Harry Saltzman Movies

The deeper, broader issues behind the rise and fall of one of the world's greatest ballet dancers and choreographers, Vaslav Nijinksy (1888-1950), is not at the fulcrum of this two-hour British biographical drama. Director Herbert Ross and screenwriter Hugh Wheeler base the film on Nijinsky's diaries and his wife's book Nijinsky but what they portray are the years between 1912-1913 and Nijinsky's affair with Sergei Diaghliev, his mentor and the impresario and founder of Ballets Russes. With the life of the great man (played by dancer George de la Pena) explained via the dominant, impossible personality of Diaghliev and the love of his wife (Leslie Browne), there is no room for larger questions. The business and politics and especially the homosexuality that are involved with the art of ballet are also given primary focus. ~ Eleanor Mannikka, Rovi

Roger Moore makes his first appearance as "Bond...James Bond" in 1973's Live and Let Die. Bond is dispatched to the States to stem the activities of Mr. Big (Yaphet Kotto), who plans to take over the Western Hemisphere by converting everyone into heroin addicts. The woman in the case is Solitaire (Jane Seymour in her movie debut), an enigmatic interpreter of tarot cards. The obligatory destructive-chase sequence occurs at the film's midpoint, with Bond being chased in a motorboat by Mr. Big's henchmen, slashing his way through the marshlands and smashing up a wedding party. Clifton James makes the first of several Bond appearances as redneck sheriff Pepper, while Geoffrey Holder is an enthusiastic secondary villain. The title song, written by Paul McCartney and Linda McCartney, provides the frosting on this 007 confection. ~ Hal Erickson, Rovi

After George Lazenby portrayed James Bond in On Her Majesty's Secret Service, Sean Connery returned to the tux, gimmicks, and catchphrases of Secret Agent 007 in his penultimate Bond outing, Diamonds Are Forever. Fragments of Ian Fleming's original 1954 novel remain, including the characters of the alluring Tiffany Case (Jill St. John) and fey hitmen Wint (Bruce Glover) and Mr. Kidd (Putter Smith). The remainder of Richard Maibaum and Tom Mankiewicz's script diverges dramatically from the novel, involving Bond in a scheme by the insidious Ernst Blofeld (Charles Gray) to force the world powers to disarm so that he can take over the globe. Folksinger Jimmy Dean shows up briefly as a Howard Hughes-like reclusive billionaire, while Lana Wood (Natalie's sister) participates in one of the film's edgiest cliffhangers. Agreeing to make Diamonds Are Forever only because of the money offered him, Sean Connery parted company with the role for 12 years after this film; he returned to the role once more in 1983, for Irvin Kershner's Thunderball remake Never Say Never Again. ~ Hal Erickson, Rovi

 

It wasn't as well received at the box office as the pictures that preceded it or followed it, but Peter Hunt's On Her Majesty's Secret Service is one of the finest of the James Bond movies. James Bond, portrayed here by George Lazenby (in his only performance in the role) has spent nearly two years trying to track down Ernst Stavro Blofeld (Telly Savalas), the head of SPECTRE. He has been taken off the case by his chief (Bernard Lee), an action the pushes him to the point of considering resigning from Her Majesty's Secret Service, just as he opens a possible new avenue of attack on his quarry. Whilst in the field, Bond has chanced to cross paths with the Contessa Teresa Di Vicenzo (Diana Rigg), a beautiful but desperately unhappy woman, whom he rescues from one apparent suicide attempt and an embarrassing moment at a casino gaming table -- the Contessa, who prefers to be called Tracy ("Teresa was a saint"), is the daughter of Marc Ange Draco (Gabriele Ferzetti), an industrial and construction magnate and also a crime boss, who is impressed with Bond personally as well as professionally, and would like to see him marry his daughter. Bond is, at first, unwilling to involve himself with a woman -- any woman -- on that level, but Draco's underworld contacts give Bond a vital clue to Blofeld's whereabouts that get him back on the case and hot on the man's trail. Journeying incognito to Blofeld's mountaintop retreat in the Swiss Alps, Bond finds the criminal mastermind posing as a would-be nobleman and also as a philanthropist, running a clinic devoted to the treatment and eradication of allergies. It's all a front for a surprisingly sinister (and scientifically valid) plot for international blackmail that would make any previous Bond villain quake in fear. And in the process of staying alive long enough to have a chance of stopping Blofeld, Bond discovers the Tracy is truly like no woman he's ever known before -- one special enough that he finds himself willing to give up his life as a free-living, free-loving bachelor. ~ Bruce Eder, Rovi

