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The James Bond Files ~
The Man With the Golden
Words – A Spy-ography of Richard Maibaum
By Wesley Britton
According to Alfred Hitchcock biographer Patrick McGilligan,
during the final stages of scripting the 1940 Foreign
Correspondent, future James Bond screenwriter Richard
Maibaum was brought in at the 11th hour as an uncredited writer.
Maibaum’s job was to help flesh out the character of the
kidnapped idealistic scientist. In McGilligan’s account,
Maibaum reportedly told Hitchcock the script wasn’t very
logical.
“Oh dear boy,” Hitchcock responded with
a grimace, “Don’t be dull. I’m not interested
in logic, I’m interested in effect. If the audience ever thinks
about logic, it’s on their way home after the show and by
that time, you see, they’ve paid for their tickets.”
(Note 1)
While this working relationship between the spy genre’s
most important director and arguably one of moviedom’s
most important screenwriters – in terms of the Bond boom
– was brief, it’s long been clear Richard Maibaum
learned much from the Master of Suspense. As discussed by many
sources, Hitchcock was not alone feeling the Bond series was a
fanciful extension of his 1959 North by Northwest, with
scenes like the crop-dusting sequence r ecycled into the helicopter
chase in 1962’s From Russia With Love.
But the contributions of Richard Maibaum in the 007 mythos
went far beyond both film and literary inspirations. In fact,
it’s difficult to find a name more deserving of being called
the main shaper of the film series outside, of course, Bond
creator Ian Fleming himself.
After all, Maibaum had much to do with the scripts for all but
one of Sean Connery’s official Bond epics. He was the
one who created the iconic laser-beam table scene in
Goldfinger, voted in one poll as the best 007 film
moment of all time. Maibaum had a major hand in five of the
seven Roger Moore films, including co-creating the character of
“Jaws.” He wrote the screenplay for the one
George Lazenby effort, the first Timothy Dalton excursion, and
contributed to Dalton’s second and last adventure,
Licence to Kill. While the run of Pierce Brosnan began
four years after Maibaum’s death in 1991, it’s
difficult not to see the influence of Richard Maibaum in the stories
that brought 007 into the 21st Century.
Before Bond
Four hundred years. That’s how long ago the other
major powers started their O.S.S.. We’ve only got months
to build a first central intelligence agency in our history. A
worldwide organization that’ll meet the enemy in its own
game. Not your kind of game . . . you’re all here under
assumed names, but you’re all average, decent Americans.
Americans aren’t brought up to fight the way the enemy
fights. We can learn to become intelligence agents and saboteurs
if we have to. But we’re too sentimental. Too trusting, too
easy going. What’s worse, too self-centered.
(Training monologue in O.S.S.,
1946)
Born May 26, 1909 in New York City, Richard Maibaum entered
films as a screenwriter in 1937 and spent the war years with the
Army’s Combat Film Division. In 1946, he joined Paramount
as both screenwriter and producer.
During his Paramount tenure, Maibaum began his spy plots when
he scripted and produced the much under-appreciated O.S.S.
(1946), one of many films rushed out to capitalize on the recently
de-classified files of the Office of Strategic Services. Movies like
Cloak and Dagger, 13 Rue Madeleine, and
O.S.S. (all 1946) also benefited from advice and
participation from veterans of the precursor to the CIA.
(Note 2)
In the case of O.S.S., the actual organization allowed
Paramount and Maibaum to look over their files for story ideas.
Ex-agents acted as film consultants. The creator and former O.S.S.
chief “Wild Bill” Donovan even provided an introduction
for the film in the guise of actor Joseph Crehan.
Maibaum’s script followed the training and then the
missions in occupied France of a team of O.S.S. operatives
code-named Applejack (Alan Ladd, Geraldine Fitzgerald, Don Beddoe,
Richard Benedict) and their controller (Patrick Knowles). Four
years later, Maibaum produced, but didn’t write, a sequel
of sorts, Captain Carey, U.S.A. (1950). Alan Ladd
again starred, this time as Webster Carey, an O.S.S. veteran who
returned to Italy to find out who betrayed his World War II team
and caused the death of several villagers.
