger. Gareth is an author of nine books and has worked with Roger Moore on his autobiography My Word Is My Bond and his newbook Bond On Bond. Gareth has interviewed Roger previously at the BFI Southbank, the Barbican Centre and at various UNICEF fundraisersthroughout Europe. An Evening with Sir Roger Moore will be followed by an audience Q&A.
An Evening With Sir Roger Moore is presented by Jeremy Meadow & Suzanna Rosenthal.
For further info, please see www.aneveningwithsirrogermoore.com
Don L. Stradley's tribute to
the first lady of kick-ass cinema, Pam
Grier
Steven Bingen presents our
"Film in Focus": the modern film noir classic "Farewell
My Lovely" starring Robert
Mitchum- with exclusive insights from the film's director, Dick Richards.
Howard Hughes looks at the
making of the 1968 Western "Bandolero!"starring Raquel Welch, Dean
Martin and James Stewart.
Keith Wilton celebrates the
glories of the long-gone widescreen process VistaVision.
Cai Ross pays tribute to the
late Ted Post, director
of “Hang 'Em High”, “Magnum Force” and “Beneath the Planet
of the Apes”
Mark Cerulli takes a working
vacation and visits some of the key Portugal locations for "On
Her Majesty's Secret Service" and tracks down extras who
appeared in the film.
Jonathon Dabell looks back on
director Richard Brooks' underrated 1975 Western "Bite
the Bullet" starring Gene Hackman and James Coburn
Howard Hughes' homage to the
Italian "Gamma 1" cult sci-fi flicks
Tim Greaves looks back on the
short but glamorous film career of Hammer horror sex symbol Olinka Berova
Charles Cohen discusses his ambitious efforts to restore
timeless film classics through The Cohen Film Collection
Lee Pfeiffer looks at the
mostly-forgotten and underrated film "Staircase" starring Richard Burton and Rex
Harrison as aging gay lovers
Gareth Owen focuses on the
filming of "The New Avengers" TV
series at Pinewood Studios
Sir
Christopher Frayling
provides a major 10 page article on the making of MGM's Cinerama
blockbuster How the West Was Won, featuring deleted
scenes and a wealth of rarely seen photographs.
Howard Hughes pays tribute to Jack Cardiff's
1968 gut-busting adventure Dark of the Sun(aka The
Mercenaries) starring Rod Taylor
Dave Worrall blows the lid off the 1969 Cinerama epic Krakatoa,
East of Javaand takes us behind the scenes for the
Cinerama family classic The Wonderful World of the Brothers Grimm.
Thomas Hauerslev takes us back to those wonderful
Cinerama travelogues This is Cinerama, Seven Wonders of the Worldand traces the history of the format.
Lee Pfeiffer reviews a plethora of spy movies on DVD
including The Man From U.N.C.L.E. feature films
Adrian Smith interviews actress Anneke Wills,
star of the mod London cult classic The Pleasure Girls and
pays tribute to Jane Asher in Jerzy Skolimowsky's Deep
End
Raymond Benson looks at the best films of 1981
Gareth Owen revisits the filming of The Great Gatsbyat
Pinewood Studios
Plus the latest DVD, soundtrack and film book reviews
Candystarring Ewa Aulin as the sexy teen nymph in an
all-star fiasco that involved Marlon
Brando, Ringo Starr, James Coburn and Walter
Matthau.
Earthquake, the 1974
blockbuster starring Charlton Heston,
Ava Gardner and many other familiar faces in one of the most successful
films of the genre. Ross Warner reminds why the film remains a guilty pleasure
and Thomas Hauerslav of the web site In70mm.com presents a fascinating look at
the history of Sensurround, the Oscar-winning sound system that had more than
its share of mishaps.
Nick Anez provides analysis of two Fox
Westerns from the 1960s: The Comancheros starring John Wayne and Stuart Whitmanand Rio
Conchos starring Whitman and Richard
Boone. Anez examines the startling similarities between the two films and
debates if Conchos can truly be regarded as a remake of The Comancheros.
Lee Pfeiffer has a sit-down
interview with jazz great Kyle Eastwood
and discusses his scoring of films with his father, Clint Eastwood. Kyle also recalls starring with his dad in Honkytonk
Man and making a cameo in The Outlaw Josey Wales.
Gary McMahon looks at memorable
films that have coped with the restrictions of shooting key sequences in
confined places, from the legendary fight aboard the Orient Express in the
James Bond classic From Russia With Love to Hitchcock's
Lifeboat and Huston's Key Largo.