Harry Palmer (Michael Caine), the reluctant secret agent from The Ipcress File (1965) and Funeral in Berlin (1966) -- both (like the source for this movie) based on novels by Len Deighton -- is back again in Ken Russell's Billion Dollar Brain. Having left Britain's espionage service, Palmer is scraping out a living as a private investigator, but he's still willing to give his old boss Colonel Ross (Guy Doleman) the bum's rush out of his office when he comes calling, offering a raise and promotion if he'll return. But Palmer ends up working for Her Majesty's government anyway -- a letter arrives, with a key and money, and telephoned instructions by a mechanical voice connect him up with a carefully sealed parcel (filled with what an x-ray reveals as eggs) that he must transport to Helsinki. No sooner does he get there than he discovers that an old friend, Leo Newbigin (Karl Malden), and his young lover Anya (Françoise Dorléac) are behind the trip, and that the man who was supposed to receive the parcel is dead. The eggs contain dangerous viruses stolen from a secret British laboratory, and England wants them back and wants to know why they were stolen. That assignment immerses Palmer in a deadly game of deception, double-dealing, and triple-crosses on all sides, as he finds that Leo is working for a privately operated intelligence network, set up by a rabidly right-wing Texas oil man, General Midwinter (Ed Begley Sr.).

The billion-dollar super-computer of the title, built by Midwinter, runs a network of spies and assassins aimed at the destruction of the Soviet Union. That interests Palmer's old friend, Soviet security chief Colonel Stok (Oskar Homolka, in an almost movie-stealing performance), very much, and he, too, wants to know what Palmer knows. And then there's Leo, who has taken millions from Midwinter, supposedly to establish a secret underground in Latvia, waiting for the signal to rise up against the Soviets occupying their country that will spread across the Baltics and beyond and bring down the Soviet government. He's taken the money, but all Harry find when he goes into Latvia is motley bunch of broken-down black marketeers whose orders are to kill him and make it look like the work of the Soviets. And there's Anya, who is sleeping with Leo, trying to seduce Harry, and seems to have an agenda all her own, but in whose interest? If it's all a little confusing, so was the book on which it was based, but there's enough striking visual material, courtesy of cinematographer Billy Williams, and engrossing performances (and a wry sensibility), courtesy of director Ken Russell and screenwriter John McGrath, that the leaps in plot, logic, and setting don't matter that much, and it is great fun. ~ Bruce Eder, Rovi

Funeral in Berlin was the second of three films based on the Harry Palmer novels by Len Deighton. As he did in The Ipcress File, Michael Caine stars as Palmer, Deighton's bespectacled, somewhat disreputable British secret agent. In the manner of Graham Greene's The Third Man, Palmer is dispatched to Berlin to look into the highly suspicious defection of Soviet colonel Stok (Oscar Homolka). It is giving nothing away to reveal that Stok's death is a sham, and that Palmer is expected to engineer the "corpse"'s defection. To reveal any more, however, would be giving the game away. Michael Caine would portray Harry Palmer a third time in Billion Dollar Brain. ~ Hal Erickson, Rovi

It is no doubt extremely difficult to produce a film which is respectful of a world-renowned and widely loved man, recently deceased, who was considered to be either a saint or well on the way to being one. This unusual biographical film is based on writings (published and unpublished) of Pope John XXIII (born in a peasant family as Angelo Roncalli), who in his short tenure in the papacy began the Second Vatican Council and attempted to reform and liberalize many doctrines of the church, including encouraging the unification of Christians and of all humanity. Every pope after him has been busily attempting to undo most of his liberalizing legacy. This film presents the innovator in his own words, through the device of a narrator (in English, this is Rod Steiger), as he recounts some of the experiences of his life, especially as an ambulance driver in World War II. ~ Clarke Fountain, Rovi