Learning that making films abroad was an excellent tax shelter,
Maibaum formed a partnership in the 1950s with producers Irving
Allen and Albert R. Broccoli that became Warwick Film
Productions. This British company brought together many of the
collaborators that would create the Bond universe. For but one
example, along with John Gilling and David Shaw, Maibaum wrote
the screenplay for the 1958 Allen-Broccoli production, The
Man Inside, considered by some a watered-down version
of The Third Man. In this precursor to 1971’s
Diamonds Are Forever, a jeweler’s bookkeeper
steals a priceless diamond and is trailed by various groups across
Europe. The cast included Anthony Newley, who later provided the
lyrics for the title song for Goldfinger, Donald
Pleasence, later the Ernst Stavro Blofeld in You Only Live
Twice, and Walter Gotell, the Gen. Gogol of several Roger
Moore outings. (Note 3)
Two years before, Zarak (1956), a tale of bandits
and revenge, was produced by Allen and Broccoli, directed by
Terence Young, shot by Ted Moore, and, of course, written by
Richard Maibaum. Two minor players included Patrick McGoohan,
the future Secret Agent, and Eunice Gayson, a leggy
lady who featured in the first two Bond films. If director Terence
Young had had his way, she’d have appeared in more
and married 007.
“My name is . . . .”
After the Allen-Broccoli relationship dissolved, Harry Saltzman
became Broccoli’s partner in the new EON Productions.
Inside this venture, says Bond expert Bill Koenig, “An
informal Warwick alumni association of Maibaum, director
Terence Young, photographer Ted Moore and production designer
Ken Adam helped launch the Bond series in a big way.”
(Note 4)
Richard Maibaum became the principal screenwriter to adapt
Fleming novels into the first three films that laid the foundation for
the 007 phenomena – Dr. No (1962),
From Russia with Love (1963), and Goldfinger
(1964). According to Koenig, “Maibaum helped introduce
wit and one-liners not present in the Ian Fleming original
novels.” (Note 5)
In later years, these Maibaum scripts were the center of legal
disputes between producer Kevin McClory and Danjaq, the
company responsible for the Bond film series. According to an
opinion published on August 27, 2001, by the United States
Court of Appeals for the Ninth Circuit, McClory claimed Maibaum
had been brought in to write a new screenplay for
Thunderball in 1961, which had been intended to be
the first Bond film before rights issues put that project on hold.
According to McClory, this screenplay was the origin of
Danjaq’s various infringing acts of his concepts. He
argued that Maibaum’s screenplay was based on the
earlier Thunderball scripts by Ian Fleming, McClory,
and Jack Whittingham, and thus Maibaum “lifted the
cinematic James Bond character, SPECTRE, and the theme
of nuclear blackmail.” Danjaq’s depositions
disputed the claim, asserting that Maibaum did not have access
to the McClory scripts, although they admitted that Maibaum
likely had the book Thunderball, in which McClory
had an interest. (Note 6)
As the court records showed, back in 1961, in order to
sidestep the legal disputes over Thunderball,
Saltzman and Broccoli instead made Dr. No. But
“according to McClory, Maibaum again incorporated
elements from the earlier Thunderball
scripts.” In particular, McClory contended that he had
“transformed the supposedly violent and alcoholic James
Bond of the Fleming books into the movie character who is so
beloved, recognizable and marketable,” and thus he
had a “significant stake in the Bond movies.”
For a variety of reasons, the suit was thrown out, and most experts
now agree McClory can be credited with creating Bond adversary
Ernst Stavro Blofeld and his organization, SPECTRE, resulting
in the Bond films dropping any references to the organization after
Diamonds Are Forever. But in the extremely
collaborative realm that shaped the Bond mythos, McClory’s
claims were more than dubious.
Back to Maibaum. While nominated for an award for his
Goldfinger script by the New York Film Critics Circle,
Maibaum had help with Goldfinger from Oscar-winning
screenwriter Paul Dehn. (Dehn, who went on to write the
screenplay for John Le Carré’s 1965 The
Spy Who Came in From the Cold, is perhaps best known
for his many Planet of the Apes films of the 1970s.)
While the IMDB only credits Dehn with “additional
dialogue,” Bill Koenig notes he contributed much more.
“In his 1998 book, Adrian Turner on
Goldfinger,” Koenig says, “the writer
details all the various drafts for the third EON James Bond film
that were produced by Maibaum and British screenwriter Paul
Dehn, brought into the project to punch up Maibaum’s
early drafts.” (Note 7)
These drafts, now housed in “The Maibaum Papers
at the University of Iowa,” show how the writers tried to
wrestle with the question – why don’t the bad
guys just shoot Bond? They cut scenes from Fleming’s
book that didn’t work for the screen, as when Bond
talked Goldfinger into letting him be his assistant. More
significantly:
Turner also quotes from a Maibaum memo to producers Broccoli
and Harry Saltzman where he says of the original novel, “The
buzz saw must go. It’s the oldest device in cheap
melodrama.” Thus, the origin of the laser table scene, one of
the movie’s highlights.
Maibaum also recommended American character actor Victor
Buono for the part of villain Auric Goldfinger, Turner notes in the
book. The role ended up going to German actor Gert Frobe.
