Shapely actress who portrayed Linda, the bored jet-setter whose “drop-in” yacht guest turns out to be the new 007 (TIMOTHY DALTON), in The Living Daylights teaser.

Plastic surgeon who designs the Blofeld clones in the Diamonds Are Forever teaser, portrayed by DAVID DE KEYSER, who dubbed the voices of actors GERT FRÖBE and GABRIELE FERZETTI for previous Bond films.

Adversaries of SPECTRE spymaster Emilio Largo (Adolfo Celi) in the final underwater battle of Thunderball. Outmanned and outgunned by the superior SPECTRE force of black-suited frogmen, the orange-suited aqua-paras hold their own until Bond (Sean Connery) arrives to even the odds.

Beautiful city on the subcontinent that became a principal filming location in Octopussy. Founded in 1559 by Maharana Udai Singh II, it is known as the City of Sunrise. Shooting began there on September 21, 1982, and continued for three weeks.

(August 20, 1911–????): Pinewood Studios construction manager, and production designer Ken Adam’s right-hand man on many of the early James Bond films. Udell’s motto, which Adam took literally, was “If you can draw it, we can build it.” Udell and his team of craftsmen at Pinewood encouraged Adam during the early days of the Bond series to try out new materials and techniques that were within the series’ initially low budgets. When the film series took off, Udell was intimately involved in the huge set constructions that became a trademark of the Bond films, including the interior and exterior of Fort Knox in Goldfinger and the huge volcano missile base in You Only Live Twice.

Udell’s first film at Pinewood was the classic suspense thriller Green for Danger (1946). By the mid-1950s, he was one of six construction managers who supervised all construction at Pinewood. He worked closely with the other five: Harold Combden, Bill Surridge, Jock Lyall, Bert Mansell, and Ted Hughes. Each team moved from construction to construction, and there was a camaraderie among the various teams that is unknown today. It was common for Udell to be involved in as many as six to eight films at once. He was appointed chief construction manager for the studio in 1969.

Udell’s relationship with Ken Adam had begun on The Hidden Room (1949), a suspense thriller directed by Edward Dmytryk. For Dr. No in 1962, Udell was delighted to work on the unusual sets designed by Adam for the film. “We had a budget of 17,000 pounds for all of the interiors,” he recalled. “We had just enough money to finish everything except the most important set: Dr. No’s reactor room. Since the producers were extremely happy with the rushes, they went back to United Artists and fought for another 7,000 pounds to finish the reactor room.

“We used a lot of fiberglass on Dr. No, which was a new material. We gave it a metallic finish with an Italian jewelry spray. For the reactor room, which was built on Stage E, Ken originally wanted one slick catwalk—where Bond has the fight with Chang, the fuel elements technician—with no visible means of suspension. For safety reasons, we convinced him to design two supports into the set.”[1]

Though Bill Surridge supervised the constructions for From Russia with Love, Udell was heavily involved on Goldfinger. One of his initial assignments was to build a ramp for the out-of-control Mercedes-Benz that goes over a cliff and slams into a side of the Auric Enterprises building. “We went to the Harefield Quarry for the stunt,” Udell remembered, “and we discovered that the only place we could build the ramp was over a pigsty. So that’s exactly where we built it. While John Stears and his crew filled the car with petrol jelly, all of these pigs were constantly bleating.”

Six months before Goldfinger began principal photography, Udell was planting an avenue of trees that would eventually lead up to his Fort Knox replica, which was built full scale in the Black Park woodland next to the studio. The trees were identical to ones photographed during a helicopter tour of the actual Fort Knox in Kentucky. Udell also remembered the difficulty of maneuvering the one-ton vault door from the interior stage to the outdoor set, where US troops battled Goldfinger’s Grand Slam Task Force.

For Thunderball, Udell and his team journeyed to a Royal Air Force base in Alton, where a plaster mold was made of a full-scale Vulcan bomber. The mold was then taken to the Bahamas, where the bomber was constructed out of fiberglass and then lowered into the Caribbean off Nassau’s Clifton Pier. A separate bomb bay was constructed and photographed from underneath for when Bond explores the wreck of the bomber.

Between February and May 1965, Udell was consumed by the Thunderball project—one of the most expensive films ever based at Pinewood to that point. But even Thunderball paled in comparison to You Only Live Twice, which involved the construction of a full-scale rocket base within the cone of an extinct volcano.

