Want a Very Expensive Max Zorin Action Figure?

©Sucklord

It's art! Bootleg toy artist Sucklord is offering an unofficial Max Zorin action figure for $175. It's part of a line of Christopher Walken character figures. If you buy it, I don't think you're supposed to open it up and play with it.

Remembering Roger Moore

The great Sir Roger Moore has passed away after a short battle with cancer, according to numerous news outlets. And this is the piece I have most dreaded writing ever since I began this blog. Roger Moore may not have been the screen’s "best" James Bond in terms of realizing Ian Fleming’s literary character, but he is certainly one of the most appealing. He is the one you most want to hang out with. He was my favorite Bond as a kid, and was always the Bond actor I most fancied having a conversation with. Even now, when I’m in the mood for a Bond movie in general but have no specific title in mind, I find myself most frequently putting on a Moore movie—usually For Your Eyes Only (1981), easily in my Top 5 Bond movies.

Roger Moore personified the witty playboy adventurer who brushes off danger without creasing his immaculately tailored suits. He perfected this persona most famously across three different characters—TV’s Simon Templar on The Saint and Lord Brett Sinclair on The Persuaders!, and of course 007—each distinct, and yet each distinctly Roger Moore. He sold a personal brand long before we spoke in such terms, and he sold it to perfection. Critics have accused him of turning all of his roles into Roger Moore rather than adapting Roger Moore to the roles, but for a movie star, I’ve never seen that as a bad thing. In fact, I’ve always found it incredibly appropriate that at the height of his Saint fandom in the 1960s, while every popular TV character (including The Saint) had his own Annual (hardcover books for children packed with stories, comics, and puzzles), Moore was the only actor to have his own—The Roger Moore Adventure Book.

It was a narrative often put forth by Moore himself that he was not a good actor. Always charmingly self-deprecating, he once famously reduced his own acting ability to, “left eyebrow raised, right eyebrow raised.” He was, of course, selling himself short, and I’m saddened to see that many obituaries today still persist with that narrative. Many James Bond purists lament that Moore played the character so comically, and they certainly have a point. But ask any actor what’s harder, comedy or drama, and nearly unanimously they all answer comedy. It’s true that Roger Moore was not one of the screen’s great dramatic actors (though he was certainly capable of fine dramatic performances, as evidenced in The Man Who Haunted Himself and several crucial scenes in For Your Eyes Only, among others), but he was an incredibly gifted comedian, and deserves recognition as such. His comic timing was impeccable, and his wry delivery of innumerable oft-quoted one-liners unequaled. For proof, one need look no further than other, subsequent James Bond actors who have been saddled with similar lines and unable to pull them off despite their undeniable dramatic gravitas. Roger Moore had a unique talent to sell even the most ridiculous double-entendres or pithy asides, and that talent more than anything else carried the Bond franchise to new Box Office heights in the Seventies and ensured its continuation after Sean Connery.

This is another part of Moore’s legacy that should never be overlooked. While all the other popular spy series of the Sixties (on the big and small screen) dried up in the Seventies (as public perception of spies themselves shifted from heroic to underhanded in the wake of Watergate, COINTELPRO, the Church Committee Hearings, and other scandals), James Bond thrived during Moore’s tenure. Moonraker may not have pleased critics, but it broke Box Office records. What Roger Moore brought to the franchise was exactly what audiences craved in the 1970s. Without him, the series may well have languished, but instead it became more popular than ever.

Despite eventually personifying the upper-class English gentleman, Roger Moore was born into a working class London family. He grew up idolizing suave leading men like George Sanders and Stewart Granger, and following his compulsory army service and a stint as a male knitwear model (which briefly earned him the nickname of “The Big Knit”), had the chance not only to follow in their footsteps, but eventually to work with both. After a string of supporting roles as an MGM contract player opposite the likes of Elizabeth Taylor and Lana Turner (during which, Moore wrote in his autobiography*, he and his neighbor William Shatner “whiled away many an evening… sitting around the pool [of their Westwood apartment complex], having a drink or three”), Moore found success on television. First as the titular knight on Ivanhoe (for England’s ITV, where he would later find stardom as The Saint), then as a cowboy with an unlikely accent on The Alaskans and Maverick (both for Warner Bros.), where he had the unenviable task of filling the void left by James Garner, playing Brett (Garner) and Bart’s (Jack Kelly) English cousin Beau Maverick. In the former he found himself speaking Garner’s lines (a writers’ strike led to scripts from Maverick being recycled wholesale for The Alaskans), and in the latter wearing his clothes (from his autobiography: “They assured me that I wasn’t replacing [Garner]. Oh yeah? Then why did all of my costumes have ‘Jim Garner’ in them, semi-scratched out?”). It would prove valuable experience for later, when he once again found himself taking over from a very popular actor!

Moore’s real fame, however, came not from American television, but UK television. After trying himself, unsuccessfully, to acquire the rights to Leslie Charteris’ Saint stories several years earlier, Moore jumped at the chance to play Simon Templar for producers Monty Berman and Robert S. Baker at Lord Lew Grade’s powerhouse production company, ITC. He made 118 episodes of The Saint, the first batch in black and white, and the second (without Berman) in color. Charteris had imbued his hero with ample wit to match his wits, and Moore, naturally, excelled at conveying that wit on screen. His Simon Templar would break the fourth wall to directly address the audience, making the most of Moore’s innate charm. Simon Templar was the absolute perfect part for Moore, the idea match of character and star. In America, The Saint played on NBC, making Moore a household name on both sides of the Atlantic. It was also his first major brush with spy stardom, as, though Templar was no agent, his adventures frequently brought him into espionage territory.

