by ·Comments Off on Foxy Brown (1974, Jack Hill)

What a cheap-ass movie. The fights are clumsy, the acting seems first-take, the overall look is made-for-TV and the audio always sounds like there’s a photocopier running nearby. It’s a fun time though, if you overlook the unpleasant bit where Foxy is drugged and raped by rednecks. At least she reserves her harshest revenge for these two guys – one gets his face torn off then they both get set on fire. Can’t you just picture a twelve-year-old Quentin Tarantino sitting alone in a broken-down movie theater burning this movie into his brain?

Foxy and “Michael”:

Pam Grier (who’d already starred in Coffy and a couple others) is in love with her undercover boyfriend “Michael” (Terry Carter of Battlestar Galactica), who is killed by drug-dealer enforcers the day he’s released from the hospital post-plastic-surgery, because Foxy’s own brother Link rats on him for quick cash.

Link in trouble:

The movie shows us repeatedly that Foxy is a total badass, and Pam Grier is up to the task, but Antonio Fargas (best known as “Huggy Bear” on Starsky & Hutch) as Link is the one actor with enough energy to transcend his low-rent surroundings. On the other end of the spectrum are white crime lords Kathryn Loder and Peter Brown (a teen delinquent in Kitten with a Whip) who at least seem to be having a good time delivering their awkwardly terrible performances. Foxy masquerades as a prostitute, a dumb broad and a revolutionary, and kills pretty much everybody.

by ·Comments Off on The Beast (1975, Walerian Borowczyk)

How come whenever a speaking actor’s back is turned, the filmmaker thinks they can add a dubbed line and we won’t notice?

One of those DVDs I used to excitedly pick up at Tower Records and walk around with for an hour before deciding that it might not be worth $27 after all. Another was La Belle Noiseuse, which turned out to be decidedly worth $27. This one wasn’t even worth the time spent watching it.

As a former animator turned live-action director, Walerian joins (and sullies) the proud ranks of Tim Burton, Terry Gilliam, David Lynch, Jan Svankmajer, Frank Tashlin, the Bros. Quay, Emily Hubley and possibly Brad Bird and Andrew Stanton. I noticed all the snails in this movie and remembered his snail-porn animated short Escargot de Venus from the same year.

The movie opens with close-ups of horse sex, so I knew it wasn’t going to be elegant, despite its fancy trappings. A rich girl and her aunt head for the French countryside to see about marrying the girl to the French family’s son. But the story is just an excuse for the massive rape scene between “the beast” and some lucky girl.

I don’t know or care which characters were which, but two of the actresses were Sirpa Lane (of unrelated film The Beast In Space) and Elisabeth Kaza (of Castle Freak).

Can’t say it was the worst movie in the world because I kinda liked the harpsichord music.

by ·Comments Off on Chinatown (1974, Roman Polanski)

The most brightly-lit and also most pessimistic noir shown in Emory’s series. Nicholson is very good at acting natural, which he does too seldom, and John Huston is haunting as the villain, a human monster in broad daylight. I remember Faye Dunaway as being hysterical in this, but apparently I was only recalling the “she’s my daughter AND my sister” scene. Polanski himself plays a dwarf thug who cuts Jack’s nose open near the beginning of the investigation, forcing Jack to wear facial bandages through most of the movie.

Huston plays Dunaway’s father – he and her husband Mulwray ran the water department for years before selling it to the city, and now Huston is running a water/real estate conspiracy, stealing water from farmers and dumping it into the river. Jack is a nobody detective taking pictures of cheating husbands when he’s used as a pawn in Huston’s schemes to discredit his former partner and recover his grand/daughter – though Jack is plenty smart enough to keep up with the plot. He almost gets ahead, too, but loses his evidence against Huston, and loses Dunaway when the cops shoot her through the head.

Nominated for all the oscars, but really, what chance have you got against the likes of Godfather 2, The Towering Inferno, Earthquake and Art Carney?

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Some nice TV mystery music right from the start. The material for a feature film (35mm) and miniseries (16mm) were shot at the same time, Franju and writer Jacques Champreux [EDIT: just learned this is Louis Feuillade’s grandson] looking to make “a gentle parody” of 1940’s American serials, not so much the early French serials they referenced in Judex. Champreux says that some of the 35mm film cans were stolen while shooting in Belgrade, so some of the lesser television stuff was cut into the feature. No matter, it’s a fine, twisty picture, less dark and mysterious than Judex, more colorful and campy.

