This does not mean that You Only Live Twice is a particularly bad film. In many ways, it is more entertaining than Thunderball. It certainly moves faster, thanks to the work of a new director, Lewis Gilbert. The plot, outrageous as it is, is taken more seriously than those of the seventies. And it contains some of the best technical work in the entire series. It's simply a matter of taste. You Only Live Twice is not a James Bond film, but a spy-adventure-cum-science-fiction extravaganza.
Ken Adam's spectacular set for SPECTRE'S volcano headquarters in You Only Live Twice. (Wide World Photo.)
"Little Nellie," the Wallis Autogyro used in You Only Live Twice. (Wide World Photo.)
There are several new talents working on the film, including a new scriptwriter. Apparently, Richard Maibaum was not available to do the screenplay, so the producers turned to Roald Dahl. Dahl, who had been friends with Fleming, was not an experienced screenplay writer; he was, however, a respected author, especially of children's literature. There is also a new cinematographeron the film—Freddie Young, who had just won an Academy Award for Doctor Zhivago.
Editor Peter Hunt had hoped to direct the film, but was instead offered the job of second unit director with the promise of directing the next film. Thelma Connell replaced Hunt as supervising editor, while he was busy filming the action scenes and stunts. Hunt was persuaded, however, to resume responsibility for the editing when it became apparent that Ms. Connell couldn't handle the film alone.
You Only Live Twice had a troubled production history, all of which is recounted by Steven Rubin in his book, The James Bond Films. Tragedy occurred when John Jordan, a cameraman specializing in aerial photography, lost a foot while shooting the spectacular helicopter battle. A blade of a SPECTRE copter's propeller sliced it off when an updraft swung the vehicle into Jordan's copter. His life was saved, but the leg had to be amputated three months later in England. Tony Brown replaced Jordan as aerial photographer. There were other delays, causing the production to go weeks over schedule, and the film finally wrapped only three months prior to its release date.
SCREENPLAY
When Cubby Broccoli was touring Japan scouting locations, he was unable to find a suitable castle to fit Fleming's story. But at one point during the trip, Broccoli spotted a huge volcano with a lake in its crater. This gave him the idea to abandon Fleming's setting and place the SPECTRE hideout inside an ancient volcano.
This was all Roald Dahl had to go on in creating his unusual screenplay. The producers also imposed artistic restrictions to make Dahl conform to the Bond Formula. Dahl relates what the producers told him in their initial meeting, in this excerpt from an amusing Playboy article:
"You can come up with anything you like so far as the story goes," they told me, "but there are two things you mustn't mess about with. The first is the character of Bond. That's fixed. The second is the girl formula. That is also fixed."
"What's the girl formula?" I asked.
"There's nothing to it. You use three different girls and Bond has them all."
"Separately or en masse?"
One of them took a deep breath and let it out slowly. "How many Bond films have you seen?" he asked.
"Just one. The one with the crazy motorcar."
"You'd better see the others right away. We'll send them out to your house with a projector and someone to work it." This was the first small hint I was to get of the swift, efficient expansive way in which the Bond producers operated. Nobody else does things quite like them.
"So you put in three girls. No more and no less. Girl number one is pro-Bond. She stays around roughly through the first reel of the picture. Then she is bumped off by the enemy, preferably in Bond's arms."
"In bed or not in bed?" I asked.
"Wherever you like, so long as it's in good taste. Girl number two is anti-Bond. She works for the enemy and stays around throughout the middle third of the picture. She must capture Bond, and Bond must save himself by bowling her over with sheer sexual magnetism. This girl should also be bumped off, preferably in an original fashion."
"There aren't many of those left," I said.
"We'll find one," they answered. "Girl number three is violently pro-Bond. She occupies the final third of the picture, and she must on no account be killed. Nor must she permit Bond to take any lecherous liberties with her until the very end of the story. We keep that for the fade-out."
("007's Oriental Eyefuls," from Playboy, June 1967)
Sean Connery and co-star Akiko Wakabayashi (as Aki) relaxing between takes on location in Japan for You Only Live Twice. (UPI Photo.)