From Russia With Love, the second in the series of James Bond films, is the film that solidifies all the Bond film elements into a formula -- the action sequences are intensified and lend greater tension to the proceedings; John Barry's inimitable score makes its first appearance; and Sean Connery as Bond has nailed down his role as 007 -- accentuating Bond's stylishness and sophistication, while toning down his cold-bloodedness. In From Russia With Love, the bad guys don't want to take over the world. They want something more mundane -- a Russian decoding device. Assigned to the mission of stealing the decoding device are No. 3, former KGB agent Rosa Klebb (Lotte Lenya), and No. 5, Kronsteen (Vladek Sheybal), an expert chess player who has plotted every move of the mission. Kronsteen's plan requires using Bond's weakness for women as an element in acquiring the decoding device. Once Bond obtains the decoding device from Russian cipher clerk Tatiana Romanova (Daniela Bianchi), SPECTRE muscleman Red Grant (Robert Shaw) is to forcibly take it from Bond and kill him. But Bond suspects a trap. Being Bond, however, he can't resist the lure of a beautiful woman. So, flaunting danger, Bond travels to Istanbul to meet Tatiana. The centerpiece of this 007 feature is the thrilling fight to the death between Bond and enemy agent Red Grant aboard the Orient Express. ~ Paul Brenner, Rovi

Terence Young directed this first of a long line of screen adventures with Ian Fleming's unflappable British Secret Service Agent 007 in a fast-paced, tongue-in-cheek style that set the tone for the rest of the popular series. Sean Connery sets the standard by which all future takers must measure themselves as the insouciant and devil-may-care James Bond. The story concerns Bond being sent to Jamaica to investigate the murders of a British agent and his secretary. During his investigation, he comes into contact with the evil and unscrupulous Chinese scientist Dr. No (Joseph Wiseman) who, living on an island called Crab Key, is hard at work in a nuclear laboratory. Dr. No's scheme is to divert rockets being fired from Cape Canaveral off their charted course and to blackmail the United States to get their rocket launches restored to normal. Helping Bond is Ursula Andress (mostly undressed in a bikini throughout most of the film), as well as bad gals like Zena Marshall, who almost leads Bond to his death in her bedroom, and Eunice Gayson, a Bond pickup in a London gambling house who proves herself a greater adversary than even James Bond can handle. ~ Paul Brenner, Rovi

Laurence Olivier recreates his stage role of Archie Rice in this in-your-face film adaptation of John Osborne's play. The son of a legendary music hall comedian (Roger Livesey), Archie is strictly a third-rater, headlining a tacky music hall revue in a seedy seaside resort town. Archie can't admit that he's a failure, and his grim insouciance destroys everyone around him. Archie finagles his dying father into financing one last revue; he cheats shamelessly on his alcoholic wife (Brenda De Banzie); and he all but forces one of his sons (Albert Finney) to run off to join the army, only to die in the Suez. Through all his personal crises, Archie jigs and jabbers before his ever-diminishing audience, but by the end of the film he isn't even entertaining himself. Joan Plowright, who married Olivier shortly after completing The Entertainer, plays the film's one sympathetic character: Archie's daughter, whose love for her father blinds her to his flaws. The Entertainer was remade for television in 1976, with Jack Lemmon as Archie Rice and original songs by Marvin Hamlisch. ~ Hal Erickson, Rovi

Lensed in England, The Iron Petticoat has been out of circulation for so long that it's difficult to determine whether it is a long-lost classic or the unmitigated disaster many have claimed it to be. Essentially a rehash of Ninotchka, the film stars Bob Hope as Chuck Lockwood, an American military officer assigned to "de-Communize" defecting Russian aviator Vinka Kovelonko (Katharine Hepburn). Meanwhile, Vinka tries to win Chuck over to the glories of the People's Republic. The film remains on a fairly subtle comic level until its unecessarily slapsticky finale, which, in to paraphrase one reviewer, caused many film fans to completely "give up Hope." Those who've seen The Iron Petticoat are astounded at how well Bob Hope and Katharine Hepburn worked together, especially since it has been well documented that the two stars were decidedly not close chums off screen. The film sparked a now-famous war of words between Hope and scriptwriter Ben Hecht, both of whom took out long, rambling trade-paper ads to lambaste each other for "ruining" the project. ~ Hal Erickson, Rovi