I want a black monocle:

Albert the butler sells information about his master Maxime de Borrego to a transparently fake “old lady” (inspired by Lon Chaney in The Unholy Three, I later learned) about the secret treasure of the Knights Templar, so the old lady becomes Shadowman (that name is never used – he’s credited as L’homme sans visage – played by the film’s writer), kills Max, and installs an underling (Max’s “nephew”) to search for the treasure.

When the real nephew arrives (Ugo Pagliai, an Alain Delon wannabe), the cops burst in on the fake, who blows a smoke bomb and flees. This is our first definite indication that the movie intends parody, if we weren’t sure of the sincerity of Shadowman’s red sock mask or old lady costume. The police all choke and stumble around – meanwhile next door, an old man grumpily makes his way over and opens the window for them, climbs slowly inside and proclaims “we’d better call the police,” set to comically energetic adventure music.

Ugo and Josephine:

Seraphin:

Meanwhile, Shadowman’s underground mad scientist has turned some guys into zombie slaves, who wander into the police station and assassinate the arrested butler. The police superintendent (Gert Frobe – Goldfinger himself, also a head policeman in Lang’s 1000 Eyes of Dr. Mabuse) is troubled by all the murder and fake nephews and killer zombies, so nephew Paul goes off with his friends (Josephine Chaplin – Geraldine’s sister, also in Pasolini’s Canterbury Tales – and a crescent-moon-chinned “poet detective” named Seraphin) and devise a bunch of ill-fated plans.

A couple traps are set – first Seraphin is set as bait and when the chief bad girl (Gayle Hunnicutt, also in Scorpio with the real Alain Delon) gives chase, we get the inevitable Feuilladian Paris rooftop catsuit chase scene. I think two cops and an innocent bystander are killed, so the gang tries again, staging a treasure auction in association with Professor Petrie – another trap which also leads to heartbreak. In the aftermath when the treasure is revealed as fake, “I condemn Professor Petrie to death for his lack of scientific integrity” – funny that the actor playing Petrie is an actual Templar historian.

Where will Shadowman strike next? Does the Templar treasure even exist? Who was the knight who stood up in a secret ceremony to take the murdered Max’s place? Can we get some examples of Seraphin’s “poet detective” skills, please? Hopefully these questions will all be answered in the TV series version.

At first I was disappointed that it’s not Judex, just a color rehash, but I started to warm up to this movie’s own particular magic. Actors strike and hold poses. The music in the rooftop chase is dreamy and sublime, and the color has more 60’s charm than gritty 70’s fade. It has the dreamlike narrative incoherence of a Feuillade film, then snaps into what seems like an comic-book movie for ten-year-olds, then displays alarming violence at times. And the baddies seem to have hidden cameras everywhere a la Dr. Claw, yet the movie also displays the height of actual then-current technology – a Pong game.

by ·Comments Off on The Shout (1978, Jerzy Skolimowski)

Excited by Essential Killing, I thought I’d check out Skolimowski’s only horror film for SHOCKtober. But calling it horror is like calling Essential Killing a political drama, inadequately simple labels for such weird and complex movies. The bulk of this one is a flashback/story told by Alan Bates to Tim Curry while scorekeeping a cricket game at some kind of asylum. Bates admits that he’s changing parts of the story to keep it interesting for himself – and we’re never sure if he’s a patient or what, so the narrator is unreliable to say the least. And as the commentary notes, “casting Tim Curry as your sanity figure suggests that the world is fairly skewed.”

Alan Bates lurks:

A cowed-looking John Hurt (the year before Alien, so the earliest film I’ve seen of his – though I must find Little Malcolm and His Struggle Against the Eunuchs from ’74), a church organist by day and electronic composer in his spare time, is happily married to Susannah York (star of Altman’s Images). But one day Alan Bates (Chabrol’s Dr. M, Julie Christie’s illicit lover in The Go-Between) appears, tampers with Hurt’s bicycle tire, then invites himself over. He stalks the couple causing minor mischief then starts not-so-subtly taking over the family.