Although Dahl may have been a little facetious in his telling of the story, there's a lot of truth in it. One can see how the girl formula was established in Dr. No, and perfected in Thunderball.
Dahl created a science fiction plot in which SPECTRE, led by our friend Ernst Stavro Blofeld, is being paid by the Red Chinese to cause World War III between America and Russia. Blofeld means to do this by hijacking space capsules from both the United States and the Soviets, and making it appear as if the other country is doing the dirty work. SPECTRE is now hiding inside a huge, hollow volcano, which is completely equipped with a launching pad, the hiiackirt misvik, monorails, thousands of employees, tunnels, cells, and a suite where Blofeld resides. Inside the suite is a piranha pool covered by a small bridge which can be dropped at the touch of a button (Blofeld's latest method for disposing of unsuccessful subordinates). When the United States or the Soviets launch a space capsule, SPECTRE launches their intercepting rocket. In orbit, the rocket approaches the space capsule; its nose opens like a flower, swallowing the capsule; and the rocket returns to the SPECTRE volcano with its prisoners.
In 1967, outer space was a viable commercial commodity. Kubrick's 2001 was in the making, as well as Planet of the Apes. America's space program was approaching a zenith; man had recently walked in space. Therefore, Dahl's outer space idea was enthusiastically approved by the producers. But as John Brosnan notes, this plot is basically a rehash of the science fiction plot of Dr. No. The enemy is causing havoc with a major power's space program. Bond investigates and discovers a hidden headquarters; Bond alters the villain's plans in a countdown climax; and finally the villain's establishment is blown up spectacularly. Just where SPECTRE found the funds to build themselves a super complex inside a volcano is not mentioned. It seems that after the failure of Plan Omega in Thunderball, Blofeld would have a little trouble obtaining backers. But this is a James Bond film—who needs credibility?
The title of the film gains significance in a pre-credits sequence involving a staged murder of James Bond. Apparently, the British fake the murder in Hong Kong so that Bond's enemies will leave him alone and free him to work openly on the space capsule case. This sequence is a little contrived, and as a result, it lacks the excitement of pre-credits scenes of previous films.
Besides using Bond, Blofeld, Tiger Tanaka, Kissy Suzuki, and Dikko Henderson (the major characters of the novel), Dahl creates some additional characters. Aki is "girl number one," and the major female role of the film. She is working for the Japanese Secret Service until she becomes the film's Obligatory Sacrificial Lamb. Helga Brandt is "girl number two," and, like Fiona in Thunderball, works for SPECTRE. Helga's boss is Mr. Osata, who runs the chemical and engineering front for SPECTRE.
You Only Live Twice combines all of the elements associated with the Bond film series: outer space; underwater scenes; a few good fight scenes; lavish surroundings and set-pieces; beautiful women; gadgets; and a climactic demolition of the villain's headquarters at the film's end. The screenplay has its moments of flash, but ultimately it serves as a mere vehicle for the overpowering set-pieces.
DIRECTION
Lewis Gilbert joins the Bond team to direct You Only Live Twice. One suspects that Gilbert didn't have too much say in the actual production planning of the film. The producers knew in what direction they wanted their series to go, and Gilbert was hired only to maintain control of th
e massive undertaking the film became. All things considered, Gilbert does an impressive job. There are extremely large crowds to contend with, as well as huge sets on which to plot action. Gilbert proved adept at handling a big picture, and he would be hired again later in the series to direct two more Bond films.
Gilbert's style incorporates the fastest tempo yet in a Bond film. This is an improvement over Thunderball—the new picture really moves. Gilbert also has a good eye for composition, helped immensely by the work of cinematographer Freddie Young.
Gilbert is less successful bringing out adequate performances from the cast Connery, especially, seems unmotivated and uninspired. And Gilbert could not overcome the serious miscasting of Donald Pleasence as Blofeld. The Japanese actors all do competent jobs, but there are no scenes requiring any serious dramatic interplay.