Once The Saint wrapped, Moore was eager to segue from television into movies. He and Baker, now producing partners, made Crossplot, a highly entertaining Hitchcock knock-off (parts North by Northwest and The Man Who Knew Too Much) in which Moore played an advertising executive caught up in an espionage plot who has to stop an assassination. Bernard Lee, best known as M from the Bond movies, co-starred, and the advertising campaign traded heavily on Bondian imagery, prominently featuring Moore in a white dinner jacket brandishing a pistol. It wasn’t the first connection between Moore and 007. His name was linked with the Bond role as soon as the first movie was announced, but of course Sean Connery was cast instead. Still, Moore played the character in a 1964 sketch on the BBC comedy series Mainly Millicent, and in the Saint episode “Luella” (co-starring future Felix Leiter David Hedison), Templar jokingly introduced himself as James Bond. In another episode, he ordered his drink “neither shaken nor stirred.”

Moore and Baker had planned several other films together (including, according to Andrew Pixley, the spy drama The Patterson Report and an action-adventure called Vanishing Point**), but never had the chance to make them. Instead, Moore was lured back to television by Lew Grade, who had already sold The Persuaders! based on Moore’s involvement, but without his permission! He then persuaded Moore to make the series by urging him to think of all the jobs it would create, and the boon it would be to the British economy. (“Think of the Queen!”) And thank God it worked, because The Persuaders! is fantastic. It’s one of my favorite TV series, and it's actually his character from that show, Lord Brett Sinclair, that I think of first when I think of Roger Moore... much as I love his Saint and his Bond.

The Persuaders! arose from an idea Moore and Baker had had while shooting the final season of The Saint—the idea of a buddy series teaming Moore with a brash American co-star. The Saint episode “The Ex-King of Diamonds” served as an unofficial pilot, pairing Moore with The Champions star Stuart Damon. When it came to the series, however, a bigger name was required, and when Rock Hudson proved unavailable, Tony Curtis came aboard as self-made oil millionaire Danny Wilde. When Brett and Danny first encounter each other on the French Riviera, the two wealthy alpha males find themselves instantly in competition, first in a road race (Brett’s Aston Martin DBS versus Danny’s Ferrari Dino), and then in a fist fight over the proper way to make a ridiculous drink called a Creole Scream. In the course of this fight, they tear apart the whole hotel bar and find themselves facing a judge, Judge Fulton (played by Diamonds Are Forever’s Laurence Naismith), who offers them an alternative to a jail sentence. It turns out he manipulated their meeting, having selected them to be his personal vigilante crime fighters. It’s a tenuous premise, but it serves its purpose, setting Brett and Danny on numerous missions against kidnappers, counterfeiters, and, of course, spies. (Somehow this judge is also privy to information about classified British Intelligence operations when the plots require that.) The Persuaders! had a top-notch roster of talent (including Avengers writer Brian Clemens and Casino Royale director Val Guest) both behind and in front of the cameras, and their skills combined with lush location filming in exotic European locales (as opposed to The Saint’s stock footage and studio backlots) made every episode of the series look like a feature film. But more than anything, it was the fantastic chemistry between Moore and Curtis (whose off-screen relationship influenced their friendly on-screen competition) that made the series work so well. While The Persuaders! faced stiff competition in America from Mission: Impossible, it was a huge hit around the world, and a second season was in the offing… until Moore received a life-changing phone call from Albert R. Broccoli and Harry Saltzman.

During his Bond tenure, Moore made numerous other action-adventure movies, including Gold (for Bond director Peter Hunt), The Wild Geese (opposite Richard Burton), Shout at the Devil (with Lee Marvin), North Sea Hijack (aka Ffolkes, with Bond alumni David Hedison and George Baker), and The Sea Wolves (with Patrick Macnee and David Niven). He even found time to, unlikely though it may seem, play Sherlock Holmes on TV, in Sherlock Holmes in New York with Macnee as Watson and John Huston as Professor Moriarty. All of these movies are well worth watching. He also displayed that considerable gift for comedy in Cannonball Run (sending up his own image as an Aston Martin-driving racer who thinks he’s Roger Moore) and Blake Edwards’ Curse of the Pink Panther (1983). While the latter is a pretty lousy movie, Moore elevates it considerably in his brief cameo as a post-plastic surgery Inspector Clouseau, ably aping Peter Sellers’ famous French accent and pulling off the requisite pratfalls with great aplomb. (You can watch his scene on YouTube, saving yourself from slogging through the entire film.) In my opinion he’s the only actor to ever successfully fill Sellers’ shoes in that role (once again demonstrating his ability to rise to the challenge following in famous footsteps), and it’s a real shame that Edwards didn’t make Moore’s Clouseau the star of the film.

Moore played James Bond in seven official entries in the series, more than any other actor (though tied with Connery if you count the unofficial Never Say Never Again), and until he was 57, making him the oldest actor to play 007. Too old, really. Moore himself was the first to admit that A View to a Kill was at least one movie too many, and stretched credibility when he switched off with stuntmen for the outlandish action. He had actually tried to leave the series, but Broccoli simply offered him too much money to pass up.

After finally hanging up the Walther PPK, Moore focused more on charity than acting, devoting much of his time to children’s health as a Goodwill Ambassador for UNICEF. (His friend Audrey Helpburn had recruited him to the cause.) He played two more spy roles (in The Enemy, based on a Desmond Bagley novel, and as a guest star on J.J. Abrams’ TV show Alias), and made an intriguing mystery for director Bill Condon, The Man Who Wouldn’t Die, but primarily focused on comedy when he did act. His comedic roles included Bullseye! (an unfortunate miss, but an opportunity to star with his good friend Michael Caine), Boat Trip (an awful movie in which Moore is nonetheless hilarious), and Spice World. The latter was the first of several cameos sending up his Bond image. More recently, he starred in a Lifetime holiday movie, A Princess for Christmas, and played an important supporting role in the unsold pilot for a new version of The Saint starring Adam Rayner. (Sadly, that remains unreleased.) He also found time to record many excellent DVD commentaries, and to pen three memoirs (co-authored with Gareth Owen), My Word is My Bond, Bond on Bond, and One Lucky Bastard. My Word is My Bond is essential reading for any 007 fan, and one of my very favorite showbiz autobiographies, full of humorous and typically self-deprecating anecdotes from Moore’s amazing life.