John Hurt rocks out in his home studio:

Alan Bates, head of household:

To prove his power to Hurt, they go off to the dunes and Bates demonstrates “the terror shout,” taught to him by an aboriginal magician. Somehow Hurt isn’t killed by this, but has a weird experience where he’s holding a stone, believing himself to be the town shoemaker. When he returns home, his wife is under Bates’s spell, and Hurt is the interloper. But he recalls the identity stones, goes off and smashes them to regain control of his household. Back at the house, Bates is arrested for the murder of his children (to which he confessed to Hurt and York earlier). Strange that Bates would be anxious to tell a tale which ends in his own defeat.

You can’t understand the extreme greatness of this shot without watching the whole film:

The police foolishly come for Alan Bates:

Meanwhile back in the framing story, a thunderstorm wrecks the cricket game. Jim Broadbent, in his first film role as “fielder in cowpat,” runs around half-naked smeared in mud or worse. Lightning strikes the scoring box, Bates is killed, and in another odd scene which also played over the opening credits, York comes tearing into the room where the dead lay, distraught.

Fielder in cowpat:

Reminded me of The Last Wave in its aboriginal magic and weirdly apocalyptic feel. Commentary brings up Caligari, which I should’ve thought of. The wife isn’t much of a character, just passed between the two men, but she definitely shows her acting chops in one intense sexual scene. Mostly minimal music by “the two guys from Genesis you probably have forgotten.”

by ·Comments Off on The Man Who Fell To Earth (1976, Nicolas Roeg)

Forgot what a sad movie this is. Bowie falls to earth, finds a patent lawyer (Get Smart creator Buck Henry), makes more money than Steve Jobs, but the government interferes in his plan to return home with water for his desert planet and he ends up a secluded musician, discovered in hiding by his stalker/employee Rip Torn.

The 1970’s were the kind of ridiculous time when Rip Torn could be a sex symbol, starring as Henry Miller in Tropic of Cancer – that I’ve come to accept. And I can accept Bowie as a sex symbol, too. But seeing them both naked in the same movie is just confounding. I suppose that’s Roeg’s point, making Bowie that much more alien by casting him with Torn. Also somewhat confounding is Candy Clark (of Q: The Winged Serpent) as Bowie’s earth girl. She’s a housekeeper at a bad hotel who becomes Bowie’s main source of human comfort – not the brightest bulb but maybe he decides that makes her less of a threat.

Good variety of music – only one Bowie song. The old-age makeup is markedly better than Julie Christie’s in The Go-Between. Hard to imagine how this got released without copious explanatory voiceover added. For instance, shots of Bowie’s home planet/family seem to be subjective, their present situation as Bowie imagines/hopes/fears, but of course this is never discussed. Not that I’m complaining – I like it the way it is, full of Roegian trickery. Bowie gives a blankly contemplative look almost all time, detached, Bowie-like, in other words. Why is Buck Henry thrown through a window at the end, and Bowie imprisoned in a mansionous hotel suite by badmen who don’t seem to know what they want from him? Something to do with Bernie Casey, I think.

One program Bowie watches on his array of TVs is lions fucking, which I found funny since the night before I’d watched The Lion King. Remade for 1980’s television with Wil Wheaton and Beverly D’Angelo. Bowie failed to grab an oscar nomination for playing his thin white alien self, but picked up a golden scroll from the sci-fi academy.

G. Fuller:

As critic Tom Milne has suggested, [Bowie’s] defenselessness is central to the exchanging of identities and the shifting of power dynamics between the characters in The Man Who Fell to Earth. This also occurs in Performance, Walkabout, Don’t Look Now, Bad Timing, and Track 29, the other films on which Roeg’s reputation as an auteur is based. As Newton becomes progressively more human, he becomes susceptible to the same vices that taint his intimates: the aggrandizement of power and wealth (Farnsworth), alcoholism and emotional dependency (Mary-Lou), abusive sexual behavior (Bryce). They, in turn, in Milne’s words, “rediscover something of that vulnerability,” shedding their protective carapaces even as they variously let Newton down, because, as humans, that is what they are fated to do.

by ·Comments Off on The Go-Between (1970, Joseph Losey)

“The past is a foreign county. They do things differently there.” No longer just a Silkworm lyric (from the same song that references “Willie” Somerset Maugham and possibly Casablanca), now back home in its proper element, or at least the film adaptation of its proper element.

A quality picture with excellent production design and fluid camera movement – like Carol Reed with a touch of Alain Resnais. It’s a perfect storm of my least-favorite types of movies: British upper-class period costume dramas and coming-of-age stories. But, highly recommended and Cannes-award-winning and all, I stuck with it and really loved the last half hour.

