Welcome to September! Because there’s not enough useless information floating around on the internet, I thought I would update readers of this blog as to what I’ve watched/read over the previous month, each month, in the form of TV, movies and books.
Some of this I will have reviewed on the blog but others I’ve just been watching for enjoyment with Mrs Black. This edition covers both July and August collectively.
If you listen to my podcast The X-Cast regularly, you’ll have heard the name Carl Sweeney.
Having cut his podcasting teeth on my X-Files show, Carl last year broke out to develop The Movie Palace, a podcast which looks every week at a brand new film from Classic Hollywood. This week, it was my turn to guest alongside classic film writer Gabriela Masson, talking 1964’s classic James Bond movie, Goldfinger.
This is among the few times I’ve actually discussed James Bond, my huge love of that franchise and the context around it in the 60’s, and it was a fun and engaging discussion with Carl and Gabriela. I discovered new aspects about Goldfinger–a film many of us will have seen plenty of times–that I hadn’t previously considered.
PSA: Contains terrible great Sean Connery impresshions…
Over the course of 2019 and into 2020, in the run up to the 25th James Bond movie, I am going to be deep diving into every Bond film in depth, revisiting one of my favourite franchises.
We start at the beginning with 1962’s Dr. No…
It struck me watching Dr. No just how much the most recent James Bond film to date, Spectre, called back to the very first cinematic outing for 007.
In Spectre, Bond pursues an urbane, calm and collected super-villain who wears Nehru jackets, like in Dr. No. Said villain in Spectre only truly reveals himself fully in the third act, while charming Bond and his female companion with a luxury suite and fine clothing, like in Dr. No. Given the villain in question is Ernst Stavro Blofeld, arguably the most iconic bad guy in the Bond lexicon, it is easy to suggest Spectre is first and foremost inspired by Donald Pleasance in You Only Live Twice, but Christoph Waltz’ modern take on 007’s arch enemy has far more in common with Joseph Wiseman’s Doctor No, certainly when it comes to performance and style. Dr. No may not be a film which perfectly nails the historic James Bond movie formula but there is not one of the twenty-four films that follow it across half a century that do not owe a debt to this somewhat quieter beginning.
It is easy to dismiss Dr. No as a stepping stone to the embarrassment of riches to come in From Russia With Love or Goldfinger, but that is to lend a disservice to a picture steadily growing finer with age. A picture that puts in place a range of Bond movie aspects that without question made the franchise a global, beloved success.