With Roger Moore’s passing, we have lost one of the true titans of the spy genre, and a very talented comedic actor who never got proper credit for those talents. Fortunately, that Roger Moore brand will live on in his incredible body of work, preserved for posterity on DVD and Blu-ray and no doubt all formats to come. There is truth to the criticism that his Bond movies aren’t so much Bond movies as “Roger Moore movies.” But so what? I find myself frequently craving Roger Moore movies, and I don’t expect that will ever change. It may well be that I'm a bit more of a Roger Moore fan than I am a James Bond fan. Roger Moore was truly one of my heroes, and I am genuinely crushed by his passing. But what a legacy he leaves behind!

*Moore, Roger with Gareth Owen: My Word is My Bond, 2008
**Pixley, Andrew: The Persuaders! Read and Destroy: A Complete Series Guide, 2011

R.I.P. Christopher Wood, 007 and Remo Williams Screenwriter

I was very saddened to read on The Book Bond that screenwriter and author Christopher Wood passed away over the weekend at the age of 79. Wood's contributions to both the cinematic and literary James Bond are sometimes overlooked, but tremendous contributions nonetheless.

After poor sales doomed his early ambitions as a serious novelist, the Cambridge-educated Wood turned his talents to penning humorous erotic potboilers under the name Timothy Lea. In this realm, he found great success, creating the popular "Confessions" series. Beginning with Confessions of a Window Cleaner in 1971, Wood wrote 19 pseudonymous "Confessions" paperbacks during the Seventies (selling in excess of 3 million copies) and helped launch that decade's odd genre of British sex comedies (a craze that also kick-started the career of future Bond director Martin Campbell). Under his own name, Wood penned the screenplays for four popular Confessions movies (the first helmed by former Bond director Val Guest) which made an unlikely sex symbol out of shaggy star Robin Askwith. He also wrote the Michael York comedy Seven Nights in Japan (1976) for director Lewis Gilbert. (For Bond fans, this was Gilbert's second Japan-set film to feature Charles Gray, following You Only Live Twice.) This led to Gilbert bringing him to EON Productions' attention, and he was hired to write Gilbert's next Bond movie, The Spy Who Loved Me.

While Bond scripting was always a team effort (Richard Maibaum also received writing credit on Spy, and the writer of the previous three films, Tom Mankiewicz, did a lot of uncredited work), there is no question that Christopher Wood was at the very center of that team in the most formative period of Roger Moore's tenure as 007. While Moore had already had two outings as the famous secret agent, it was The Spy Who Loved Me (1977) that really defined his incarnation of James Bond. Wood and Lewis also stuck around for the follow-up, Moonraker, in 1979. While it's not difficult to believe that the Confessions screenwriter coined some of the series most egregious double-entendres, Wood contended that Moore himself deserved substantial credit for those. Whoever was responsible, it was the right formula for the time, and arguably saved the franchise, which had flagged early in the decade. Moonraker became the highest grossing entry to date.

From Adrian Harrington Rare Books

But Wood's contributions to James Bond weren't limited to celluloid. Because Ian Fleming had stipulated that the movie producers could only use the title The Spy Who Loved Me and not the plot of his novel (an experimental outing narrated by the Bond Girl, with Bond himself absent until its final third), the resulting movie bore no resemblance to the book. Consequently, it became the first Bond movie to get a novelization - and Christopher Wood wrote it, making him the third official continuation author, after Kingsley Amis (Colonel Sun) and John Pearson (James Bond: The Authorized Biography of 007). To differentiate it from the Fleming title, Wood's novelization was titled James Bond, the Spy Who Loved Me. Moonraker, reinvented as a space story to cash on the Star Wars craze, also deviated completely from Fleming's novel (rather a pity, since it was one of his best) other than the villain's name. So Wood once again wrote a novelization, James Bond and Moonraker. Despite the vast disparity between the over the top adventures of the Late Seventies cinematic 007 and Ian Fleming's more grounded novels, Wood managed the neat task of reconciling the two takes in his books. (Even Kingsley Amis praised him for this feat.) The results were two continuation novels with a very Fleming feel, much more successful pastiches than Sebastian Faulks' later attempt to capture Fleming's style. As such, they've long been held in high regard by Bond fans, considered among the best of the numerous continuation novels. The UK hardcover first editions, from Jonathan Cape, are also highly collectible, since they had a very limited print run geared mainly towards libraries. Paperback editions from both the UK and USA are easy to come by and worth tracking down.

While he didn't continue to work on the James Bond films in the 1980s, Wood did collaborate with a former Bond director to bring another famous fictional secret agent to the big screen in that decade. He wrote Remo Williams: The Adventure Begins in 1985 for director Guy Hamilton (Goldfinger). Adapted from the popular Destroyer series of paperback Men's Adventure novels by Richard Sapir and Warren Murphy, the Fred Ward/Joel Grey movie was sadly not successful enough to ever make good on the promise of its title, and we never got to see the adventure continue. But Wood brought to the table all of the fun of his Seventies Bond movies, and the results are enormously entertaining.

Wood continued to work throughout the Nineties and early 2000s as a screenwriter (writing scripts for Roger Corman) and novelist (including the well-received autobiographical showbiz satire California, Here I Am, which was praised on its publication by future Bond novelist William Boyd). Wood's final published work was a 2006 memoir of his time spent with Agent 007, entitled James Bond, The Spy I Loved. Candid, humorous, and informative (though direly in need of a better proof-reader!), it's a must-read for any fan of Seventies James Bond, and a fitting celebration of the indelible mark that Christopher Wood left on the world of 007.

