Ever wonder what happened to Honey Ryder, Holly Goodhead and the never-to-be-forgotten Pussy Galore from 1964 James Bond movie classic, Goldfinger? For Bond buffs wanting to know where the women of past films landed after tangling - or becoming entangled - with 007, Mayam d'Abo of 1987's The Living Daylights has created Bond Girls Are Forever, a documentary.
The Blue Max is highly unusual among Hollywood films, not just for being a large-scale drama set during the generally overlooked World War I, but in concentrating on air combat as seen entirely from the German point of view. The story focuses on a lower-class officer, Bruno Stachel (George Peppard), and his obsessive quest to win a Blue Max, a medal awarded for shooting down 20 enemy aircraft. Around this are subplots concerning a propaganda campaign by James Mason's pragmatic general, rivalry with a fellow officer (Jeremy Kemp), and a love affair with a decadent countess (Ursula Andress).
An appealing, free-floating lunacy fuels What's New Pussycat?, and there's enough of it bubbling around to carry the movie past its many defects. The cast is like a collection of terribly attractive people stumbling over each other at a disorganized cocktail party--they aren't always witty, and some of them are drunk, but there's enough going on to keep you distracted. Peter O'Toole plays a swinging London womanizer seeking help for his addiction, who makes the mistake of consulting one Dr. Fritz Fassbender (Peter Sellers), a demented psychoanalyst.
In the film that launced the James Bond saga, Agent 007 (Sean Connery) battles the mysterious Dr. No, a scientific genius bent on destroying the U.S. space program. As the countdown to disaster begins, Bond must travel to Jamaica where he encounters the beautiful Honey Ryder (Ursula Andress) and confronts the megalomaniacal villain in his massive island headquarters!
John Huston was only one of five directors on this expensive, all-star 1967 spoof of Ian Fleming's 007 lore. David Niven is the aging Sir James Bond, called out of retirement to take on the organized threat of SMERSH and pass on the secret-agent mantle to his idiot son (Woody Allen). An amazing cast (Orson Welles, Peter Sellers, Deborah Kerr, etc.) is wonderful to look at, but the romping starts to look mannered after awhile. The musical score by Burt Bacharach, however, is a keeper.
