As someone who discovered James Bond films and David Bowie right around the same time, I found the following anecdote, supplied by Dylan Jones during the press launch of his new Bowie bio, David Bowie: A Life, mighty amusing.
“[Screenwriter and novelist Hanif] Kureishi told me this story, that when David Bowie moved to Switzerland at the end of the Seventies to escape tax and drug dealers, he didn’t know anybody there. He was in this huge house on the outskirts of Geneva - he knew nobody.
“One day, about half-past five in the afternoon, there’s a knock on the door, and there he was: ‘Hello, David.’ Roger Moore comes in, and they had a cup of tea. He stays for drinks, and then dinner, and tells lots of stories about the James Bond films. They had a fantastic time - a brilliant night.”
“But then, the next day, at 5.30… Knock, knock, it’s Roger Moore. He invites himself in again, and sits down: ‘Yeah, I’ll have a gin and tonic, David.’ He tells the same stories - but they’re slightly less entertaining the second time around.
“After two weeks [of Moore turning up] at 5.25pm - literally every day - David Bowie could be found underneath the kitchen table pretending not to be in.”
Bowie turned down the role of the villainous Max Zorin in Moore’s final outing as 007 in A View to a Kill.
Now we know why!
It was announced this week that from March 2 through July 15, 2018, the Brooklyn Museum will mark the final stop of the Bowie exhibit that was organized by the Victoria and Albert Museum in London. More than 300 objects from the singer’s life, including 60 stage costumes and set designs from his 1974 “Diamond Dogs” tour will be on display.
Depending on your age and first exposure to a James Bond movie, Sir Roger Moore may well be your favorite 007. Younger viewers, ahem, may prefer Daniel Craig or maybe Pierce Brosnan, but for many, it is the late Roger Moore (who died yesterday) or (my own choice) Sir Sean Connery who best epitomize the “real” Bond, James Bond. (I’d say Ian Fleming’s character lies somewhere in between these twin poles of Connery and Moore.)
Yesterday, in among all the tweets of Roger Moore photos, clips, and comments, was this rather delightful story about Moore as Bond.
But Roger Moore was more than just another James Bond, he was also Ivanhoe, and Lord Brett Sinclair to Tony Curtis’ Danny Wilde in The Persuaders, and my personal favorite, Simon Templar in The Saint.
Moore’s performance as Simon Templar led me to write my first ever fan letter asking for a signed photograph. A week or so later, I duly received a beautiful color photo with Moore’s signature—something I still treasure. Moore as Templar epitomized all the charm and bravery of a cultured super-spy I hoped to emulate when I grew up. As you can appreciate, I never quite managed these fine qualities but it’s always good to have ambition… In real life, Moore was by all accounts equally as charming and as debonair as the characters he played, although he once quipped that his acting chops were limited to his right eyebrow being raised, his left eyebrow being raised or both being raised together. What came across on screen was apparently very much the real man.
During the few lean years of his early career in the 1950s, Moore supplemented his acting work as a model for knitting patterns. This led the more cynical to dismiss his acting talent and label him the “Big Knit.” It didn’t irk Moore, who was always more than capable of pricking his own image and deflecting the most ridiculous of criticisms. I think Moore’s career as a model for cardiagns, pullovers, and v-neck sweaters makes him all the more likable as he managed to carry it all off with great style and considerable aplomb, not that James Bond would have ever been caught dead in any of these.
More fashions worn by the ‘Big Knit,’ after the jump…
Looking at the glorious cover art for Severin’s recent release of the 1978 action film, The Wild Geese, one can just feel the epic sturm und drang emanate from it. We’re talking macho splashes of earth tones, weathered faces and a sense of complete, virulent action, all telling you that this is not your average uber-masculine, gun-toting, white-knuckling film. No, because while The Wild Geese has all the key elements to make your garden variety violence loving film fan happy, it also has more on the ball than that. This is a film that you can love for more than just its body.
The Wild Geese stars Richard Burton as Col. Allen Faulkner, a highly seasoned mercenary who is hired by the impossibly rich industrialist, Sir Edward Matherson (Stewart Granger), to put together a team of the best mercs in the business. The reason? To pull off a rescue mission for President Limbani (Winston Ntshona). Limbani has been imprisoned in his own African nation after being overthrown by a rabid dictator. The goal is to get him to safety and set off the domino effect to get the dictator out and to get their fair, if sickly, President back in his original position.
The real fun begins as Faulkner starts to put together his dream of mercenaries, including the dashing Sean Flynn (Roger Moore), single dad and the Colonel’s best friend Captain Rafer Janders (Richard Harris), retiree and gardening enthusiast Sandy Young (Jack Watson) and the wild card from South Africa, Pieter Coatzee (Hardy Kruger), among others. After one fantastic hard-boiled training sequence, the men are ready. The mission is pulled off with all the finesse and fine honed technique of a Russian ballet, but the worm turns and their employer pulls a double cross. It is then up to the titular Wild Geese to get out of Africa alive.
