Yul Brynner Movie:
United Artists Cinema Greats Collection Set 1 The Pink Panther / A Fistful of Dollars / Dr. No / The Magnificent Seven
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Yul Brynner Movie:
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| Movie United Artists Cinema Greats Collection, Set 1 (The Pink Panther / A Fistful of Dollars / Dr. No / The Magnificent Seven) |  | |||||||||||||||||||||||
Editorial Review: Disc 2: The Pink Panther (1964) WS Disc 3: Dr. No WS Disc 4: The Magnificent Seven WS Description of United Artists Cinema Greats Collection, Set 1 (The Pink Panther / A Fistful of Dollars / Dr. No / The Magnificent Seven):
Beyond the United Artists Cinema Greats Collection, Set 1
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The Pink Panther: The history of film comedy would have been much altered if Peter Ustinov had stayed in the role of Jacques Clouseau, the bumbling French police inspector in The Pink Panther. But Ustinov dropped out, the role went to Peter Sellers, and a classic character was born: suspicious, blundering, with a pompous little mustache and a sometimes impenetrable accent, Clouseau was always one step behind everybody else in the room. The Pink Panther introduced Clouseau hot on the trail of a famous jewel thief (David Niven), who may be planning to make off with an expensive gem known as the Pink Panther. Set in a European ski resort, this bubbly comedy is a wonderful dose of '60s style, from the famous Henry Mancini theme music to the presence of two of Europe's top sex symbols of the era, Claudia Cardinale and Capucine. The film also introduced the popular cartoon Pink Panther, slinking around to Mancini's music in an animated credits sequence. The film's success brought a follow-up, A Shot in the Dark, also released in 1964; after 11 years, Sellers and top comedy director Blake Edwards (10) returned with three more sequels. --Robert Horton
A Fistful of Dollars: A Fistful of Dollars launched the spaghetti Western and catapulted Clint Eastwood to stardom. Based on Akira Kurosawa's 1961 samurai picture Yojimbo, it scored a resounding success (in Italy in 1964 and the U.S. in 1967), as did its sequels, For a Few Dollars More and The Good, the Bad and the Ugly. The advertising campaign promoted Eastwood's character--laconic, amoral, dangerous--as the Man with No Name (though in the film he's clearly referred to as Joe), and audiences loved the movie's refreshing new take on the Western genre. Gone are the pieties about making the streets safe for women and children. Instead it's every man for himself. Striking, too, was a new emphasis on violence, with stylized, almost balletic gunfights and baroque touches such as Eastwood's armored breastplate. The Dollars films had a marked influence on the Hollywood Western--for example, Sam Peckinpah's The Wild Bunch--but their most enduring legacy is Clint Eastwood himself. --Edward Buscombe
Dr. No: Released in 1962, this first James Bond movie remains one of the best, and serves as an entertaining reminder that the Bond series began (in keeping with Ian Fleming's novels) with a surprising lack of gadgetry and big-budget fireworks. Sean Connery was just 32 years old when he won the role of Agent 007. In his first adventure James Bond is called to Jamaica where a colleague and secretary have been mysteriously killed. With an American CIA agent (Jack Lord, pre-Hawaii Five-O), they discover that the nefarious Dr. No (Joseph Wiseman) is scheming to blackmail the U.S. government with a device capable of deflecting and destroying U.S. rockets launched from Cape Canaveral. Of course, Bond takes time off from his exploits to enjoy the company of a few gorgeous women, including the bikini-clad Ursula Andress. She gloriously kicks off the long-standing tradition of Bond women who know how to please their favorite secret agent. A sexist anachronism? Maybe, but this is Bond at his purest, kicking off a series of movies that shows no sign of slowing down. --Jeff Shannon
The Magnificent Seven: Akira Kurosawa's rousing Seven Samurai was a natural for an American remake--after all, the codes and conventions of ancient Japan and the Wild West (at least the mythical movie West) are not so very far apart. Thus The Magnificent Seven effortlessly turns samurai into cowboys (the same trick worked more than once: Kurosawa's Yojimbo became Sergio Leone's A Fistful of Dollars). The beleaguered denizens of a Mexican village, weary of attacks by banditos, hire seven gunslingers to repel the invaders once and for all. The gunmen are cool and capable, with most of the actors playing them just on the cusp of '60s stardom: Steve McQueen, James Coburn, Charles Bronson, Robert Vaughn. The man who brings these warriors together is Yul Brynner, the baddest bald man in the West. There's nothing especially stylish about the approach of veteran director John Sturges (The Great Escape), but the storytelling is clear and strong, and the charisma of the young guns fairly flies off the screen. If that isn't enough to awaken the 12-year-old kid inside anyone, the unforgettable Elmer Bernstein music will do it: bum-bum-ba-bum, bum-ba-bum-ba-bum.... Followed by three inferior sequels, Return of the Seven, Guns of the Magnificent Seven, and The Magnificent Seven Ride! --Robert Horton
