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Directed by | |||
| Terence Young | |||
Writing credits | ||
| Richard Maibaum | (screenplay) & | |
| Johanna Harwood | (screenplay) & | |
| Berkely Mather | (screenplay) | |
| Ian Fleming | (novel) | |
| Wolf Mankowitz | treatment (uncredited) | |
| Terence Young | uncredited | |
Produced by | |||
| Albert R. Broccoli | .... | producer (as Albert R.Broccoli) | |
| Harry Saltzman | .... | producer | |
| Stanley Sopel | .... | associate producer (uncredited) | |
Original Music by | |||
| Monty Norman | |||
| John Barry | (uncredited) | ||
Cinematography by | |||
| Ted Moore | (director of photography) | ||
Film Editing by | |||
| Peter R. Hunt | (as Peter Hunt) | ||
Casting by | |||
| James Liggat | (uncredited) | ||
Production Design by | |||
| Ken Adam | |||
Art Direction by | |||
| Syd Cain | (uncredited) | ||
Costume Design by | |||
| Tessa Prendergast | (as Tessa Welborn) | ||
Makeup Department | |||
| John O'Gorman | .... | makeup artist | |
| Eileen Warwick | .... | hair stylist | |
Production Management | |||
| L.C. Rudkin | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Clive Reed | .... | assistant director | |
| David C. Anderson | .... | second assistant director (uncredited) | |
| John Meadows | .... | third assistant director (uncredited) | |
Art Department | |||
| Freda Pearson | .... | set dresser | |
| John Chisholm | .... | prop man (uncredited) | |
| Ron Quelch | .... | production buyer (uncredited) | |
| Alan Tomkins | .... | chief draughtsman (uncredited) | |
Sound Department | |||
| John Dennis | .... | sound recordist | |
| Archie Ludski | .... | dubbing editor | |
| Wally Milner | .... | sound recordist | |
| Norman Wanstall | .... | dubbing editor | |
| Don Wortham | .... | boom operator (uncredited) | |
Special Effects by | |||
| Frank George | .... | special effects | |
Visual Effects by | |||
| Cliff Culley | .... | matte artist (uncredited) | |
| Roy Field | .... | visual effects (uncredited) | |
Stunts | |||
| Peter Brace | .... | stunts (uncredited) | |
| Gerry Crampton | .... | stunts (uncredited) | |
| Bill Cummings | .... | stunts (uncredited) | |
| Steve Emerson | .... | stunts (uncredited) | |
| Alan Gold | .... | stunts (uncredited) | |
| Arthur Howell | .... | stunts (uncredited) | |
| George Leech | .... | stunt double: Joseph Wiseman (uncredited) | |
| George Leech | .... | stunts (uncredited) | |
| Dinny Powell | .... | stunts (uncredited) | |
| Bob Simmons | .... | stunt arranger (uncredited) | |
| Bob Simmons | .... | stunt double (uncredited) | |
| Bob Simmons | .... | stunt double: Sean Connery (uncredited) | |
| Bob Simmons | .... | stunts (uncredited) | |
| Rocky Taylor | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| John Winbolt | .... | camera operator | |
| Bert Cann | .... | still photographer (uncredited) | |
| Allan Jones | .... | clapper loader (uncredited) | |
| George Pink | .... | camera operator (uncredited) | |
| John Shinerock | .... | focus puller (uncredited) | |
| Bunny Yeager | .... | still photographer: Jamaica (uncredited) | |
Animation Department | |||
| Trevor Bond | .... | animator | |
| Robert Ellis | .... | title animator (uncredited) | |
Costume and Wardrobe Department | |||
| John Brady | .... | wardrobe master (uncredited) | |
| Eileen Sullivan | .... | wardrobe mistress (uncredited) | |
Editorial Department | |||
| Ben Rayner | .... | assistant editor (as Ben Reyner) | |
| Brent Eldridge | .... | digital color correction (uncredited) | |
Music Department | |||
| Burt Rhodes | .... | orchestrator | |
| Eric Rogers | .... | conductor (as Eric Rodgers) | |
| Diana Coupland | .... | singing voice: Ursula Andress (uncredited) | |
| Vic Flick | .... | musician: guitar (uncredited) | |
| Sidney Margo | .... | music contractor (uncredited) | |
| John Scott | .... | musician: saxophone (uncredited) | |
Other crew | |||
| Maurice Binder | .... | main title designed by | |
| Albert R. Broccoli | .... | presenter (as Albert R.Broccoli) | |
| Harry Saltzman | .... | presenter | |
| Helen Whitson | .... | continuity | |
| Chris Blackwell | .... | location manager (uncredited) | |
| Len Chance | .... | accountant (uncredited) | |
| Jean Garioch | .... | unit publicist (uncredited) | |
| Roy McGregor | .... | director of publicity (uncredited) | |
| George 'Bud' Ornstein | .... | production executive: United Artists (uncredited) | |
| Bob Simmons | .... | body double: James Bond, in opening sequence (uncredited) | |
| Maureen Whitty | .... | production secretary (uncredited) | |
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| Moonraker | The Professional: Golgo 13 | Never Say Never Again | Thunderball | Captain America: The First Avenger |
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"Dr. No" is not my favorite James Bond film. But I'm glad it succeeded, because it led to subsequent 007 films that were really very entertaining, especially "Goldfinger". Everything about "Dr. No": the story, the music, the special effects, the dialogue, even the acting is so ... tentative. The film lacks the self-confident flair and cinematic flamboyance that characterize later 007 films from the 1960s. That is not a criticism, given that "Dr. No" was the first Bond film, and was low-budget. No one knew how the film would be received.
Through the years Sean Connery is the only actor who has done justice to the James Bond character, in my opinion. Although his acting in "Dr. No" is probative at best, he still manages to convey an aura of intelligent charisma. And that charisma would become less restrained in later films.
The visuals in "Dr. No" are very dated. What seemed futuristic in 1962 seems stodgy now. All that engineering design, those clunky computers, and that modernistic interior decor, all included to wow viewers then, seem, half a century later, quaint, obsolete, even archaic. The film's story, about an evil genius out to scuttle the U.S. missile program and dominate the world, likewise seems dated. I must admit, however, that Joseph Wiseman, as the villain, is well cast, with his passive face and those eyes that seldom blink.
That the James Bond character and his adventures have survived all these years demonstrates the enduring appeal of cinematic heroes who, like superman, embody all that is good and strong, in their successful efforts to conquer evil. I just wish that contemporary 007 films had the cinematic credibility of those 1960's Bond films: "You Only Live Twice", "From Russia With Love", "Thunderball", and of course "Goldfinger", all of which owe their existence to the success of "Dr. No".