Cinema Retro music critic Darren Allison
provides an in-depth tribute to the recently departed legendary composer John Barry.
Matthew Field concludes his
three-part interview with director Lewis
Gilbert with discussions of Friends and Educating Rita.
Herbie J. Pilato examines the
good, the bad and the ugly among major films based on legendary TV series such
as The Fugitive, Get Smart and The
Wild, Wild West.
Raymond Benson looks back on his
top films of 1979 including Alien and Apocalypse Now.
Cinema Retro honors famed film
critic and documentary maker Richard
Schickel at a special event held at the Players club in New York City.
Gareth Owen pays tribute to Michael Powell's long-neglected classic
Peeping
Tom.
Coverage and photos from the new
book MGM:
Hollywood's Greatest Backlot
Photos copyright Mark Mawston. All rights reserved.
Britt Ekland with the Aston Martin Vanquish from Die Another Day outside the entrance.
The
50th anniversary of the James Bond film series got off the grid yesterday (Sun
15th) with the official launch of 'Bond in Motion: 50 Vehicles, 50 Years', an exhibition
of OO7-related vehicles at the National Motor Museum, Beaulieu in Hampshire. To commemorate this historic
turning point in the Bond franchise, Eon Productions (the Bond film-makers) and
the motor museum (celebrating its 40th anniversary this year), have put
together the largest official collection of famous James Bond vehicles the
world has ever seen.
Sunday
also saw Eon kick-start the 50th anniversary with many special features in
British newspapers and magazine supplements including The Mail on Sunday and The
Sunday Mirror.
Before
opening to the public on January 17th, the world's press and selected guests
were invited to attend the unveiling of fifty different forms of transport to
celebrate fifty years of the OO7 movies.
Opening ceremony (L to R) Ralph Montagu, Eunice Gayson (Dr No/From Russia With Love), Britt Ekland (The Man With the Golden Gun), Jenny Hanley (On Her Majesty’s Secret Service), Madeline Smith (Live and Let Die).
Guests
in attendance included Chris Courbold (SFX Casino
Royale-Skyfall), Vic Armstrong (Stunt co-ordinator and 2nd unit director on
many films), actors Colin Salmon (Die
Another Day), Shane Rimmer (You Only
Live Twice and The Spy Who Loved Me)
and Ken Wallis, the inventor of the autogyro who doubled Sean Connery in the
sequences with 'Little Nellie' in You
Only Live Twice.
American
businessman Michael Dezer, who purchased the entire 'Cars of the Stars' and
'Bond Museums' last year, flew over especially for the occasion. The boat from From Russia With Love was loaned to the
museum by Mr Dezer for the exhibition.
Mr Dezer's car museum, which is anticipated to be the largest in the world, is
due to open this year in Florida.
Cinema Retro enters its eighth great year with issue #22, now shipping worldwide. All subscribers will be receiving their copies shortly.
If you have not renewed your subscription, please do so today! We cannot hold copies in reserve for you, so don't miss out on a single great issue during 2012. Click here to subscribe instantly through our Ebay affiliate store or click here for other methods of subscribing.
Highlights of issue #22 include special features that celebrate the 60th anniversary of Cinerama:
Sir Christopher Frayling provides a major 10 page article on the making of MGM's Cinerama blockbuster How the West Was Won, featuring deleted scenes and a wealth of rarely seen photographs.
Howard Hughes pays tribute to Jack Cardiff's 1968 gut-busting adventure Dark of the Sun(aka The Mercenaries) starring Rod Taylor
Dave Worrall blows the lid off the 1969 Cinerama epic Krakatoa, East of Javaand takes us behind the scenes for the Cinerama family classic The Wonderful World of the Brothers Grimm.
Thomas Hauerslev takes us back to those wonderful Cinerama travelogues This is Cinerama, Seven Wonders of the Worldand traces the history of the format.
Lee Pfeiffer reviews a plethora of spy movies on DVD including The Man From U.N.C.L.E. feature films
Adrian Smith interviews actress Anneke Wills, star of the mod London cult classic The Pleasure Girls and pays tribute to Jane Asher in Jerzy Skolimowsky's Deep End
Raymond Benson looks at the best films of 1981
Gareth Owen revisits the filming of The Great Gatsby at Pinewood Studios
Plus the latest DVD, soundtrack and film book reviews
A lineup of Eon crew, past and present: Peter Lamont, Anthony Waye, Vic Armstrong, Alan Tomkins, Terry Bamber.