Udell retired from Pinewood Studios in August 1976, a month before principal photography began on The Spy Who Loved Me. He has since passed away, but a date of death was not available at press time.

[1] Ronald Udell, interview by Steven Jay Rubin, London, June 19, 1977.

The number on James Bond’s (SEAN CONNERY) Playboy Club membership card in Diamonds Are Forever. Tiffany Case (JILL ST. JOHN) finds the card on the body of Peter Franks (JOE ROBINSON) after Bond switches their billfolds. As a result, Tiffany says, “You’ve just killed James Bond.”

Q‘s (DESMOND LLEWELYN) cover in Isthmus City in Licence to Kill. While supplying Bond (TIMOTHY DALTON) with illegal weaponry—007 is a rogue agent—Q also plays 007’s chauffeur.

Identification number of the St. Georges, a British surveillance and communications ship disguised as a Greek fishing trawler in For Your Eyes Only. Carrying the registry of Valletta, a Greek city, the St. Georges is sunk when her fishing nets snare a World War Il mine.

(May 1, 1929–October 15, 2005; birth name: Frederick Allen Nutter): Handsome, silver-haired American actor, briefly in feature films, who portrayed Felix Leiter in Thunderball. Van Nutter (pronounced “Van NOOT-er”) was married to actress Anita Ekberg in the early 1960s, and it was through the couple’s friendship with Bond producer Albert R. “Cubby” Broccoli and his wife, Dana, that Van Nutter was first considered for the role of Leiter.

“We were having one of those immense Italian dinners in London with Cubby and Dana,” recalled Van Nutter, “when Cubby suddenly came out and said that I looked just like Felix Leiter. Now, I had read all of the Bond books, and I knew that Felix had straw-colored hair, blue eyes, and long legs. So I fit the bill physically. I later met [Thunderball director] Terence Young, who tested me with some of the Bond girls. The tests worked out fine, and I made plans to travel to Nassau that spring of 1965.”

A native of Los Angeles, Van Nutter made his uncredited motion picture debut as Victor in the Italian horror comedy Uncle Was a Vampire (1959), which also featured future Bond player Christopher Lee as Baron Roderico da Frankurten.

U.S. Air Force base in California that is the launch site for Ernst Stavro Blofeld‘s (CHARLES GRAY) laser satellite in Diamonds Are Forever. The same base is also the launch site for a shuttle carrying U.S. space forces in Moonraker. Led by Colonel Scott (MICHAEL MARSHALL), the U.S. team is headed for a pitched battle on Hugo Drax‘s (MICHAEL LONSDALE) space station.

Gypsy woman, portrayed by Aliza Gur, who is involved in the celebrated girl fight with Zora (MARTINE BESWICK) in From Russia with Love.

★  The fourteenth James Bond film produced by Albert R. Broccoli. US release date: May 24, 1985. Budget: $30 million. Worldwide box office gross: $152.6 million (US domestic gross: $50.3 million; international gross: $102.3 million).[1] Running time: 131 minutes.

The Setup

Recovering the body of agent 003 in Siberia, James Bond (Roger Moore) finds a unique microchip, impervious to damage from electromagnetic pulses, which Q traces to a company called Zorin Industries. Bond, now teamed with agent Sir Godfrey Tibbett (Patrick Macnee) first meets the company’s owner, Max Zorin (Christopher Walken), and his bodyguard, May Day (Grace Jones), at the elegant Ascot Racecourse in England, where the agents uncover Zorin’s plot to enhance the performance of his racehorses via steroid-releasing implants. Bond also meets California state geologist Stacey Sutton (Tanya Roberts), to whom Zorin gives a $5 million check. Zorin turns out to be a genetically enhanced former KGB agent gone rogue, who intends to corner the world’s supply of microchips by destroying California’s Silicon Valley with a massive double earthquake.

Behind the Scenes

Despite the fact that the previous two Bond films, For Your Eyes Only and Octopussy, had found success by returning to the From Russia with Love formula of putting intrigue ahead of bombastic adventure, in A View to a Kill the filmmakers decided once again to return to the Goldfinger model of outrageous fantasy. In many ways, A View to a Kill is a veritable remake of Goldfinger—but it fails in every way that film succeeded.