Rare Connery and Moore Movies Coming to Blu-ray This Fall

Michael Caine isn't the only superspy coming to Blu-ray this fall from Kino Lorber Studio Classics. You'll also be able to trace the gathering age lines on Roger Moore and Sean Connery in high definition in some of their post- (or nearly post-) Bond best non-spy roles. Perhaps most excitingly, the company will release the 1984 Golan Globus action thriller The Naked Face, starring Roger Moore, on both DVD and Blu-ray on October 24. Why is this the most exciting? Because the Chicago-set, Bryan Forbes-directed Sidney Sheldon adaptation (which co-stars Rod Steiger, Elliott Gould, Anne Archer and Art Carney) has never before been available in the United States on DVD! And it's one of Moore's best non-Bond actioners. So Moore fans should definitely check this one out.

On September 16, Kino will release a pair of Seventies Sean Connery movies that have previously been on DVD (though are now out of print and quite pricey), but never before on Blu-ray: Michael Crichton's 1978 Victorian caper The Great Train Robbery (co-starring Donald Sutherland and Lesley-Anne Down) and Ronald Neame's 1979 all-star disaster spectacle Meteor (co-starring Natalie Wood, Karl Malden and Martin Landau). The latter may not be considered a Connery Classic, but it is one of my own favorite guilty pleasure movies of that era. Then on December 2, the company will release Connery's own career-favorite performance in Sidney Lumet's The Offence (opposite Trevor Howard). The Offence has previously been available in America only as an MOD title. Finally, spy fans may also be interested to know that Kino will put out Hickey and Boggs on Blu-ray the same day. While not a spy movie, the 1972 private eye tale is notable for reuniting one of the most famous spy duos of the Sixties, I Spy's Bill Cosby and Robert Culp. Whew! It's going to be an expensive fall!

The Muppets Go Spying

The new Muppet movie, Muppets Most Wanted, has a distinctly spyish flavor. Not only does this UK trailer feature fake James Bond music, but Sam the Eagle plays a CIA agent! (Of course the film is also tipping its hat to the best Muppets movie ever, 1981's The Great Muppet Caper, which featured Diana Rigg.) While we're on the subject of Muppets and spies, it's worth remember than Roger Moore appeared on the original Muppet Show (which was, of course, an ITC series like The Saint and The Persuaders!) and Pierce Brosnan appeared on the Nineties revival Muppets Tonight. In 1999, Brosnan was even attached to a Muppet movie that sadly never came to be. Frequent Kevin Smith collaborator Brian Lynch sold a spec script to The Jim Henson Company which would have seen the Muppets lured to solo Hollywood careers. Gonzo was to replace Brosnan as James Bond, and Brosnan would have played himself. It's a pity that film didn't happen.

Steve Coogan Shows Off His Bond Impressions on The Jonathan Ross Show

In The Trip, we saw Steve Coogan and Rob Bryden attempt to outdo each other with their hilarious Michael Caine impressions, and we saw Coogan do a terrific Roger Moore. On The Jonathan Ross Show last week, the British actor/comedian showed off his impressive impressions of other Bond actors. Coogan's Dalton leaves a lot to be desired (and sadly he doesn't do a Lazenby even though he claims to have every Bond actor but Craig in his repertoire), but his Moore and Brosnan are particularly spot-on. Check it out:



Coogan can currently be seen starring opposite former M actress Judi Dench in the Oscar-touted dramady Philomena. At one time he was linked (along with Ben Stiller) to play the Roger Moore role in a feature film remake of The Persuaders!, but sadly that never came to be. Coogan's career is littered with Bond reverence and references. His signature character Alan Partridge is obsessed with Roger Moore, and it's a running joke on the premiere of Coogan's first Partridge-centric series Knowing Me, Knowing You, that Moore fails to show up for an interview on Alan's chat show. In one of the most memorable episodes of the subsequent series, I'm Alan Partridge, Alan hilariously re-enacts the entirety of The Spy Who Loved Me for his friends when the VCR breaks.

Hilarious A View To A Kill Video

This first came to my attention a few years ago via a memberon the CBn forums (Trevelyan 006). I meant to post the link then, but somehow never got around to it. Since then I've watched A View To A Kill twice (it's probably the Bond I watch the least often after Quantum of Solace), and every time I see it now I can't help but flash back to this video and laugh. Intrepid video editor m0gdred has made a particularly dated scene from that movie featuring Christopher Walken and Roger Moore quite hilarious. Enjoy.

Shout! Factory Slates Roger Moore and Michael Caine Blu-ray Rarities

This October, Shout! Factory will release two 1970s titles sure to be of interest to American spy fans: Roger Moore in the WWI-era African adventure Shout at the Devil and Michael Caine in the WWII spy saga The Eagle Has Landed. At this point UK readers are no doubt groaning, "What's the big deal?" as those titles have been available there on DVD and even Blu-ray for years in various editions. But surprisingly, neither one has ever even been available on DVD before in Region 1! To make up for that, the Shout! Factory releases will be DVD/Blu-ray combo sets, so those who haven't yet upgraded to high-def will still be able to enjoy these titles at home for the first time. I believe both of these titles come from the ITV library (I know The Eagle Has Landed does), and I hope their release portends further titles from that library in the U.S. for the first time. Particularly, I hope Shout! has another Moore and another Caine up their sleeves. Both Escape to Athena and The Fourth Protocol are long overdue in this country! There's no word yet on special features on the October releases, but I certainly hope that some of the special features from the UK DVDs make an appearance—and that both films materialize in their extended versions. The Eagle Has Landed (co-starring Donald Sutherland) lands on October 15 with a retail price of $24.97, while Shout at the Devil (co-starring Lee Marvin) arrives a week earlier, October 8, with the lower price point of $19.97. Both are available to pre-order for cheaper, of course, on Amazon.

Trailer for the New Saint!

Well, this proves that the new Saint series is one step closer to reality! And that the pilot actually exists. Not that I doubted it, of course, but after so many years of false starts and productions falling apart at the last minute, it's great to see videographic evidence that this one is really in the can. The promotional artwork at the left was created for the MIPTV media market, where the producers will attempt to sell this pilot to networks internationally. Hopefully it sells and we end up with a whole new Saint series!