One particular scene is successful in generating a sombre mood, and that is the death of Aki. Bond and Aki are asleep in bed. A SPECTRE assassin sneaks into the rafters above them and hangs a thread above Bond's mouth. The assassin carefully pours a couple of drops of poison onto the thread; they slowly inch their way down. But Bond shifts his body in his sleep, and Aki moves with him. The poison drops fall into her mouth instead. This scene is suspenseful and eerie.
Another marvelous sequence is the Kobe dock fight. Bond and Aki have been spying on the shipping vessel Ning-Po, and are caught by SPECTRE dock workers. (It seems that everybody in Japan either works for SPECTRE or the Japanese Secret Service!) Bond is chased across a rooftop, and there's a magnificent aerial shot of him knocking off his attackers one by one. This shot, combined with John Barry's vigorous music, produces an exhilarating effect.
Gilbert is also successful in creating a bit of Fleming "travelogue" for the film. There is one sequence in which Bond is "married" to Kissy Suzuki for the purposes of cover. A traditional Japanese wedding is set up, and the audience is treated to a display of Oriental costume and ritual. Sequences such as this make You Only Live Twice an interesting film.
ACTORS AND CHARACTERS
Another example of how radically the film series has changed James Bond from the Ian Fleming original is summed up in one line. Miss Moneypenny throws Bond a Japanese phrase book as he is exiting for his mission. Bond tosses it back, saying that she has forgotten he "took a first in Oriental languages at Cambridge." Well, James Bond never attended Cambridge. Or Oxford for that matter.
Sean Connery, in his fifth appearance as James Bond, looks weary and bored with the entire goings-on. He is overweight, slow-moving, and doesn't seem to be trying to create a credible character. What is amazing is that despite this, Connery here still radiates more screen presence than Roger Moore or George Lazenby. Halfway through the film, Bond is transformed into a Japanese man. Bikini-clad Japanese women perform an elaborate operation, depilating him, slanting his eyes, and changing his hair style. As Brosnan notes, the result is unconvincing, and Connery looks a little ridiculous slouching around with his head down in stereotypical Japanese humility.
Jan Werich was originally cast as Blofeld, but the actor became very ill before his scenes were shot. Acting hastily, the producers cast Donald Pleasence as Bond's archenemy. Pleasence is a terrific actor, and is especially good at character roles; but in this case, he is seriously miscast. This film marks the first appearance of Blofeld's face on screen (yes, he's still petting that damned white cat), and Pleasence is a disappointment. He is a small man with a voice that in no way resembles the Blofeld voices used in From Russia With Love or Thunderball. Although Blofeld's features alter from novel to novel, he always remains physically large and mentally methodical. Pleasence's Blofeld resembles a rash, hyperactive Dr. Frankenstein. Pleasence's makeup includes an ugly scar down the right side of his face, and his characterization suggests an ugly, spoiled child who throws a tantrum when he doesn't get his way. As a result, Blofeld is unintentionally comical. My favorite line in the film comes from Blofeld when he orders Mr. Osata to "Kill Bond—NOW!" The delivery is maniacally funny.
Blofeld comes equipped with a superstrong bodyguard named Hans. Hans doesn't say anything through the entire film, and is basically a variation of Oddjob. Bond quickly disposes of him during one of the film's weaker fight scenes.
Akiko Wakabayashi portrays Aki, the beautiful Japanese girl who befriends Bond in the first half of the picture. Miss Wakabayashi is very good in the role, and gives the most accomplished performance in the film. Aki is very independent, intelligent, and resourceful. She also happens to show up in the nick of time repeatedly to save Bond from danger. Aki is unfortunately the film's Obligatory Sacrificial Lamb, and meets her death in the previously mentioned bedroom scene.
Tetsuro Tamba portrays the wise Tiger Tanaka, head of the Japanese Secret Service. Fleming's Tanaka is one of his most developed and entertaining characters, but Tanaka in the film has been written down. Also, Tamba is not particularly engaging in the role. Though he speaks with the wisdom and authority required of the character, he appears too young and a little mechanical.