Max Zorin, like Auric Goldfinger, is out to to corner the world market on a valuable commodity—microchips instead of gold bullion. Instead of nuking Fort Knox, he’ll destroy Silicon Valley with earthquakes. It’s a logical plan as the schemes of Bond villains go, considering the valley’s proximity to the very dangerous San Andreas Fault—but the film makes no effort to establish the larger threat. In Goldfinger, a simple explanation uttered by Bond underscored the danger to the free world if the US gold supply were irradiated for fifty-eight years. But no one ever explains how Zorin’s monopoly on microchips threatens life as we know it. As a result, there’s no reason for the audience to care about microchips, Silicon Valley, or the story.

A more interesting plotline is teased early in the film: the notion that Zorin has developed a microchip that is impervious to magnetic pulse damage. A villain who could wipe out every computer in England, including early-warning systems, while his own systems are protected, is a credible and chilling threat. But the idea, once raised, is never elaborated upon. (Interestingly, the concept of an electromagnetic weapon targeting England would be resurrected a decade later as the ultimate goal of the Janus crime syndicate in GoldenEye.) Similarly, the entire sequence filmed in France at Zorin’s estate has nothing to do with the film’s main plot, though it’s delightful to see Patrick Macnee in a largely comedic role.

Christopher Walken, meanwhile, was the ideal person to play the maniacal genius Zorin, but the character itself is bland and poorly realized. The sequence in which he and his henchman Scarpine (Patrick Bauchau) casually machine-gun his own workers in the Main Strike Mine is a case of literal overkill. And yet A View to a Kill is also a Bond movie with very little action. The snow-surfing sequence in the pre-credits teaser is well made, but once again it’s ruined by a goofy musical score—the Beach Boys and James Bond just don’t mix. The raging-fire sequence in San Francisco City Hall, though suspenseful, just rehashes what audiences had already seen in the disaster movies of the previous decade (e.g., The Towering Inferno). And the nutty fire-truck chase through San Francisco belongs in a Ghostbusters movie, not a Bond film. The action in the Main Strike Mine is fantastic, and includes some excellent production design work from Peter Lamont. But didn’t Steven Spielberg cover the same ground in Indiana Jones and the Temple of Doom a year earlier?

A View to a Kill is also a surprisingly tame entry in the series romantically, perhaps presaging the safe-sex Bond films of the late 1980s. The only titillation comes from a brief liaison between Bond and KGB agent Pola Ivanova (Fiona Fullerton) in a hot tub. On the other hand, Tanya Roberts, a beautiful, sexy, and very photogenic actress, spends most of the film in conservatively cut formal dresses and coveralls—quite the miscalculation.

The few high points include the Main Strike Mine action—the best part of the film—and John Barry’s score, which is reminiscent of Goldfinger and repeats instrumental elements of the catchy Duran Duran title song at key moments.

[1] “A View to a Kill (1985),” The Numbers, accessed July 17, 2020, https://www.the-numbers.com/movie/View-to-a-Kill-A.

Amiable British Secret Service agent based in Udaipur, India, portrayed by professional tennis player Vijay Amritraj in Octopussy. Vijay is posing as a snake charmer when he meets Bond (Roger Moore) in an Udaipur street market. He gets Bond’s attention with his rendition of the James Bond theme—perfect for the Roger Moore era of 007 films.

Vijay actually hates snakes and prefers his other, more natural cover as a tennis pro at the resort club of exiled Afghan prince Kamal Khan (Louis Jourdan). His mean backhand comes in handy when Khan’s henchman Gobinda (Kabir Bedi) and his men attack Bond’s scooter in the streets of Udaipur. When 007 infiltrates the island home of Octopussy (Maud Adams) in the middle of Lake Pichola, Vijay stays behind on the mainland to keep watch. Unfortunately, he’s jumped by local thugs and killed by the man with the horrifying buzz-saw yo-yo.

★★★  The fifth James Bond film produced by Albert R. Broccoli and Harry Saltzman. US release date: June 13, 1967. Budget: $9.5 million. Worldwide box office gross: $111.6 million (US domestic gross: $43.1 million; international gross: $68.5 million).[1] Running time: 117 minutes.

The Setup

SPECTRE is up to its old blackmail tricks. This time, resourceful Ernst Stavro Blofeld (Donald Pleasence) is operating out of a rocket base hidden inside the cone of an extinct Japanese volcano—launching rockets that are capturing US and Soviet space capsules. World War III is imminent unless British intelligence can find the source of the SPECTRE plot. To free up his movements in Japan, James Bond (Sean Connery) is “assassinated” by machine gun–wielding killers in Hong Kong, buried at sea, and rescued by British naval divers. He then arrives incognito in Tokyo, where he teams up with the head of the Japanese Secret Service, Tiger Tanaka (Tetsuro Tamba) to track down Blofeld.

