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Directed by | |||
| Terence Young | |||
Writing credits | ||
| Richard Maibaum | (screenplay) | |
| Johanna Harwood | (adaptation) | |
| Ian Fleming | (novel) uncredited | |
Produced by | |||
| Albert R. Broccoli | .... | producer | |
| Harry Saltzman | .... | producer | |
| Stanley Sopel | .... | associate producer (uncredited) | |
Original Music by | |||
| John Barry | |||
Cinematography by | |||
| Ted Moore | (director of photography) | ||
Film Editing by | |||
| Peter R. Hunt | (as Peter Hunt) | ||
Casting by | |||
| Weston Drury Jr. | (uncredited) | ||
Art Direction by | |||
| Syd Cain | |||
Costume Design by | |||
| Jocelyn Rickards | |||
Makeup Department | |||
| Basil Newall | .... | makeup artist | |
| Paul Rabiger | .... | makeup artist | |
| Eileen Warwick | .... | hairdresser | |
Production Management | |||
| William Hill | .... | production manager (as Bill Hill) | |
Second Unit Director or Assistant Director | |||
| David C. Anderson | .... | assistant director (as David Anderson) | |
| Terence Churcher | .... | second assistant director (uncredited) | |
Art Department | |||
| Freda Pearson | .... | set dresser | |
| Michael White | .... | assistant art director | |
| Roger Cain | .... | draughtsman (uncredited) | |
| John Chisholm | .... | props (uncredited) | |
| Ron Quelch | .... | production buyer (uncredited) | |
Sound Department | |||
| C. Le Mesurier | .... | sound recordist (as C. le Messurier) | |
| Harry Miller | .... | dubbing editor | |
| John W. Mitchell | .... | sound recordist | |
| Norman Wanstall | .... | dubbing editor | |
Special Effects by | |||
| Frank George | .... | special effects assistant | |
| John Stears | .... | special effects | |
| Wally Armitage | .... | special effects (uncredited) | |
| Jimmy Harris | .... | special effects (uncredited) | |
| Garth Inns | .... | special effects (uncredited) | |
| James Snow | .... | special effects (uncredited) | |
| Jimmy Ward | .... | special effects (uncredited) | |
Visual Effects by | |||
| Anthony DiMatteo | .... | damage artist: pristine digital restoration (2006 restoration) | |
| Dylan Hucklesby | .... | damage artist: pristine digital restoration (2006 restoration) | |
| Paula Lauterbach | .... | damage artist: pristine digital restoration (2006 restoration) | |
| Aurelio x. Vera Jr. | .... | damage artist: pristine digital restoration (2006 restoration) | |
| Cliff Culley | .... | matte artist (uncredited) | |
| Roy Field | .... | visual effects (uncredited) | |
Stunts | |||
| Peter Perkins | .... | stunt work arranger | |
| Bob Anderson | .... | stunts (uncredited) | |
| Peter Brace | .... | stunts (uncredited) | |
| Ken Buckle | .... | stunts (uncredited) | |
| Jack Cooper | .... | train fight double: Robert Shaw (uncredited) | |
| Gerry Crampton | .... | stunts (uncredited) | |
| Leslie Crawford | .... | stunts (uncredited) | |
| Bill Cummings | .... | stunts (uncredited) | |
| Peter Diamond | .... | stunts (uncredited) | |
| Cliff Diggins | .... | stunts (uncredited) | |
| Joe Dunne | .... | stunts (uncredited) | |
| Max Faulkner | .... | stunts (uncredited) | |
| Tex Fuller | .... | stunts (uncredited) | |
| Sol Gorss | .... | stunts (uncredited) | |
| Richard Graydon | .... | stunts (uncredited) | |
| Arthur Howell | .... | stunts (uncredited) | |
| Jimmy Lodge | .... | stunts (uncredited) | |
| Peter Perkins | .... | stunts (uncredited) | |
| Peter Perkins | .... | train fight double: Sean Connery (uncredited) | |
| Terence Plummer | .... | stunts (uncredited) | |
| Dinny Powell | .... | stunts (uncredited) | |
| Eddie Powell | .... | stunts (uncredited) | |
| Nosher Powell | .... | stunts (uncredited) | |
| Terry Richards | .... | stunts (uncredited) | |
| Jack Sholomir | .... | stunt driver (uncredited) | |
| Bob Simmons | .... | stunt double (uncredited) | |
| Bob Simmons | .... | train fight double: Sean Connery (uncredited) | |
| Rocky Taylor | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Bob Kindred | .... | second unit cameraman (as Robert Kindred) | |