As previously reported, the pilot was directed by Simon West, and you can get a good taste of the result from the MIPTV trailer below. There's a lot to love! I love that it uses the familiar Saint theme music. I love that they found a believable way to get the Saint into a dinner jacket in this day and age. I love that there's a fight on a funicular! I love the international locations and the high productions values. It looks like a very slick production, for sure. And new Simon Templar Adam Rayner, from what I can tell based on these short clips, looks good in the role! (Needs a shave, though.) Eliza Dushku looks great, too, as the Saint's on-and-off girlfriend from the Leslie Charteris novels, Patricia Holm. I worry, though, about how heavily this trailer leans on cliché. Just about every tried and true trope of genre is touched upon, but maybe that's what you need to sell a TV show. I've read the script for this pilot, and I know that it goes beyond the clichés, and does indeed feel appropriately Saintly. I'd like to see a trailer that focuses more on what sets Simon Templar apart from the pack rather than what makes him part of it, but that might freak out potential buyers. They probably perfer the familiar. Already, though, it feels like this production redeems the character from the Val Kilmer movie. And, of course, as the icing on the cake, we're treated to some dialogue between two venerable Saint stars, Ian Ogilvy and Sir Roger Moore! I really, really hope this pilot gets sold all over the world and goes quickly to series! I desperately want a new Saint on the air.

Upcoming Spy CDs: Crossplot

Quartet Records will release Stanley Black's fantastic score to the 1969 post-Saint, pre-Bond Roger Moore spy movie Crossplot. I love Crossplot. Sure, it feels more like a TV production than a film (not surprising considering it was made by  a number of people from the Saint crew), but the TV production it feels like is The Saint, so what's wrong with that? It's like The Saint plus helicopter chases, or James Bond minus the budget. Either way, it's pretty awesome and I highly recommend it. (It is available on DVD and streaming on Amazon.) And either way, it's got a great score. Furthermore, since it belonged to Roger Moore and Bob Baker's production company, some of the music was later re-purposed for use in The Persuaders! And regular readers know that a full album of Persuaders! music is my own soundtrack Holy Grail, so the fact that this release gets us a little closer to that is yet another reason to celebrate. Also very cool is the fact that Quartet used such awesome artwork for the cover of the album. Crossplot is one of those movies (like Deadlier Than the Male and Hot Enough For June) that inspired me to collect posters from every country it was released in, and of all the cool Crossplot art (some of which intentionally made it appear to be a Saint movie), this art from the U.S. 1-sheet is the coolest.

Crossplot comes paired with another great Black score from that era, AIP's War Gods of the Deep. The release includes a 28-page booklet with liner notes by Gergely Hubai, who, according to the Quartet website, "discusses the composer and the films with a track-by-track analysis for both titles." You can listen to samples on the Quartet site and pre-order the album from Screen Archives Entertainment. It's due out later this month.

Tradecraft: Former Templars Roger Moore and Ian Ogilvy Join the Cast of the New Saint Pilot!

Wow! After years and years of percolating and percolating and nothing ever reaching fruition, the brand new Saint project that finally materialized (and is already shooting) just keeps getting better and better! Yesterday, Deadline reported that former Saint stars Roger Moore (who played Simon Templar in the classic ITC TV series of the 1960s before he became Bond) and Ian Ogilvy (who played Templar in the Seventies revival series Return of the Saint) have joined its cast. As previously reported, Adam Rayner (Hunted) plays the new Simon Templar in this latest incarnation of Leslie Charteris' immortal literary and screen hero. I take it as a good sign that my two favorite Saints to date are now on board. Hopefully, they'll rub off on Rayner and he'll become my third favorite! Moore was already attached to this version as a producer (along with his son Geoffrey), and had previously been slated to do a cameo in the defunct Saint in New Orleans project (which was to star James Purefoy), so it's very welcome news, but not that surprising to learn that he'll turn up on screen in this one. But Ogilvy is a bit more of a surprise, and equally welcome. Let me just take a second here to give him his due. Moore's Sixties interpretation was so definitive that Ogilvy is sometimes overlooked (and his series was not nearly as successful), but he's a great actor who made a truly wonderful Saint. The first thing I ever saw him in was an episode of The Avengers, and I immediately thought, "wow, that guy should play the hero in his own series!" I didn't realize it at the time, but he did exactly that in the following decade, and he did a fantastic job filling Moore's very large shoes. So it's a thrill to see them both on board this latest incarnation of a character to whose history they've both contributed so greatly. In the newest version, Moore will play "Jasper" and Ogilvy will play "The Banker." (The name Jasper rings a bell with me... Is that a character I should recognize from the Saint books?) Those kind of sound like cameos, but the rest of the cast is shaping up quite impressively as well. Alias' Greg Grunberg will play a government agent, Enrique Murciano (CSI) will play recurring Saint foil Inspector Fernack, and Thomas Kretschmann (24, Cars 2, King Kong) will play the villain Rayt Marius, who appeared in several Charteris novels. It was previously announced that Eliza Dushku would play another recurring character from the books, Templar's sometime girlfriend Patricia Holm. This list of characters would certainly seem to back up the producers' claim that this version of The Saint will stick closer to Charteris!