Behind the Scenes

Every film series has its highs and lows. It’s extremely difficult to maintain quality in an ongoing film series—especially given the creative aspirations of filmmakers, who are always looking for new paths and challenges. To make the same type of film every two years is not an attractive thought for any serious artist. Sean Connery was already feeling the urge to move on when he began work on You Only Live Twice in 1966. And he wasn’t the only one ready for a change.

For the fifth James Bond film, producers Albert R. Broccoli and Harry Saltzman changed their lineup considerably. Gone were director Terence Young, writer Richard Maibaum, cinematographer Ted Moore, and editor Peter Hunt (although Hunt was brought back to shoot second unit footage and to supervise the editing process). The new team included director Lewis Gilbert, cinematographer Freddie Young, and screenwriter Roald Dahl (yes, the legendary children’s author). It was a difficult shoot, and the result is a step down for the series. While Thunderball’s SPECTRE nuclear blackmail scheme is believable, Blofeld’s scheme to capture US and Soviet spaceships with the Intruder rocket is pure science fiction. If the 007 films have demonstrated anything, it’s that James Bond’s adventures should take place on Earth, not in outer space.

The scale of the film is undeniably impressive. Following Thunderball’s enormous success—it grossed more than $60 million in the US alone—the emphasis was once again on big, epic adventure. The story centers on another worldwide threat of nuclear destruction. Production designer Ken Adam was given carte blanche to create his enormous volcano rocket-base set. And the filmmakers skipped across the Japanese mainland, filming at many picturesque locations (surrounded at all times by the Japanese press corps). The movie does capture the allure of Japanese culture—its beautiful women, ancient customs, and emerging technologies.

But the film’s story is a less than compelling one. Elaborate set pieces take center stage at the expense of a solid dramatic structure. The best Bond films establish the villain and his plot early in the story, and everything moves toward a final confrontation between Bond and his enemy. But You Only Live Twice bounces from villain to villain, escapade to escapade, until the final assault on the volcano rocket base puts 007 up against Blofeld for the first time. The action sequences are also more like those found in comic books, and Connery—so glib and light-footed in Thunderball—is given very little to do. The helicopter battle above volcano country, pitting the Little Nellie autogyro against a flight of SPECTRE killer helicopters, is one of the least dramatic action sequences in the entire series. Reduced to pushing the buttons on his autogyro’s defensive controls, Bond becomes a very passive hero.

The women in You Only Live Twice are actually much more interesting than Bond. Japanese secret agent Aki (Akiko Wakabayashi), SPECTRE assassin Helga Brandt (Karin Dor), and 007’s undercover “bride” Kissy (Mie Hama) are the advance guard of the new Bond girl, less breathless and more capable of standing toe to toe with the men. Other high points include John Barry’s lush score and Freddie Young’s cinematography.

Thanks to a long and complicated production schedule, You Only Live Twice was scheduled for release in the summer of 1967 instead of Christmas 1966. That meant it was beaten to the theaters by Charles K. Feldman’s huge, lumbering 007 spoof Casino Royale, which opened on April 28, 1967. Casino Royale’s failure to duplicate the success of the serious Bond films had a definite negative effect on the release of You Only Live Twice. Although Broccoli and Saltzman’s Bond was no failure, it did not repeat the success of Thunderball, and the Bond series began a downward spiral at the box office that would last a decade. With the exception of 1971’s Diamonds Are Forever, Bond would not return to big-money box office success until 1977 with the lavish The Spy Who Loved Me.

[1] “You Only Live Twice (1967),” The Numbers, accessed July 20, 2020, https://www.the-numbers.com/movie/You-Only-Live-Twice.

British actor who portrayed the assassin who infiltrates a British Secret Service war game on Gibraltar in the teaser for The Living Daylights.

★ ★ ★1/2 The fourth James Bond film produced by Albert R. Broccoli and Harry Saltzman, this time in conjunction with producer Kevin McClory. US release date: December 29, 1965. Budget: $5.6 million. Worldwide box office gross: $141.2 million (US domestic gross: $63.6 million; foreign gross: $77.6 million).[1] Running time: 129 minutes.

