'A Shot in the Dark' is best Pink Panther film

A Shot in the Dark (1964)
Starring: Peter Sellars, Elke Sommer, George Sanders, Herbert Lom, and Burt Kwouk
Director: Blake Edwards
Rating: Eight of Ten Stars

When a murder takes place at the home of the rich and powerful Mr. Ballon (Sanders), the worst police detective in France, Inspector Clouseau (Sellars), is accidentally assigned to the case. He immediately ignores the most obvious suspect--the beautiful, curvecious blonde maid Marie (Sommer), who was found with the murder weapon in her hand--and continues to let his hormones guide him instead of the clues even as more bodies pile up around her.


"A Shot in the Dark" is the second movie in the "Pink Panther" series, but the first film where the formula, supporting cast, and wild slapstick antics of Sellers' Clouseau character that will become the hallmark of the series are fully present. Although often overlooked by fans of the "Pink Panther" series due to the unusual title, " it is also the very best of the entries.

Sellers is amazingly hilarious as Clouseau, and the routines he performs here are among the funniest of the entire series--only the battles between Clouseau and his overzealous man-servant and martial arts sparring partner Kato will leave viewers in stitches. The film is made all the more amusing by the fact that it not only serves as an outlet for Sellers' antics, but that is also works as a spoof of the traditional murder mystery, complete with a screwball "drawing room revelation" scene).

Typically when reviewing this film, one cites the billiards scene or the nudist colony scene (both of which are top-notch examples of Sellers' comic genius), but my favorite part of the entire movie remains the opening sequence, where we view the outside of a large house, and through the windows see a host of characters sneaking from room to room (and from bed to bed), turning the lights on and off... until we hear gunfire and the screen goes black.

This opening is both funny and engaging, and it is one of the best title sequences of any movie I've seen. The Henry Mancini-penned song "Shadows of Paris" underscores its the mood perfectly, particularly in the light of what follows.

This is a film that lovers of well-made comedies and spoofs should get lots of kicks out of.

Moore becomes Bond in 'Live and Let Die'

Live and Let Die (1973)
Starring: Roger Moore, Jane Seymour, Yaphet Kotto, and Geoffrey Holder
Director: Guy Hamilton
Rating: Eight of Ten Stars

British secret agent James Bond (Moore) is dispatched to find and eliminate the leak that's caused the death of several of Her Majesty's secret agents in the Americas. He soon finds himself pitted against Mr. Big (Kotto), a powerful drug lord who has more than just thugs and weapons at his disposal: He is allied with a sexy Tarot-reading psychic (Seymore) and draws upon the seemingly very real voodoo powers of Baron Samdei himself (Holder)!


With "Live and Let Die", Guy Hamilton helmed yet another of my favorite James Bond movies. It's a little darker than most, the horror/ overtones are incorporated with great skill into the high-tech world super-spy world of Bond, and it's got one of the all-time classic Bond chases that has all the humor, action, suspense, and stunts that we've come to expect. It also delivers one of the most interesting Bond Girls to appear in the series, the may-or-may-not-be psychic, Solitaire. For final icing on the cake, the usual Bond-with-the-girl denouement even has a little bit of a horror twist to it.

Acting-wise, I think everyone made a fine show of themselves, even if I would have liked to see more of Seymour as Solitaire(in both senses of that). I also prefer the somewhat grimmer portrayal of Bond that Moore gives here than the increasingly good-humor-glint-in-eye Bond that we get in later films; it really seemed more in keeping with the character. In fact, that the humor was kept somewhat restrained in this film compared to the Roger Moore vehicles that were to come is one of the reasons this movies is so effective.

Bond is closest to Ian Fleming sourcein 'From Russia With Love

From Russia With Love (1963)
Starring: Sean Connery, Daniela Bianchi, Lotte Lenya, and Robert Shaw
Director: Terrence Young
Rating: Eight of Ten Stars

When British secret agent James Bond (Connery) is dispatched to Turkey to retreieve a Russian defector (Bianchi) and a decoder machine she is willing to surrender to British Intelligence. However, he soon finds himself in a trap contrieved by international criminal cartel SPECTRE and its shadowy leader, Blofeld.


"From Russia With Love" is perhaps the most straight-forward and most realistic spy movie in the entire James Bond series. The film spends its time in spy-vs-spy territory, the gadgetry is kept to a minimum, and even Bond keeps a relatively low profile throughout. There are some nice set-pieces and some amusing one-liners, but they all take place within a framework far more realstic than any other of the classic Bond films.

(I'm loathe to mention this, but "From Russia With Love" is similar in tone and feel to the Timothy Dalton-starring "License to Kill". Both films are free of the comic-book action that is the hallmark of most Bond films... but "From Russia" has a leg up on "License" in that the former movie is actually entertaining.)

Bond targeted for death by world's top assassin

The Man With The Golden Gun (1974)
Starring: Roger Moore, Christopher Lee, Britt Ekland, Herve Villechaize, Maud Adams, and Clifton James
Director: Guy Hamilton
Rating: Six of Ten Stars

When British spy James Bond (Moore) learns someone has hired the world's most expensive assassin to kill him, he decides to take the fight to the shadowy killer. However, Bond soon discovers that Francisco Scaramanga (Lee), his midget partner in murder (Villechaize) and his exotic girlfriend Andrea Anders (Adams) actually have their sights set on a target more lucrative than even Britain's top Code-00 agent.