Kid named Leo is spending the summer with a family in the country, but his playmate Marcus (I like him – privileged asshole with a good vocabulary) gets the measles, leaving Leo to pal around with the grownups, getting involved in their secret affairs as a messenger boy. Julie Christie (between Petulia and McCabe & Mrs. Miller) is the young hottie of the household, promised to dull scarfaced Hugh Trimingham (Edward Fox of Day of the Jackal) but having a Leo-assisted affair with rough farmer Ted Burgess (Alan Bates of Secret Friends, also Chabrol’s Dr. M). Once the lovers are caught together and Julie seems lost to him, Ted shoots himself.

Fancy Hugh:

“We can’t expect to be happy all the time, can we?”

Fun sidetracks with Leo’s belief in occult curses. A dog with a name like “dry toast” (tri-toes?). A cricket ball is batted straight into the camera. A 1970’s love-triangle movie set among wheat fields, bringing to mind Days of Heaven. Little bursts of voiceover dialogue, like scenes omitted for time, or sometimes repeating what we’ve heard. An unexplained, unheard shot of a conversation between two characters we haven’t seen – only when going back through the screenshots did I notice the television set in the corner, definite sign of a flash-forward. The present day keeps breaking through into the early-century period story, and suddenly Leo is sixty (now Michael Redgrave of Mr. Arkadin, Secret Beyond the Door), summoned to visit Julie Christie (backlit to avoid displaying her old-age makeup).

“So you met my grandson”
“Yes I did”
“Does he remind you of anyone?”
“Ted Burgess”
“That’s it. That’s it. He does.”

Leo Redgrave:

Based on a famous novel, screenplay by Harold Pinter, who also wrote The Servant and Accident. Senses calls it Losey’s last great film and compliments Michel Legrand’s fine score. “Aside from its intelligence and insight, however, it hardly seems to be a Losey film—it is evocative, judicious, perfectly cast, but rather cautious.”

Shooting Down Pictures:

Occurring mostly in the past with occasional flashes to the present, Pinter’s manipulation of time feels perfunctory compared to what Alain Resnais was doing a decade prior, or even what Pinter managed in his script for Losey’s Accident. More interesting is Losey’s entymological dramatization of British manor life, exhibiting both gentility and prejudice with near-emotionless decorum. Pinter’s dialogue pinpoints the neurotic weirdness underlying British politeness with unnerving precision, and is served ably by the ensemble, especially Dominic Guard as the boy, whose naivete and unwitting indiscretions stand sharply against the hypocrisy and innuendo surrounding him.

by ·Comments Off on Anatomy of a Relationship (1976, Luc Moullet)

An embarrassingly confessional sex/relationship drama starring the writer/director Luc Moullet as himself and actress Christine Hebert as Luc’s girlfriend (who is actually cowriter/codirector Antonietta Pizzorno). Mostly long-take conversations, the camera not seeming quite sure of itself – extreme indie narrative-verite cinema. And I’m annoyed, but not annoyed enough to turn it off. I try to put it in historical perspective (this might have been somewhat boundary-breaking in ’76), and besides, after reading many positive notices of Moullet’s career, I can’t give up halfway through such a short film. I’m also distracted that the girl is wearing a UGA shirt. And the poster of Nathalie Granger (which Luc produced) on the wall of their bedroom isn’t just glimpsed – it’s practically a third main character.

Then, three-quarters of the way through, a woman’s voice says “action” at the top of a scene, and any sense of documentary truth is shattered – I start to notice the movie-qualities of it all. It was self-referential before, with Luc’s “character” being a struggling indie filmmaker, and a dialogue scene filmed confessionally into camera, but now that is cranked up. A twist ending is injected (she’s pregnant, he receives a contrived financial windfall), and the two are in bed talking about making a porn movie. She: “I’ve got a feeling we’re being filmed already. You’re doing it for the camera, not for me. Stop it, will you! Cut!” End title.

But the movie doesn’t do anything halfway, so now that it’s introduced the self-referential element, we get a final sequence with Luc, Christine and Antonietta sitting around a table outdoors discussing the film and its ending, and Luc and Christine discussing it “on set” in the apartment. Katy says the whole thing sounds unbearable from my description, and it does, but I was drawn in and ended up liking it.

She: “With you, love-making is always rape.”