With John Hopkins – who also earned a Le Carré
credential by writing the script for the 1982 miniseries,
Smiley’s People – Maibaum then
wrote the final drafts for Thunderball (1965), based
on the controversial scripts by Fleming, Kevin McClory, and Jack
Whittingham. Maibaum wasn’t involved with You
Only Live Twice (1967), the first Bond epic to wildly depart
from a Fleming story. But, in 1968, he contributed dialogue for Ian
Fleming’s children story, Chitty-Chitty Bang, Bang,
a novelty produced by Albert Broccoli.
Then, for the 1969 George Lazenby vehicle, Maibaum wrote
the screenplay for On Her Majesty’s Secret
Service with British novelist Simon Raven brought in for
additional dialogue. As reported in my Onscreen and
Undercover: The Ultimate Book of Movie Espionage:
. . . Lazenby was set to launch a new approach in the series,
a return to Fleming-inspired scripts with a more human Bond. One
indication of this direction was that director Peter Hunt shot the
final scene, with Bond’s wife Tracy (Diana Rigg) being
murdered for the opening sequence in the next film,
Diamonds Are Forever. Presumably the follow-up
film would then have been similar to the later License
to Kill with Bond becoming a rogue agent bent on revenge,
perhaps interfering with the Service’s attempts to trace a
diamond smuggling pipeline as he penetrated deeper into the
underworld bent on destroying Blofeld. But to the disgust of EON
Productions, Lazenby announced he would not be returning. So
the murder scene became the ending for OHMSS
just as it had been in Fleming’s novel.
(Note 8)
After the box-office disappointment for the largely excellent
1969 Christmas release of OHMSS, the producers
realized that they needed to revitalize and rethink the franchise.
They wanted another Goldfinger, so brought back
director Guy Hamilton, title music singer Shirley Bassey, and
Sean Connery for one encore at the record salary of 1.3 million
dollars. Maibaum’s early Diamonds Are Forever
(1971) drafts were concerned with “Americanizing”
Bond to appeal to the all-important U.S. audience.
According to the “Inside Diamonds Are
Forever” documentary on the DAF
DVD, Maibaum came up with the idea of using Goldfinger’s
twin brother as the villain. The producers weren’t taken
with the idea and decided a new writer was needed. Around
the same time, Broccoli had a dream about seeing a double
take the place of Howard Hughes (an old friend of
Broccoli’s). With that idea as the “hook,”
Tom Mankiewicz was hired as writer as he was American and
ostensibly able to write in a more American idiom.
Roger Moore and Timothy Dalton
When Roger Moore took up the mantle in Live and
Let Die (1972), Maibaum wasn’t part of the new
team. (Tom Mankiewicz did this one on his own.) Instead,
Maibaum wrote the pilot for a projected NBC series,
Jarrett. In 1973, the TV movie aired starring Glenn
Ford as Sam Jarrett, a private investigator specializing in fine
arts trying to track down missing rare biblical scrolls. According
to the IMDB, Maibaum later said the script was intended for
a young, athletic star and casting a middle-aged Ford doomed
the series.
Maibaum returned to Bond, again with Mankiewicz, for
The Man With the Golden Gun (1974). (According to
Bill Koenig, Maibaum also briefly worked on a Man from
U.N.C.L.E. revival in 1974, but he can’t confirm
this.) With Christopher Wood, Maibaum scripted The Spy
Who Loved Me (1977), the adventure that introduced
Richard Kiel’s “Jaws.” In this case,
director Lewis Gilbert brought in Wood to pump up what he
thought lacked in Maibaum’s drafts.
Maibaum didn’t begin the 1980s on an auspicious
note, again trying his hand with a television movie. Because
of his Bond credentials, Maibaum’s name was far more
dominant in publicity for the 1980 CBS TV movie, S*H*E:
Security Hazards Expert, than the unknown lead, Cornelia
Sharpe. Sharpe’s Lavinia Kean was supposed to be the
female answer to 007, with a sexy body worthy of unclad display
accompanied by a bumbling male assistant while using her skills
and weapons to get the bad guy (Omar Sharif).
S*H*E was quickly forgotten when EON decided
the Christopher Wood script and Lewis Gilbert direction for
Moonraker (1979) had taken the Bond series as far
as it could go into hyped-up fantasy. So Maibaum, along with
new director John Glen, was asked to bring back a Fleminesque
flavor in For Your Eyes Only (1981). Drawing from
Ian Fleming’s short stories, “For Your Eyes
Only” and “Risico,” Maibaum began his
writing collaboration with producer Michael Wilson that continued
through the rest of the Moore and then Dalton films. Loosely
using Fleming’s “Octopussy” and
“The Property of a Lady,” George Macdonald
Fraser did the early drafts for Octopussy (1983)
as Fraser, noted for his Harry Flashman novels, was to help
with the sequences in India. Maibaum and Wilson revised and
rewrote what many consider the most convoluted and illogical
entry in the series.