The Wild Geese is a quality film with an interesting and initially, controversial history. The film was protested for being (falsely) assumed to have sympathetic leanings towards Apartheid. Naturally, the protestors had not seen the film and in fact, pointedly refused to even read anything informative about it. In fact, while the film was partially filmed in South Africa, the integrated cast were kept together and left alone by the government. The stench of Apartheid is one that still haunts modern history and with The Wild Geese, there is a crystal clear message of unity at its core. This is especially true with the interactions between the initially hostile Pieter and the infinitely more patient Limbani. Both of them Africans, with the President at one point telling Pieter that for the greater good of their homeland, they must work together, race be damned. Given how much the action genre gets criticized for being anti-intellectual, this is some sweetly refreshing stuff. Don’t get me wrong, there are still enough explosions and bullets to satisfy your inner Old Testament blood lust, but it has something for the ole noggin as well.
Of course, the most standout feature of The Wild Geese is undoubtedly, the cast. Richard Burton shines the brightest as the adroit, tough but with a heart leader Faulkner. Burton, in his early 50’s here, has the perfect blend of talent and manly gravitas that seals the deal. Richard Harris is sweet, in a rough and tumble, whiskey drinking, I’ll-kick-your-ass sort of way. The real revelation though is Roger Moore, who is not only more suave but also more virile here than he was in any of his Bond films. He’s wooing the ladies (well, like the one out of two women in the whole film), when he isn’t flying planes, dodging the mob or giving drug pushers their just desserts. Veteran character actor Frank Finlay, whose resume ranges from I’ll Never Forget What’s’isname to Polanski’s The Pianist, stands out in his brief role as a hot tempered priest. He gets one of the best lines with, “Good luck to you, you Godless murderers!”
The Wild Geese is a piece of cinema rich with blood, 80-proof sweat and tears. While the film was a massive success overseas, it never soared past cult status in the States, namely due to Allied Artists, which had backed the film, folding right before the release. Now thanks to the fine folks at Severin Films, The Wild Geese has a chance for the US Market again, with this loving and thorough DVD/Blu Ray release. In addition to being remastered, there are also some choice extras, including interviews with Roger Moore, Director McLagen, audio commentary, trailers and more.
The only real misstep here is the film’s over-dramatic theme song, courtesy of Joan Armatrading. Nothing against her body of work, but it does not fit the film at all. The Wild Geese may have some heart but it’s still covered by a calloused, hard bitten exterior. If the film was more purely a political creature, maybe, but its action roots are too strong for extra-reaching folk music.
If you’re wanting to ring in 2013 with one fine, cult-action film with a cast that would make any repertory theater with a well stocked liquor cabinet happy, then check out Andrew McLagen’s The Wild Geese
Your favorite James Bond tends to be the one you saw first. I saw Sean Connery first in a double bill of Thunderball and You Only Live Twice, at the Astoria Cinema, Edinburgh. This was soon followed by Diamonds are Forever at the Playhouse. Of course, Connery being Scots means I am probably biased, but his Bond had what made the series work best - sophistication, humor and thrills.
If it came to a second choice? Well, Moore never seemed sure if he was playing Simon Templar or Lord Brett Sinclair, and by Octopussy, he was cast as a sub-Flashman character in a dismal script by Flashman author, George MacDonald Fraser. Timothy Dalton was too dull and way too serious, perhaps he should have played it more like Simon Skinner, a slightly unhinged secret service man with a license to kill. Pierce Brosnan was good but deserved far better scripts - his Bond should have eliminated the scriptwriters. And as for Daniel Craig - started well, but he looks like he’s in a different film franchise.
For me George Lazenby in On Her Majesty’s Secret Service is the only possible second choice. He tried to make his Bond more humane, and kept much what was best in Connery’s interpretation. He was also assisted by a cracking script by Richard Maibaum (additional dialog by Simon “the mind of a cad and the pen of an angel” Raven); an excellent supporting of Diana Rigg as Countess Tracy di Vicenzo, and Telly Savalas as Ernst Stavro Blofeld; and one of the best opening theme tunes (and a glorious song sung by Louis Armstrong) of the series by John Barry.
Yet no matter what Lazenby did, or how good the film, he faced the momentous task of filling a role made by Sean Connery, and he was damned by a lot of critics for it. In this rarely seen interview, George Lazenby talks about the difficulties faced in making On Her Majesty’s Secret Service, the rumors, the on-set niggles and why he was banned for growing a beard. First broadcast on the BBC, February 4th, 1970.