Lovely Mie Hama is Kissy Suzuki, whom Bond "marries" on Kuro Island. Miss Hama, like Akiko Wakabayashi, is well cast and does a very competent job in portraying the Ama diving girl with an American education. Although her role has been changed considerably from the original story (in the film, she's a trained agent skilled in the martial arts, working for the Japanese Secret Service), Miss Hama displays an innocent charm that is appealing.
German actress Karin Dor is cast as Helga Brandt, the SPECTRE agent who first uses Bond sexually for her own purposes, then attempts to kill him. The character is basically Fiona Volpe revisited, and is not nearly as successful. Dor displays adequate sexual appeal for the role, but is not nearly as villainous as Luciana Paluzzi. Helga Brandt meets her death in another of the now-famous SPECTRE executions for failure. This time, Blofeld terminates her employment by feeding her to his pet piranhas.
A Japanese actor with a face familiar to American audiences, Teru Shimada, portrays Mr. Osata, the man who owns the chemical and engineering front for SPECTRE. Shimada isn't given much to do, but performs his tasks with conviction, nonetheless. He, too, is killed by Blofeld for failing to eliminate Bond. (Blofeld here chooses a simpler method: he pulls out a pistol and shoots Osata at point-blank range.)
Another interesting character from the novel is shortchanged in the film. This is Dikko Henderson, the British agent working at the Tokyo Station. Charles Gray (who later returns to the series to contribute his own version of Blofeld) portrays Henderson, but he isn't given much screen time. He's interrupted in the middle of perhaps his third speech by a knife in the back (this didn't happen in the books. Henderson also has a wooden leg in the film – a handicap not suffered by the original character.
It's obvious the filmmakers are running out of ideas for original M/Miss Moneypenny scenes. In You Only Live Twice, Bond reports to headquarters aboard M's private submarine (!) which happens to be stationed near Japan. It's the first time we see the Service personnel (including Bond and M) in full Naval attire, but the notion is ridiculous. Q makes his usual appearance on location in Japan to instruct Bond in operating "Little Nellie," the latest in Q Branch technology.
Sean Connery and Mie Hama (Kissy Suzuki) on a Japanese mountain in You Only Live Twice. A SPECTRE helicopter will soon interrupt the picnic. (UPI Photo.)
OTHER ASPECTS
As mentioned earlier, You Only Live Twice is the most visually attractive movie of the entire series. Freddie Young's cinematography is gorgeous, especially in the panoramic views of the Japanese countryside. Young has done a splendid job capturing the beauty and color of the East.
But the film's look belongs to Ken Adam. You Only Live Twice contains his most impressive work. It's no wonder, for Adam was allotted at least half of the film's total budget to create the many interiors for the film. Among these are Osata's office, where Bond fights a heavy Sumo wrestler; Tanaka's Secret Service headquarters, filled with TV screens and sleek, metal walls; M's
submarine office; Blofeld's suite, complete with piranha pool and bridge; and several Japanese houses. But the most outstanding set is the SPECTRE volcano. At a cost of one million dollars, the huge set was built on the back-lot of Pinewood Studios, and could be seen at least three miles away. It was the largest and most expensive set ever built for a motion picture. Everything inside worked—monorails, elevators, and motor vehicles. A helicopter could actually descend through the opening in the ceiling and land on the launching pad. This set epitomizes the bigness of the Bond films, and it's worth the price of admission just to see it.
The film contains as many gadgets (if not more) than Thunderball. Among these are the thousands of television screens and radio transmitters that everyone in the film seems to carry; a handy little safecracker Bond happens to have on his person which, after a few seconds of waiting, reveals a safe's combination to its user; and various items used by the ninjas, such as cigarettes containing explosive projectiles. But the star gadget is the "Little Nellie," a gyro-helicopter for one passenger, which actually works, and was flown in the film by Nellie's designer and owner, Ken Wallis. It is in effect a flying Aston Martin, for it comes equipped with machine guns, a smokescreen sprayer, rockets, a mine field launcher, and two heat-seeking missiles which practically steal the film during Bond's aerial battle with four SPECTRE helicopters.
The James Bond Bedside Companion Page 40