After the Maibaum-Wilson screenplay for A View to
a Kill (1985), the franchise celebrated 25 years of the
cinematic 007 with Timothy Dalton’s The
Living Daylights (1987). It was a watershed moment
beyond the change in actors. It was the last time John Barry
provided the score (he appears in one scene as an orchestra
conductor), and it was also the last film in which Maibaum was
a full participant, again co-writing the story with Michael Wilson.
Maibaum was listed as a writer for License to Kill
(1989), but he only worked on the plot. He stopped after the
Writers Guild went on strike and Wilson completed the
screenplay.
Richard Maibaum died on Jan. 4, 1991. But he had one
last, if uncredited, contribution to the world of 007. According
to the IMDB, one episode of the children’s cartoon,
James Bond, Jr., used Maibaum’s creation,
“Jaws”. In 1996, director Ron Howard recycled
a Maibaum story for his Ransom!, which had
originally been used for an episode of The United States
Steel Hour named “Fearful Decision”
(1954). Maibaum and Cyril Hume’s story was
then remade into the feature-length film Ransom!
(1956). The 1956 version starred Glenn Ford, Donna Reed,
and the future secret agent WD-40 in Spy Hard,
Leslie Nielsen.
Richard Maibaum can be seen at work in ~
- “Behind the Scenes with Goldfinger”
(1995), 26-minute documentary directed by John Cork
- “Behind the Scenes with Thunderball”
(1995), 57-minute documentary written/directed by John Cork
- “Inside A View to a Kill ” (2000), 37-minute
documentary, directed by John Cork
Notes ~
Note 1 – McGilligan, Patrick. Alfred
Hitchcock: A Life in Darkness and Light. New York: Reagan
Books. 2003.
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Note 2 – For a discussion of
Cloak and Dagger, see the “Spy-ography of
Fritz Lang” posted in the Spies
on Film section of this website. See also the
“Spy-ography of Alfred Hitchcock”, which
discusses the director’s concerns with James Bond.
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Note 3 – Each of these actors
were, in effect, stock players for Warwick, appearing in a number
of films in the 1950s. Newley, in particular, earned a number of
screen credits for the company.
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Note 4 – Quotes and notes from
Bill Koenig came from e-mail interviews and his article on
“The Maibaum Papers” posted at
Iowa: Spy Central.
There, he reports, “Maibaum donated his papers
to the University of Iowa because he had graduated from there
in 1931. British author and film critic Adrian Turner discovered
what a treasure trove Maibaum donated to the university –
copies of screenplays, treatments and production
memos.”
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Note 5 – For the first two films,
Johanna Harwood was also credited with working on the
adaptations. She went on to write for the only non-Bond EON
production, Bob Hope’s 1963 Call Me Bwana.
According to at least one source, set designer Ken Adam
wasn’t a fast fan of Maibaum’s work. When he
saw the script for Dr. No, his wife advised him not
to do the movie – “You’ll prostitute
yourself.” At first, according to Adam, the movie was
“a small whodunit based on the Ian Fleming book.”
But Terence Young, grooming Sean Connery in the director’s
own image, upped the ante and Adam’s sets are credited
with giving the low-budget film a high-dollar look. For more details,
see ~
Goodwin, Karin. “Behind the scenes with 007’s
grand designer. From Dr. Strangelove to Dr.
No, Ken Adam has set the standard for providing lairs for
megalomaniacs.” The Times and The
Sunday Times Electronic Paper. August 21, 2005.
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Note 6 – See “Appeal
from the United States District Court for the Central District of
California. Edward Rafeedie, District Judge, Presiding. Argued
and Submitted May 11, 2001 – Pasadena, California.
Filed August 27, 2001 Before: M. Margaret McKeown and Raymond
C. Fisher, Circuit Judges, and David Warner Hagen,”
District Judge. Opinion by Judge McKeown.
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Note 7 – In his article, Koenig says
of the Goldfinger drafts ~
Essentially, early drafts started out pretty close to the novel
except for improvements such as the laser table. According to the
author, the early drafts had more screen time for the gangsters
whom have supplied Goldfinger with what he needs to invade Fort
Knox. In later drafts by Dehn, Goldfinger actually makes it into
Fort Knox, we’re told by Turner and the idea is developed
that Goldfinger is going to irradiate the gold, not steal it.
Interestingly, although Broccoli and Saltzman turned the
screenwriting over to Dehn, they still kept Maibaum in the loop.
Maibaum is permitted to comment by memo about the changes
Dehn was making.
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Note 8 – My book Onscreen and
Undercover: The Ultimate Book of Movie Espionage was
published in November, 2006 by Praeger Publishers.
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