Tradecraft: Eliza Dushku Joins the new Saint

This latest version of The Saint (first reported last week) looks very much like it will actually happen! (If I sound surprised, it's because of all the false starts over the last half decade.) Things are shaping up quickly. Today, Deadline reports that Eliza Dushku (Dollhouse, True Lies) has been cast opposite Hunted's Adam Rayner (who's playing Simon Templar) as the Saint's on-and-off girlfriend, Patricia Holm. Holm was a regular character in Leslie Charteris' books, but I don't think she ever made it to the small screen before. (Though she did appear in one of the RKO Saint movies in the Forties, The Saint Meets the Tiger.) I always pictured the books' Patricia Holm as British, although I can't recall if Charteris ever explicitly stated that was the case. Either way, I think Dushku is a great choice who will easily embody her spirit of adventure. Hopefully she's got good chemistry with Rayner! The trade blog also reveals more of the names involved behind the scenes that we heard last week... and some of those names will be mighty familiar to Saint fans! In addition to Brad Krevoy, Sir Roger Moore himself will be a co-producer, along with his son, Geoffrey Moore, Lulu Moore and Luisa Macdonald. As most fans have known all along, Saint expert Ian Dickerson (who wrote The Saint on TV) will serve as a creative concultant, ensuring that this version will likely hew closer to Charteris' books than any other before it. Dickerson has continuously kept fans updated on the progress (or, more often than not, lack thereof) of a Saint revival on the CBn forums for years. As previously reported, Simon West will direct the backdoor pilot (meaning it's not yet set up as a series at a network), which starts shooting this Friday(!) in Los Angeles, Toronto and London. Alias veteran Jesse Alexander penned the script.

Tradecraft: The Saint Returns! (Again.)

Well, here we go again! After stops and starts for the last half-decade (at least!), a new version of The Saint is once again up and running. Hopefully for real this time! And Adam Rayner (who co-starred on the recent Cinemax spy series Hunted) has been cast as the newest incarnation of Simon Templar. Leslie Charteris' debonair thief with his own strict moral code has been played over the years by (to name just a few) George Sanders (in a fun series of 40s B-movies), Roger Moore (in the awesome Sixties TV show, which remains the most famous incarnation of the character), Ian Ogilvy (in the Seventies reboot Return of the Saint) and Val Kilmer (in the disappointing 1997 feature version). Five years ago, James Purefoy was attached to a new TV version which fell through, and then attached again to star in a TV movie/backdoor pilot last year... which also fell through. In the interim, we also heard Dougray Scott's name mentioned. But hopefully this Adam Rayner version will actually happen. It sounds closer to being a reality than any of the prevoius versions! According to Deadline, Simon West (The Expendables 2) will direct the Rayner pilot... and it's set to start shooting later this month! Alias writer/producer Jesse Alexander wrote the script and executive produces; Brad Krevoy produces. Roger Moore was involved in a producing capacity in previous revival attempts, but there's no word now on whether or not he's involved in this version. (It would seem like a possibility, however, since he previously worked with Krevoy on A Princess For Christmas and Boat Trip.) There is no U.S. network involved yet, but the plan is to shop the completed pilot.

The Saint is not a spy, but he's had plenty of espionage experience nonetheless in his history in print and on screen. It sounds like this version of The Saint will play up the espionage angle. According to the synopsis reported by the trade blog, "A master of disguise, improvisation, martial arts, firearms and espionage and the quintessential English gentleman, [Templar] is hired by certain government agencies for special assignments."

This isn't the only Saint production in the works. In January, RKO announced plans to remake one of their Saint features... but supposedly their rights preclude them from altering any of the 30s or 40s dialogue, and restrict them to the brief running time of the originals, so I'm not sure how far they'll get with that.

See Bond Pitted Against Bond

Brad Hansen, co-host of that epic Bondathon last year and creator of the excellent time-lapse video chronicling it, has edited a very clever new video pitting all the Bond actors against one another. It's quickly gone viral (including hitting the front page of Yahoo!), and deservedly so. Take a look, and be sure to watch all the way to the end, which might be the most brilliant bit.

Sky Movies HD Promo Cuts All the Bonds Into One Spectacular Car Chase

This is just an ad for the UK's new Sky HD 007 satellite channel (which is, admittedly, a pretty cool thing, since it collects all the Bond movies in HD in the same place), but it's really well done. Sky's editors have cut together several classic Bond car chases to create one massive cliffside car chase involving all six official James Bonds! The opening Aston Martin chase from Quantum of Solace proved an especially good framework to cut the other pieces into since it itself was so nonsensically edited to begin with! I particularly like the exchange created between Brosnan and Moore:

Review: The League of Extraordinary Gentlemen: Century: 2009 Featuring Some of the 20th Century's Greatest Fictional Secret Agents

Famous fictional spies have made appearances in several recent volumes of Alan Moore's epic literary mash-up comic book series The League of Extraordinary Gentlemen. James Bond got rather unfairly skewered in 2007's The League of Extraordinary Gentlemen: Black Dossier, which also featured appearances from Hugo Drummond, George Smiley, Q, Callan's Lonely and a young Emma Peel—as well as references to Felix Leiter, John Drake and Callan's Toby Meres. Last year, Simon Templar, Jason King and the Sean Connery incarnation of 007 made cameos in The League of Extraordinary Gentlemen: Century 1969. And even more spies turn up (in more substantial roles, too) in The League of Extraordinary Gentlemen: Century: 2009, out this week!

For regular readers of this series, which began as a sort of Victorian-era Justice League teaming the likes of Mina Harker, Allan Quatermain, Dr. Jeckyll and Captain Nemo before spanning centuries to incorporate scores of other characters from fiction, film and television, part of the fun is spotting all the cameos and figuring out who certain characters (sometimes remaining nameless due to copyright regulations) are supposed to be. If you count yourself in that category, then you may wish to read no further until you've perused the book yourself, because I'm going to reveal some of the spy characters populating the latest volume. But I'm not planning to spoil any plot details.