He: “For thousands of years women accepted normal sex. And now bang! That’s all over, sex is some place else. And that’s when I had to be born. It’s unfair! I couldn’t enjoy those thousands of years when billions of men had normal sex. Life is laughing at me. I’m the First Victim.”

“Do we communicate about anything?”
“Yes, movies. Our relationship hides behind movies. We always have something to talk about.

J. Rosenbaum says the contrived financial windfall in the film was based on real events, that the film itself “was financed by a real bank computer going haywire and accidentally sending LM a check for seven million francs.” Incredible.

The Phoenix: “Anatomy of a Relationship is a logical sequel to Billy le Kid: another film that focuses on a male-female relationship and explores the closeness of love and violence.”

City Paper:

Moullet paradoxically comes off the better of the two, or at least the more willing to bear the ugliest parts of himself; even a joke sequence observing that sewer holes are perfectly sized to swallow up film canisters betrays a trace of vaginal horror. After an abrupt false ending, Pizzorno appears for a three-way postmortem in which she laments not playing herself, a self-reflexive U-turn that only underscores the movie’s mood of failure. Appropriately for a film so concerned with castration anxiety, both versions end with a woman saying, “Cut.”

by ·Comments Off on The Last Ten Minutes vol. 007

Oh look, netflix streaming has a whole bunch of James Bond movies. I never watched them consistently, saw a couple all the way through and a bunch more in fragments on cable. So this is an attempt to figure out which Bond is which, and which movies were halfway decent.

Thunderball (1965)
Sean Connery is not-so-excitingly rescued by a helicopter, yells some exposition that I didn’t quite catch. Underwater harpoon battle! Black team vs. orange team, heavy casualties. Everyone except Bond is wearing pants. The movie harpoons a shark, booo. I hope the movie ate that shark. Bond catches up with grey-haired eyepatched Largo (Adolfo Celi of Diabolik and The Phantom of Liberty) aboard the Disco Volante – aha – slaps him around while the boat accelerates to Benny Hill speed. He escapes with a girl named Domino (Claudine Auger of A Bay of Blood), who also has no pants. They ditch the Peter Lorre-like fellow who helped rescue her, and escape into a bluescreen sky. Director Terence Young’s third Bond movie – he’d later make Wait Until Dark.

You Only Live Twice (1967)
Connery fails to escape Donald “Dr. Evil” Pleasence by shooting a guy with his cigarette. Lots of men (ninjas, according to IMDB) fight in different-colored outfits. Bond knocks an unpunchable tough guy into a pirahna pool and pushes the button that makes a spacecraft on TV blow up. Pleasence blows the whole base, but every single person escapes anyway, and the same planes drop the same lifeboats as in the last movie. Bond ends up in one with a girl named Kissy (Mie Hama of What’s Up Tiger Lily).

Diamonds Are Forever (1971)
Jill St. John (of Tashlin & Lewis flick Who’s Minding The Store?) is making a mockery of clothing in her purple/red flag swimsuit. Connery does acrobatics in a suit, while helicopters explode into optical stills. Baddy Blofeld (Charles Gray of the Rocky Horror movies) enters a toy submarine held by a Bond-controlled crane. Connery gleefully wrecking-balls the toy into the control tower until the whole derrick explodes. Nice finale featuring one waiter on fire and another exploding mid-air.

Live and Let Die (1973)
Heroin dealer Yaphet Kotto (of Bone, Alien and the show Homicide) has stolen Roger Moore’s inflation gun, shows off all his silly bad-guy toys (a monorail, waterproof heroin canisters) then threatens Bond and Jane “Dr. Quinn, Medicine Woman” Seymour with death by shark. Every movie so far has featured watery deaths. In the most WTF moment of any movie so far, Bond shoves a compressed-air pellet into Yaphet’s head, turning him into a balloon. The last-minute assassination-attempt is back, and Moore tosses a metal-claw-handed Julius Harris (of Black Caesar) out his train window.

The Man With The Golden Gun (1974)
The great Christopher Lee (year after The Wicker Man) is TMWTGG, but Moore shoots him dead before he’s got any lines – shame. Nice scene, all rotating mirrors and neon triangles. Criminals used to put such style into their lairs. Britt Ekland (also of Wicker Man) tosses a guy into subzero liquid (another watery death), then triggers self-destruct with her ass, the least competent of any bond girl so far. He and the girl sail away in an ancient Chinese ship, pausing to dispose of an angry Hervé Villechaize (soon after Greaser’s Palace). These last three were directed by Guy Hamilton, who’d go on to make Remo Williams: The Adventure Begins.