By Dave Worrall
Photos by Mark Mawston (Copyright 2011, all rights reserved)
The
highlight of yesterday's Bondstars Christmas party at Pinewood Studios was an
on-stage talk by Alan Church, who worked with Maurice Binder on many of the
James Bond film title sequences. Alan showed the 120+ audience a DVD of behind
the scenes footage of Binder filming the titles for Licence To KIll, detailing how he filmed a scantily-clad model
dancing around and firing a gun. It was fascinating to see Binder directing
every move with attention to detail, using a wind machine, filming with
slow-motion cameras, and even painting out skin blemish's on the model's body!
Jenny Hanley emcees the Mastermind contest event.
Prior
to this, organizer Gareth Owen interviewed past crew members on stage,
including stunt arranger and second unit director Vic Armstrong and producer
Anthony Waye. Guests in attendanceincluded Margaret Nolan, Shane Rimmer, Britt Ekland, John Moreno, Tom
Chadbon, Keith Hampshire, Peter Lamont, Pavel Douglas, Doug Robinson, Tom So
(who auctioned off on stage a Casino
Royale crew jacket he donated for charity), and Beatrice Libert, who played
one of Drax's girls in Moonraker, to
name but a few.
Attendees watching the on-stage activities in the ballroom.
Earlier
in the afternoon Michael Chance performed a portion of his one-man show; 'The
Man With The Golden Pen', and On Her Majesty's Secret Service actress Jenny Hanley hosted the Bondstars
Mastermind Quiz, which was very entertaining, especially when 2nd unit
production manager Terry Bamber took to the stage (unaware it was a set-up by
the organizers), who had to answer ten questions whereby the sometimes embarrassing answers were inevitably about himself! As usual, Terry was a great sport and went with the flow with everyone clapping and
roaring with laughter, which pretty much summed up the mood of the entire day - a load of fun.
I very rarely rave about new films. Some
puzzle me, others annoy me and many are plain incoherent when it comes to
dialogue vs special effects soundtracks. But more than anything, jerky camera
work does nothing to excite nor, in my opinion, does it "add"
anything to a movie.
How refreshing therefore it is for a misery
guts like me to see a film that bowls me over and one which flies in the face
of expected convention.
I first saw THE ARTIST in Cannes back in
May - at I think its fourth screening, as the other three were totally
over-subscribed. It is a black and white, silent movie shot in a 4:3 ratio.
Yes, that's correct: not widescreen, not 3D, not cluttered with sound effects
and not in colour. Furthermore its star is a Frenchman - Jean Dujardin. His
name might not mean much, but he is already one of France's highest paid actors
and is set for huge glory in Hollywood.
THE ARTIST is a beautifully crafted film,
exquisitely shot and brilliantly cast. It centres on silent movie star George
Valentin (Dujardin) and his fall from favour when 'talkies' come in.
Valentin is a hugely charismatic, charming
and likeable character. With his four legged Jack Russell, Uggy (who almost
steals the film), he stars in a vast number of silent movies from action-adventures
to romance and spy thrillers. However, his aversion to talking on film results
in a sudden fall from stardom, and coupled with the 1931 stock market crash, he
finds himself loveless, penniless and homeless.
A young extra, Peppy Miller (Berenice
Bejo), who was given a leg up in the industry by Valentinmeanwhile captures the hearts of audiences,
and soon becomes the doyen of the talkies. As Valentin's star fades, Peppy's
rises.
The sizzling chemistry between the two
characters leads Peppy to help her now suicidal friend and bring him back to
movies. "No one wants to pay to hear my speak" argues Valentin, in
one of the frequent subtitle cards. Instead they choreograph an amazing dance
routine, which reignites Valentin's star.
With guest turns from John Goodman,
Penelope Ann Miller, James Cromwell and Malcolm McDowell it is a film which
will capture your heart, and demonstrates that just because something is in
B&W and silent, it doesn't mean the power of storytelling is null and void
in this multiplex world.