"The Man With the Golden Gun" is a beautfilly shot film that takes full advantage of the exotic China Sea islands, and in which Christopher Lee gives one of his career's best performances as the megalomaniacal assassin with a game room that matches both his ego and occupation. It's also got a pair of very beautiful women on prominant display in the film (Adams and Ekland), and it's got a story that's closer to being real-world in nature than any Bond since "From Russia With Love" (with the exception of certain elements). It's also got another fabulous score by John Barry.

However, the film is also strangely slow-moving and lethargic-feeling. I can't quite put my finger on why, but "Golden Gun" never seems to quite build up the steam that just about all the other James Bond films do. Even the awful Timothy Dalton entries had more fire in them. And with a great cast like this, and with the director that helmed "Live and Let Die", "Diamonds Are Forever" and the very best Bond movie "Goldfinger", this should have been a great entry in the series.

I suspect it might be a problem with the script. The sense of urgency and danger surrounding Bond's mission seems downplayed throughout the film, not really manifesting itself until the last 45 minutes or so, where in other Bond movies there interlocking mission arcs where each new one is more deadly and expansive than the one that went before.

Whatever the flaw here--and I really can't quite put my finger on it--this is a decent entry in the series, and it's worth seeing if you enjoyed "From Russia With Love". I think this is probably the other Bond movie in the series to which this "Golden Gun" can most closely be compared.

The second Bond lives twice

You Only Live Twice (1967)
Starring: Sean Connery, Akiko Wakabayashi, Donald Pleasence, Tetsuro Tamba, Karin Dor, Mie Hama, Desmond Lleweland, and Charles Gray
Director: Lewis Gilbert
Rating: Seven of Ten Stars

With the Soviet Union and the United States blaming each other for mysteriously missing space capsules, war between the two superpowers seems imminent. However, British intelligence agent James Bond (Connery) tracks the real culprit behind the vanishing spacecraft to Japan. Here, he teams up with Japanese governmental ninjas (including the sexy Aki (Wakabayashi)) to put a stop to another evil plan set in motion by SPECTRE and Bond's nemesis, Blodfeld (Pleasence).


"You Only Live Twice" was a movie a ahead of its time, insofar as it has something of a 1980s-style action movie feel to it. Some of the action scenes go way over the top, and if you stop and think about them, they don't even make sense as they're unfolding in the movie. Plus, it's got ninjas in their jammies! Who knew such a thing was even allowed to be in movies before 1980?

However, the occasional lapses in logic are of no great consequence, as the film has so much else going for it. Connery gives a fine performance as Bond, composer John Barry turns our yet another excellent score, the film takes advantage of both the natural beauty of Japan as well as some of the myths around its culture, even while tearing others down, and one of the niftiest "secret lair" sets to ever appear in a Bond film.


Another point of interest is this was the first Bond movie where he teams with a female agent who truly is his match (Aki, played by the very lovely Akiko Wakabayashi. It is also the first time where there's a sense that genuine romance may be developing between Bond and woman. Of course, this is also the first manifestation of the "Bond Curse"--any woman he loves is bound to die.

A fun, solid entry in the James Bond series that's worth seeing by fans of 1960s spy films as well as lovers of action movies.





(If you're wondering why I mention the second Bond in this post's title, check out ththis review at "Shades of Gray".)

Diamonds are forever, even if Bond isn't

Another review from when James Bond movies were entertaining.

Diamonds Are Forever (1971)
Starring: Sean Connery, Jill St. John, Jimmy Dean, Charles Gray, Bruce Glover, and Putter Smith
Director: Guy Hamilton

British secret agent James Bond (Connery) impersonates an international diamond smuggler to figure out why a reclusive American business magnate (Dean) is acquiring large amount of diamonds. He soon discovers that his old nemesis Ernst Blofeld (Gray) is lurking in the background.


"Diamonds Are Forever" is another of my favorite Bond movie. It's perhaps the quirkiest of the series, with a level of flip humor that rises almost to the level of some of the later Roger Moore films,and of the series' goofiest chase scenes that sees Bond escaping a research lab in a moon buggy while being pursued by security guards in sedans and on pocket-bikes; yet, the film has a dark center, where a creepy pair of assassins stalking Bond at every turn (the flamboyantly gay couple of Mr. Kidd and Mr. Wint, played with great flair by Glover and Smith) and evil mastermind Blofeld can easily commandeer the resources of a financial empire and the United States government in order to threaten the world.

The film also features one of the most likable Bond Girls ever. The almost-never fully clad Tiffany Case (St. John) brings her considerable assets to film with a twinkle of comic relief--and nothing is more amusing and fun to look at than the outfit she shows up in at one point after being told to put on some more clothes.

Much has been written about the film being homophobic, because it features a pair of pyschopathic, flamingly gay--and so polite that they are every etiquette coach's dream--characters. I think this says more about a pathological hysteria present in the ultra-PC crowd than anything that's actually on screen in "Diamonds Are Forever." Having gay villains in a film is homophobic? Does Blofeld admiring Tiffany Case's ass mean the movie-makers fear straight people, too? No, it doesn't. What it means is that some critics are idiots who probably need therapy.

Another strong element of the film its score. It doesn't have the lasting presence that the "Goldfinger" and "From Russia With Love" music had on the series--themes from which keep popping up for the next decade or more, including this one--but John Barry turns in another excellent effort. The theme song is one of the best so far in the entire series, and Barry incorporates the very hummable tune into several different sequences, and sometimes in very creative ways.

A very enjoyable entry in the Bond series that I think gets unfairly dumped on.