|3.||Netherlands||Mouth & MacNeal||I See A Star|
|4.||United Kingdom||Olivia Newton-John||Long Live Love|
|4.||Luxembourg||Ireen Sheer||Bye Bye, I Love You|
|4.||Monaco||Romuald||Celui Qui Reste Et Celui Qui S'en Va|
|7.||Israel||Poogy||Natati La Khaiai|
|7.||Ireland||Tina Reynolds||Cross Your Heart|
|9.||Spain||Peret||Canta Y Se Feliz|
|9.||Belgium||Jacques Hustin||Fleur De Liberté|
|11.||Greece||Marinella Krassi||Thalassa Ke T'agori Mou|
|12.||Yugoslavia||Korni Grupa||Moja Generacija|
|13.||Finland||Carita||Keep Me Warm|
|14.||Norway||Anne-Karine Strøm & The Bendik Singers||The First Day Of Love|
|14.||Germany||Cindy & Bert||Die Sommermelodie|
|14.||Switzerland||Piera Martell||Mein Ruf Nach Dir|
|14.||Portugal||Paulo de Cavalho||E Depois Do Adeus|
Thursday, 9 June 2011
MONTHLY FILM BULLETIN
THE BRITISH FILM INSTITUTE
Volume 29, No.345, October 1962, page 135
DR. NO (1962)
Secret Service operative James Bond is sent to Jamaica by his chief, M, to investigate the murder of a British agent and his secretary. He survives various attempts upon his life made by Dent, a geologist friend of the dead man, and Miss Taro, an Oriental decoy, at the same time discovering that the murders are linked with a certain Dr. No. Though Quarrel, a coloured ally of Bond's, is terrified of Crab Key, Dr. No's closely guarded offshore retreat, he agrees to help Bond investigate. They land on the beach, where they are joined by Honey, a blonde, shell-collecting naturist. Spotted by a patrol-boat, tracked down by a death-ray land-ship, the intruders soon find themselves prisoners and learn that the insane, power-hungry Dr. No is utilising an elaborate nuclear laboratory to divert the course of rockets projected from Cape Canaveral. Bond escapes from his cell through a ventilator shaft, braves radio-active peril and eventually succeeds in tampering with Dr. No's control-board. Honey is rescued, a motor-boat is commandeered, and escape is made good a matter of seconds before Crab Key and its dictator explode.
Once the cluttered preliminaries are out of the way - for instance the film is obviously destined to be the first of a James Bond series, so M must be glimpsed at his London desk - the story proceeds in traditional thick-ear fashion from vamps and violent death to the fitting grandeur of a final holocaust. One by one Bond's enemies are rendered brutally hors-de-combat, while Bond himself survives tarantulas and cliff-side car collisions at the expense of little more than a few bruises and a lot of perspiration. And yet strangely enough excitement, and humour, and the glamour of corruption, are all rather lacking. Just as, say, The 1,000 Eyes of Dr. Mabuseseemed to wander anachronistically through the motions of once splendid (and why not still?) devices that Lang no longer retained much apparent faith in, so Dr. No misses the genuine sadistic, sybaritic relish attributed to Fleming's novels, and the narrative invention of even second-rate Hitchcock. Something really new is needed, if not in the incidents then in the telling of them.
Terence Young's direction has pace but little real vigour; the tortures and the killers are comparatively tame, nowhere near bizarre enough; the women, apart from Dr. No's ultra-polite Chinese receptionist, are sexless and dull; and Scan Connery is such a disappointingly wooden and boorish Bond that the script's touches of grim humour go for less than they need. Jack Lord as Bond's American colleague and Joseph Wiseman (though surely a shade too inscrutable) as Dr. No both catch the eye, but their roles are insufficiently developed. The finale, on the other hand, is well contrived, with exactly the right enjoyment in destruction for its own sake and no jarring evidence of model-shots. The producers could well be on to a good thing with these stories: but, before embarking on a sequel, they ought to take a look at Spione orThe Big Sleep or Secret Agent, and then they might feel more encouraged to throw caution to the winds and just let things rip.
The Monthly Film Bulletin was published by the British Film Institute between 1934 and 1991. Initially aimed at distributors and exhibitors as well as filmgoers, it carried reviews and details of all UK film releases. In 1991, the Bulletin was absorbed by Sight and Sound magazine.
The show was blasted by charities and a tetraplegic man who rebuilt his life following a swimming pool accident.
The dramatic scenes were shown on ITV1 at around 7.30pm, well before the 9pm watershed and were seen by an estimated 7.2million viewers. Ofcom have said they will assess whether the scenes may have breached any harm and offence rules. No decisions will be made until the storyline reaches its conclusion.
Viewers have seen Jackson struggling to come to terms with his paralysis following an accident and choosing to die.
Actor Marc Silcock, who played the character, said that programme-makers had ensured the death was not glorified.
He said of the scenes: 'We ensured it wasn't beautiful - it is horrific, because it's a horrific thing.
'Some people might have liked to have seen soft music in the background and for Jackson to slowly drift off to sleep. But that's not reality and not what happens. We didn't want to glorify it for one second.'
A spokesman for Emmerdale said: 'We have always made clear that our motivation with this story is to drive constructive debate over this sensitive subject. 'We welcome feedback and 99 per cent of the response we have had from viewers following last night's episode has been overwhelmingly positive.'