The Setup

After liquidating SPECTRE assassin Jacques Bouvar (Bob Simmons) in a French chateau, James Bond (Sean Connery) is sent to the Shrublands health clinic for some much-needed R&R. There he meets sexy physical therapist Patricia Fearing (Molly Peters) and her patient Count Lippe (Guy Doleman), who sports a suspicious tattoo of a tong sign on his wrist. What Bond doesn’t know is that Lippe is another enemy agent, working closely with assassin Fiona Volpe (Luciana Paluzzi), who has seduced NATO observer François Derval (Paul Stassino). Replacing him with an exact duplicate, SPECTRE plans to hijack a NATO jet bomber with two atomic weapons on board. The price to get those deadly nuclear weapons back: a $280 million ransom. Otherwise, a major city in the US or Great Britain will be destroyed. It’s the most audacious and ambitious operation ever conducted by SPECTRE—an operation that leads Bond to Nassau in the Bahamas and to wealthy international businessman Emilio Largo (Adolfo Celi) and his voluptuous mistress, Dominique Derval (Claudine Auger), sister of François.

Behind the Scenes

Thunderball is an epic film in every sense of the word—a big caper on a big canvas, capturing a worldwide sense of alarm that has never been duplicated in the series. The capers in other Bond films have been equally ambitious, but director Terence Young and screenwriter Richard Maibaum also managed to infuse this film with a very realistic menace. In The Spy Who Loved Me, Stromberg’s nuclear threat is a fantasy. In Thunderball, you believe that SPECTRE can and will detonate an atomic device if their ransom is not paid. When Bond walks into the Secret Service briefing room and takes his seat with all the other double-0 agents in Europe, you sense that an incredible adventure is about to begin, with the fate of the planet potentially on the line.

As in the previous films in the series, there are simple touches in Thunderball that anchor the film in reality. The hijacking of the NATO bomber is treated realistically, as is the resulting concern that ripples through NATO command. And although Bond appears to be a bit cavalier at times—spending far too much time bedding one conquest after another—when duty calls, he responds quickly and decisively.

Much has been written over the years about how Thunderball’s underwater sequences slow down the pace of the film. Certain fight sequences are repetitive, but the underwater setting contributes enormously to the romance of this picture—particularly as a backdrop to the love affair between Bond and Domino. Nowhere is this more evident than in the sequence in which Bond first meets Domino in the waters off Nassau. Directed by Ricou Browning, photographed by Lamar Boren, and scored beautifully by John Barry, this sequence has a poetic quality that perfectly establishes the interplay between the two future lovers.

Thunderball harnesses the romantic lure of Nassau throughout the film. One of the most evocative sequences is a brief moment when Bond arrives for a night of gambling at the Paradise Island casino. As he gets off the boat, he hears the laughter of a group of well-dressed vacationers who are leaving for the night. “See you tomorrow!” they shout, and the viewer suddenly gets a tremendous sense of the tropics—of carefree vacations, cool drinks, and moonlight romance.

There’s also the super-confident quality that Sean Connery brings to the picture. After three films, the character of 007 has been firmly established. Now, it’s time for Sean to have a little fun—for instance, the moment in the chateau when he kills Jacques Bouvar and takes time to throw flowers on the body, or the scene in Shrublands in which he discovers the dead Angelo and steals a bit of fruit as he leaves. Touches like these set Thunderball apart from other Bond movies.

The film also features one of the most beautiful women ever to grace a 007 adventure. Claudine Auger, a French beauty contest winner, has an electrifying presence on screen that matches Connery’s own, ensuring that their romance never lacks for fire. Luciana Paluzzi is also fetching as Fiona Volpe, the voluptuous redheaded siren. The film’s only real problem is the Shrublands sequence early in the film, which, aside from 007’s interplay with the very desirable Patricia Fearing, is just too slow-moving to sustain audience interest.

[1] “Thunderball (1965),” The Numbers, accessed July 16, 2020, https://www.the-numbers.com/movie/Thunderball.

The current price, per kilo, of the cocaine that drug runner Franz Sanchez (ROBERT DAVI) is shipping out of Isthmus City in Licence to Kill. The price is communicated to Sanchez through Joe Butcher‘s (WAYNE NEWTON) televangelist show, where drug distributors call in their figures and the prices are mentioned in code.

Day on which principal photography was concluded on Dr. No.

The night of the Dr. No world premier at the Pavilion Theater in London.

Britain’s highest military honor, a bronze Maltese cross. According to the 1967 Casino Royale spoof, this cross was won by Sir James Bond (DAVID NIVEN) at the Battle of Mafeking in the Boer War.