(Gareth Owen writes the Pinewood Past column, covering the history of Pinewood Studios, in every issue of Cinema Retro)
Britain's fabled Pinewood Studios is in such demand by filmmakers that the studio is turning away a traditional source of revenue, TV productions, in favor of expensive, big-screen films. Revenue has been soaring over the past months as major films such as Dark Shadows, Woman in Black, The Iron Lady and Prometheus have gone into production at the studio, which will celebrate its 75th anniversary shortly. Pinewood is also investing in films with small budgets in hopes of finding the next King's Speech, a modestly-budgeted production that has grossed over $135 million to date. The new James Bond flick is expected to lens there later this year. For more click here
(Don't miss Gareth Owen's columns about the history of the studio- Pinewood Past- in every issue of Cinema Retro)
The latest issue of Cinema Retro (#20) is now shipping to subscribers all around the world. As we publish in the UK, those subscribers always get their copies first. However, the latest issue just arrived from the other side of the pond and has now been shipped out to all other regions. Readers will have it in their hot little hands very soon.
Cover story on Candy starring Ewa Aulin as the sexy teen nymph in an all-star fiasco that involved Marlon Brando, Ringo Starr, James Coburn and Walter Matthau. Dean Brierly examines how such a sure-fire project turned into one of the worst movies ever made.
This issue's Film in Focus is Earthquake, the 1974 blockbuster starring Charlton Heston, Ava Gardner and many other familiar faces in one of the most successful films of the genre. Ross Warner reminds why the film remains a guilty pleasure and Thomas Hauerslav of the web site In70mm.com presents a fascinating look at the history of Sensurround, the Oscar-winning sound system that had more than its share of mishaps.
Nick Anez provides analysis of two Fox Westerns from the 1960s: The Comancheros starring John Wayne and Stuart Whitman and Rio Conchos starring Whitman and Richard Boone. Anez examines the startling similarities between the two films and debates if Conchos can truly be regarded as a remake of The Comancheros.
Lee Pfeiffer has a sit-down interview with jazz great Kyle Eastwood and discusses his scoring of films with his father, Clint Eastwood. Kyle also recalls starring with his dad in Honkytonk Man and making a cameo in The Outlaw Josey Wales.
Gary McMahon looks at memorable films that have coped with the restrictions of shooting key sequences in confined places, from the legendary fight aboard the Orient Express in the James Bond classic From Russia With Love to Hitchcock's Lifeboat and Huston's Key Largo.
Cinema Retro music critic Darren Allison provides an in-depth tribute to the recently departed legendary composer John Barry.
Matthew Field concludes his three-part interview with director Lewis Gilbert with discussions of Friends and Educating Rita.
Herbie J. Pilato examines the good, the bad and the ugly among major films based on legendary TV series.
Raymond Benson looks back on his top films of 1979 including Alien and Apocalypse Now.
Cinema Retro honors famed film critic and documentary maker Richard Schickel at a special event held at the Players club in New York City.
Gareth Owen pays tribute to Michael Powell's long-neglected classic Peeping Tom.
Coverage and photos from the new book MGM: Hollywood's Greatest Backlot
plus the usual extensive coverage of the latest movie books, DVDs and soundtracks
Don't delay- if you're not already a subscriber, click here for information about joining the ranks of our supporters from around the globe. Click here to subscribe directly through our Ebay affiliate.
Alan
Hume, one of
the most accomplished directors of photography has died
aged
85.A
veteran of over
100 films, Alan Hume began his career as a clapper boy on David Lean's
In
Which We Serve, Great Expectations and Oliver Twist. He progressed up the
ranks to
focus puller by his third film with Lean. When
Our Girl Friday
(starring a young Joan Collins) came along in 1953, Hume was promoted to
camera
operator and shot 27 more films as camera operator in 7 years. He gained
a
reputation for being fast, efficient and a brilliant photographer -
which deeply
impressed Carry On producer Peter Rogers, who put Hume under contract
and
offered him the chance to become a director of photography in 1960 on No
Kidding. Over the next forty years, Hume lit over 150 films and TV shows.Among
his credits
were fifteen Carry On films, Star Wars: Return of the
Jedi,
Stepping Out, Shirley Valentine, A Fish Called Wanda, The Land That Time
Forgot,
Shout At The Devil and TV shows The Avengers, Space Precinct and
Acapulco HEAT. James Bond producer Albert R. Broccoli was so impressed by Hume's work that he hired him for four 007 blockbusters: The Spy Who Loved Me, For Your Eyes Only, Octopussy and A View to a Kill.
Alan
Hume was regarded as a true gentleman within his chosen industry. As a friend and supporter of Cinema Retro, we mourn his loss.- Dave Worrall and Lee Pfeiffer
(Cinema Retro columnist Gareth Owen co-authored Alan Hume's 2004 autobiography A Life Through the Lens: Memoirs of a Film Cameraman. To read about Hume's remarkable career, click here to order from Amazon USA , click here to order from Amazon UK.)