The Spy Who Loved Me (1977)
A boat is blowing up – more water, and oh look, more sharks. Moore is aboard the evil aquatic base, shoots boring Curd Jurgens (star of both a Blue Angel remake and a Threepenny Opera remake), sics Jaws on a shark (a funny joke in the mid-1970’s) and escapes with lovely enemy spy Barbara Bach – codename Triple X, another joke. It all seems rather inert, the least-exciting Bond finale I’ve seen despite Jaws and explosions.

Moonraker (1979)
Oh god, laser gun battles. Moore ejects Michael Lonsdale (!) into space then watches some Star Wars models out the window. Jaws is in love with a girl with pigtails and it’s sweet. He even gets dialogue, helps Bond and Lois Chiles (of Broadcast News) into a shuttle where they play high-stakes space invaders then celebrate with zero-G sex. These last two and You Only Live Twice were directed by Lewis Gilbert, who helmed some thrillers in the 50’s and more recently an Aidan Quinn ghost story.

For Your Eyes Only (1981)
Moore is in a decidedly low-tech mountain hideout, with a full team for once. Punch-out in a church, people thrown through stained glass windows, and another one of those tough guys who just smiles when Bond punches him in the gut. It’s all for some Texas Instruments-looking device which Bond hurls off a cliff so the Russians won’t get it. Not nearly as exciting as the others, with an unsexy PG version of the gag ending from the last few, then a dubbed macaw to close it out. John Glen, editor of the last couple Bond films, is promoted to director and takes the series through License to Kill.

Octopussy (1983)
Hooray for gypsies, acrobats, dancers and sad clowns. This makes up for the drab brownness of the last movie. The title character (Maud Adams, returning from Golden Gun) has a gun and Bond is nowhere to be found. Oh here he is, in a hot air balloon of course. Some Goldeneye-(the video game)-style first-person machine-gunning. Bond on horseback chases down the Afghani/Indian villains’ plane and just rides around on top of it. Louis Jordan (star of Letter from an Unknown Woman) flies his plane into a cliff after Bond and the girl jump to safety. They’ve toned down the sexy ending even further – this is getting out of hand.

Never Say Never Again (1983)
Weird, a non-canonical Bond film from a rival studio, a remake of Thunderball from the director of The Empire Strikes Back featuring the return of Sean Connery. Never having cared about the 007 series, this is not something I ever suspected existed. Connery has a jetpack! He and partner Bernie Casey (of Cleopatra Jones and The Man Who Fell To Earth) scuba into a paper-mache fortress where Max von Sydow reigns, a less-iconic Largo. Bond, as in the original, can be easily recognized as the one without pants. An underwater battle ensues, with worse lighting, much less harpooning, and slightly more Kim Basinger than before. In the would-be sexy postscript scene, Bond dumps Rowan Atkinson into a swimming pool – so, less Benny Hill, more Mr. Bean.

A View to a Kill (1985)
Opens with a disclaimer about baddie Chris Walken’s character name “Zorin” – I wonder what prompted that. Anyway, very excited to see Grace Jones with new wave hair helping out Roger Moore. She explodes while a slick blonde Walken watches from above, as does the proper blonde love interest (Tanya Roberts of The Beastmaster and Sheena, Queen of the Jungle. Bond dangles from a zeppelin line as Walken tries to shake him loose in the city, accompanied by corny dialogue. Punch-out atop the Golden Gate bridge features lots of bluescreen backdrops, Chris Walken with an axe, and an angry old man with a cartoon stick of dynamite. Postscript involves a camera-equipped robot, chuckling Russians and somehow an even less sexy finale than the Rowan Atkinson one. Come on now, 1980’s.

The Living Daylights (1987)
Roger has been retired to a closet at MGM, and was never heard from again. Tim Dalton is flying a plane around with Maryam d’Abo (of Shootfighter), blowing up a bridge while Arabs wage war below. Hmm, they drive out of a crashing plane in a jeep. Warfare afficionado MITCHELL is blasting away at Bond – thought I remembered him as a good guy in the later ones. Mitchell is dead, so never mind. Ash liked all the whistling in this one.