Century: 2009, the final part of the "Century Trilogy," takes place (obviously) in 2009. In keeping with the modern Bond films, M (the nomenclature is a fixture of the series) is now a woman. In a rather delightful twist, however, we soon piece together that this elegant older woman is Emma Peel! (She even keeps a framed photo of Steed on her desk.) Em (get it?) has grown disillusioned over the years with the original James Bond (Moore's supposed take on the literary 007, whose character actually bears no resemblance to Ian Fleming's creation, even if artist Kevin O'Neill nails the physical appearance), but because of his notoriety it's suited her to continue to employ "increasingly younger stand-ins" who carry on his name and number. These stand-ins, codenamed J1 through J6, of course bear the respective likenesses of Sean Connery (the version of 007 seen in the last volume), Roger Moore (perhaps supposed to be Simon Templar himself recruited to fill the shoes of James Bond?), Timothy Dalton (in the weakest likeness), Pierce Brosnan and Daniel Craig (in the best likeness). Later in the story, Emma comes to the rescue in a Rolls Royce along with appropriately aged companions Tara King and Purdey! (This version of Purdey is a clever amalgamation of Purdey and Joanna Lumley's Absolutely Fabulous character Patsy.) In what reads as a very nice sort of epilogue to The Avengers, Emma explains that they're all very loyal to each other, adding, "I suppose it's that we all used to be in love with the same man." Soon enough Cathy Gale is also in the picture, but this version of Cathy also owes something to another famous Honor Blackman spy character: she "has some experience as a flight instructress" as well as some lesbian tendencies! Lesser spy cameos in the book (I mean lesser in that they don't have speaking roles) include Spooks' Harry and Ruth, 24's President David Palmer and Burn Notice's Michael Westen (by reference, anyway) and, in a particularly amusing single-panel appearance, The Prisoner himself, Number 6.

Moore is clearly fond of The Avengers, so he treats them pretty well. As I said above, the portrayal of the ladies of The Avengers is really quite moving, making this comic a must-buy for fans of that series on the eve of Steed and Emma's official return to comics in Boom!'s upcoming Steed and Mrs. Peel series. As he made abundantly clear in Black Dossier, however, Moore has no love whatsoever for James Bond, and therefore treats him rather ruthlessly. (I have to say, I was disappointed that someone who's clearly so well read and such a lover of classic adventure fiction as Moore would rely on preconceived notions about Fleming's Bond based more on trendy, ill-informed lit-crit and some of the early movie appearances than the actual novels themselves. Among the myriad slanders he levied against 007, he made the character a habitual woman-beater. Had he read Fleming's short story "The Hildebrand Rarity," Moore would know that Fleming's Bond disdains such men.) The original Bond, now in his 90s, is subjected to one final insult... but nothing so bad as in Black Dossier. In fact, I was quite amused to see a nonagenarian "Sir James" wheelchair-bound and breathing through an oxygen tank (thanks to "cirrhosis, emphysema and syphilis..." all in all a much fairer portrayal of the original Book Bond!), but still looked after by a comely nurse nonetheless.

In this volume, Moore's misdirected outrage is mainly reserved for Harry Potter. Poor Harry is portrayed as something much worse than 007, and jabs at J.K. Rowling about "sloppily-defined magical principles" like "a child's idea of how [things] work" take on a definite pot-kettle quality coming from the creator of this very universe we're reading about, equally brilliant and equally flawed—especially when it comes to sloppily-defined principles. (See: the "Blazing World" in Black Dossier, a haven for fictional characters within an entire universe populated exclusively by fictional characters!) Despite these jabs, however, the jeers at Harry Potter's expense seem a bit more good-natured than those directed at James Bond. Alan Moore's primary problem with both of them, it seems, is that they're too modern for his liking, and therefore part of a declining culture that's "fallen apart... by becoming irrelevant."

I love Alan Moore's writing. He's produced some of the greatest literary works of our modern declining culture, among them Watchmen, V For Vendetta and even the aforementioned Black Dossier, every bit as brilliant as it is flawed and the true masterpiece of the League series. But he's become a grumpy old man. (Okay; perhaps he was always a grumpy old man.) His recent outrage at the idea of DC producing new comics without Moore's involvement about the characters he created in Watchmen seemed more than a little hypocritical coming from a man who's made a career out of appropriating other authors' characters (League of Extraordinary Gentlemen, Lost Girls) and putting them in predicaments that almost certainly would have appalled those authors! And if he truly believes that Harry Potter represents the nadir of Western Civilization, then I suspect he's either suffering from a bout of jealousy or else he really does believe that culture of the past will always remain infinitely superior to culture of the present day. And if that's the case, then I'm not sure it's culture that's fallen apart by becoming irrelevant... or the author himself. I think there's a tendency among cultural historians and particularly pop culture historians (especially those who write blogs about it, speaking of pots and kettles) to elevate the past at the expense of the present. I'm as guilty of it as anyone; I admit that I, too, would generally prefer a spy film or TV show from the Sixties to one from this decade. However... that doesn't mean that I completely close my mind to the idea that a great one could come along again at any moment. (See: Homeland. Or Casino Royale.) I don't think anyone should ever do that. Because when you close your mind that much, that's when culture truly falls apart. Not when a woman with a ridiculously fertile imagination creates a magical world that resonates so much with an entire generation of children that her books succeed in luring them away from their consoles and back into bookstores for the first time in ages.

But I digress. Am I reading too much into this comic book? Perhaps; perhaps not. Moore's writing encourages such obsessive analysis. But at the end of the day, whatever the author's agenda, The League of Extraordinary Gentlemen: Century: 2009 still rates among the most entertaining comics I've read this year. And despite his thinly coded complaints about the state of popular culture, I believe that entertainment is still Moore's primary goal with this series. Here, he succeeds admirably, and I would recommend this book (indeed, the whole Century trilogy) to any spy fans (especially Avengers fans) or fans of classic literature and popular culture in general.

See Every Bond Movie on the Big Screen in Los Angeles This Summer!