(March 7, 1925–December 4, 1997): Scene-stealing British character actor who portrayed the very intelligent and distinguished Colonel Smithers of the Bank of England in Goldfinger. Smithers briefs 007 (Sean Connery) and M (Bernard Lee) on the activities of Auric Goldfinger (Gert Fröbe)—both legal and very illegal.

A native of Reading, Berkshire, England, Vernon, who looked much older than his years (was he really only thirty-nine when he portrayed Smithers?), made his credited motion picture debut in director Henry Watt’s crime drama Four Desperate Men (1959). The following year, he was Sir Edgar Hargraves in Wolf Rilla’s iconic science fiction drama Village of the Damned.

Stunning British blonde, briefly in films and television, who played the Log Cabin Girl who betrays 007 (Roger Moore) to the KGB in the pre-credits teaser of The Spy Who Loved Me.

Vanner made her feature film debut alongside fellow Bond girl Angela Scoular as a hostage in director Stanley Long’s crime comedy Adventures of a Taxi Driver (1976).

Lean, sullen SPECTRE henchman portrayed by Philip Locke in Thunderball. According to his boss, Emilio Largo (Adolfo Celi), Vargas is a passionless man who doesn’t drink, doesn’t smoke, and doesn’t make love. What does Vargas do? He’s a killer, pure and simple. Agent 007 (Sean Connery) disposes of him on Love Beach with a well-aimed shot from his CO₂ speargun.

Jaws‘s (RICHARD KIEL) airline flight to Rio de Janeiro in Moonraker. In a humorous moment, his cobalt-steel teeth trigger the flight’s security device. Jaws smiles at the attendant and moves on.

In Moonraker, it’s where Dr. Holly Goodhead (LOIS CHILES) tells James Bond (ROGER MOORE) she went to college. It’s also where she learned to fight.

Fiery gypsy leader portrayed by Francis De Wolff in From Russia with Love. Bond (Sean Connery) saves his life when Bulgarian assassins attack the gypsy camp. For that effort, Vavra honors 007 by letting him know he now considers Bond to be his “son.”

Site of the Venice International Grandmasters chess tournament between Kronsteen (Vladek Sheybal) and Mac Adams (Peter Madden) in From Russia with Love. It’s also the ultimate destination for Bond (Sean Connery) and Tania (Daniela Bianchi) when they leave Yugoslavia in a stolen motorboat later in the same film.

In Moonraker, Venice is a principal location and the site of a spirited gondola chase that eventually turns into a ridiculous hovercraft ride.

In Casino Royale, it’s where James Bond (Daniel Craig) recuperates with Vesper Lynd (Eva Green) before he retrieves his considerable poker winnings. Unfortunately, Vesper betrays him, steals the money, and prepares to give it to Mr. White (Jesper Christensen) and his SPECTRE henchmen. Bond chases her down, fights a swarm of bad guys, and destroys a canal-adjacent building in the process—a building in which a guilt-ridden Vesper is trapped in a sunken freight elevator, and prefers to let herself drown rather than accept the help of the man she betrayed.

An Italian subsidiary of Drax Enterprises Corporation in Moonraker, its Venice laboratory is testing a nerve gas that can destroy all human life on the planet Earth.

Tipped off by documents he finds at Drax‘s (MICHAEL LONSDALE) California estate, Bond (ROGER MOORE) breaks into the facility by using the five-note Close Encounters of the Third Kind entry code, discovers the experiments, and actually uses the nerve gas on the scientists. Later, hoping to expose the facility to M (BERNARD LEE) and Freddie Gray (GEOFFREY KEEN), Bond discovers that Drax has entirely changed the composition of the laboratory, turning it into a huge drawing room.

Venini Glass’s public museum is also a setting in the film for a raucous fight between Bond and Chang (TOSHIRO SUGA). After disposing of Chang, who is thrown through an upper-story glass window, Bond finds additional clues that lead him to another Drax facility in Rio de Janeiro.

One of General Gogol‘s (WALTER GOTELL) KGB agents, portrayed by Dolph Lundgren, in A View to a Kill. Venz can be seen briefly at Max Zorin‘s (CHRISTOPHER WALKEN) private racecourse in France, where Gogol goes to chastise the industrialist for killing James Bond (ROGER MOORE) without KGB permission.

Actor who portrayed Borchoi, the curator of Leningrad’s Hermitage museum who exposes Lenkin‘s (PETER PORTEOUS) jewel forgeries in Octopussy.