I've seen a lot of James Bond retrospectives at a lot of different Los Angeles area revival theaters over the years, but I've never seen one on this scale before! The American Cinematheque, in conjunction with BAFTA-LA, will celebrate the cinematic 007's 50th Anniversary by screening every single official Bond film this June between their Egyptian Theatre in Hollywood and Aero Theatre in Santa Monica. That's right: all 22 movies, from Dr. No to Quantum of Solace, will be projected on 35mm film prints! (Not a dreaded DCP to be found according to the Cinematheque's listings, thank goodness.) The movies will be spread out over ten nights and two theaters, parsed out in double and triple features. Tickets, which can be purchased on Fandango, are $11 for the general public or $7 for members. (That means that if you're planning to attend every screening, the savings almost pay for the membership.) While most of the Connery films screen fairly regularly at revival houses, some of these titles, like A View To A Kill and The World Is Not Enough seem unlikely to ever play except during a complete retrospective! The full schedule is:

Friday, June 8 Dr. No and From Russia With Love at the Egyptian, 7:30*

Saturday, June 9 Goldfinger and Thunderball at the Aero, 7:30

Sunday, June 10 You Only Live Twice and On Her Majesty's Secret Service at the Aero, 5:00

Thursday, June 14 Diamonds Are Forever and Live and Let Die at the Aero, 7:30

Friday, June 15 The Man With the Golden Gun/The Spy Who Loved Me/Moonraker at the Egyptian, 7:30

Saturday, June 16 For Your Eyes Only/Octopussy/A View To A Kill at the Egyptian, 7:30

Sunday, June 17 The Living Daylights and Licence To Kill at the Aero, 7:30

Friday, June 22 GoldenEye and Tomorrow Never Dies at the Aero, 7:30

Saturday, June 23 The World Is Not Enough and Die Another Day at the Egyptian, 7:30

Sunday, June 24 Casino Royale (2006) and Quantum of Solace at the Aero, 7:30

*Author Bill Desowitz will be signing his book James Bond Unmasked preceding this event.

New 007 Book: James Bond Unmasked

This year we'll see a whole lot of new non-fiction books looking behind the scenes of the James Bond films in honor of the series 50th anniversary and to tie in with Skyfall's fall premiere. (The fall titles I'm most looking forward to thus far are Roger Moore's Bond On Bond: The Ultimate Book on 50 Years of Bond Movies, George Lazenby's autobiography, Jon Burlingame's The Music of James Bond and Jon Gilbert's authorized, exhaustive limited edition Ian Fleming bibliography.) But the floodgates have already opened! Getting a jump on the rest of the pack is film journalist Bill Desowitz's James Bond Unmasked from Spies, publisher of Charles Helfenstein's truly remarkable tome The Making of On Her Majesty's Secret Service. While there have been dozens of books on the Bond phenomenon over the years, Desowitz managed to find a fresh and potentially fascinating approach: he interviews each of the six actors to have played 007 in the official series. I can't wait to read what they have to say!

Tradecraft: RKO Attempts New Saint Movies

Following the frustrating collapse (yet again) of the latest attempt to bring Simon Templar back to the small screen, Variety reports that RKO will attempt a big screen revival for Leslie Charteris' famous modern-day Robin Hood. According to the trade, the studio has signed Eagle Eye co-writer Travis Wright to pen a remake of one of the 1930s or 40s RKO Saint films (exactly which one is unclear) for producer Rick Porras (The Lord of the Rings) with an eye toward a trilogy of Templar tentpoles. But according to all-around Saint expert Ian Dickerson (author of The Saint on TV and erstwhile co-producer of the stalled television revival), Wright will have his work cut out for him. "RKO have the rights to remake their old B&W films but they cannot change the dialogue and they cannot change the length of the picture," Dickerson posted on the CommanderBond.net forums, where he has been updating fans for some time on his own Saintly efforts. He adds that RKO's rights apply to movies only, not to television. Does this really mean that an RKO remake would have to be 69 minutes long with all the same lines spoken by Louis Hayward or George Sanders? Maybe... but maybe not. Remember, Kevin McClory was actually able to get pretty creative in Never Say Never Again, even though his rights were strictly limited to an exact remake of Thunderball. Granted, the individual cases could be quite different, and I'm certainly no expert on copyright law, but I'm betting RKO have some experts on their legal team working hard to find loopholes. But the prospect of a fairly faithful, period-set remake of The Saint in New York actually quite appeals to me! While I'm very eager for Dickerson and his colleagues to get a new TV Saint up and running, I'd be curious to see what RKO can come up with as well. The more Saintly irons in the fire the better, as far as I'm concerned. It just increases the odds of one of them actually coming to fruition, right? Fingers crossed, but (to paraphrase a CBn poster) breath not held.

Hayward, Sanders and Hugh Sinclair all played Simon Templar for RKO; in later movies he was played by Felix Marten, Jean Marais (who gets a bad rap, but I quite liked in the role) and Val Kilmer (who deserves his bad rap). Vincent Price was among the actors to voice the Saint on the radio, and on TV he's been played by Ian Ogilvy, Simon Dutton, Andrew Clarke and, most famously, of course, Roger Moore.

Roger Moore Returns to Television TONIGHT!

In the United States, Bonded Templar Sir Roger Moore returns to television tonight on the Hallmark Channel, where he stars in the family holiday movie A Princess For Christmas (formerly known as Christmas at Castlebury Hall). Katie McGrath and Charlotte Salt co-star. According to the L.A. Times, Sir Roger plays the "fabulously wealthy" and "Scrooge-like" Duke of Castlebury, whose "heart begins to melt" upon the arrival of his estranged young American niece, nephew and their aunt to his castle in the snowy countryside of a fictional European kingdom. Most of those phrases would normally put me off of a movie like this, but the appeal of the former 007 star is too much to ignore. The 84-year-old Moore rarely acts these days, devoting the bulk of his time to his UNICEF duties. He made headlines earlier this year when he was injured filming this movie in Romania.

The big question, of course, is which dignitary of a fictional European country is more curmudgeonly: Moore's Castlebury, or Timothy Dalton's Boris Pochenko from The Beautician and the Beast? Dedicated fans can find out soon, because A Princess For Christmas airs tonight (Saturday, December 3) at 8/7c on the Hallmark Channel. Or, if you want to save time, this extra-long trailer seems to condense the entire movie. (It also reveals that, in true Brett Sinclair fashion, Moore dons a cravat.) Watch till the end and you'll even see the Grinchy Duke's heart grow three sizes that Christmas.