| John Winbolt | .... | camera operator (as Johnny Winbolt) | |
| Ray Hearne | .... | still photographer (uncredited) | |
| Simon Ransley | .... | clapper loader (uncredited) | |
| John Shinerock | .... | focus puller (uncredited) | |
Costume and Wardrobe Department | |||
| Ernie Farrer | .... | wardrobe master | |
| Eileen Sullivan | .... | wardrobe mistress | |
Editorial Department | |||
| John DeSantis Jr. | .... | 4K film scanning: pristine digital restoration (2006 restoration) | |
| Joseph Parisella | .... | colorist: pristine digital restoration (2006 restoration) | |
| Ben Rayner | .... | assembly editor | |
Music Department | |||
| John Barry | .... | conductor | |
| Monty Norman | .... | composer: 'James Bond' theme (as Monte Norman) | |
| John Barry | .... | orchestrator (uncredited) | |
| Vic Flick | .... | musician: guitar (uncredited) | |
| Sidney Margo | .... | music contractor (uncredited) | |
| Eric Tomlinson | .... | music engineer (uncredited) | |
| Eric Tomlinson | .... | music mixer (uncredited) | |
Other crew | |||
| Trevor Bond | .... | assistant title designer | |
| Albert R. Broccoli | .... | presenter | |
| Robert Brownjohn | .... | titles designed by | |
| Frank Ernst | .... | location manager | |
| Ilhan Filmer | .... | production assistant: Istanbul (as Ilham Filmer) | |
| Kay Mander | .... | continuity | |
| Harry Saltzman | .... | presenter | |
| John Crewdson | .... | helicopter pilot (uncredited) | |
| Maureen Newman | .... | assistant production accountant (uncredited) | |
| Golda Offenheim | .... | production office (uncredited) | |
| Golda Offenheim | .... | production secretary (uncredited) | |
| George 'Bud' Ornstein | .... | production executive: United Artists (uncredited) | |
| Charles Russhon | .... | military liaison: Turkey (uncredited) | |
| Charles Russhon | .... | technical advisor (uncredited) | |
| Bob Simmons | .... | body double: James Bond, in opening sequence (uncredited) | |
| Cyril Sweetman | .... | helicopter pilot (uncredited) | |
| Terence Young | .... | body double: Pedro Armendáriz (uncredited) | |
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| Thunderball | Dr. No | Casino Royale | Goldfinger | GoldenEye |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb UK section |
After the success of Dr. No, it was only a matter of time before James Bond returned for his second installment of espionage and adventure. Of course, it wasn't until the phenomenal success of Goldfinger that the Bond series really took off, and established the formula soon to be followed by every subsequent 007 movie and virtually every other action movie. But 'From Russia with Love' proved to be an equally effective, if slightly quieter little film, with more focus on the undercover espionage portion of James Bond's occupation, and less of the glamorous saving the world which would later become daily routine for him.
In fact, one of the things that makes 'From Russia with Love' interesting is that it is a 007 movie made before the "Bond movie" formula was established, and noticeable differences in the storyline can be seen. 'Russia' is more of a slower film, with fewer action sequences and more focus on Bond actually being a spy rather than an action hero. This leisurely, tension-building storytelling likely would have garnered terrible reaction in the 90s, but 'From Russia with Love' is still a very strong, if less formulaic addition to the Bond series.
Another noticeable difference is that Bond himself is much less the star of the show than is usually the case. Much more focus is placed on the supporting characters of the story, including minor characters such as chess master Kronsteen (Vladek Sheybal) who likely would simply have been eliminated from the story had 'Russia' followed the standard formula more closely. And for once, Bond isn't completely all knowing, capable of solving any problem independently - he teams up with the wise Kerim Bey (the charming Pedro Armendariz, his last film role) who shows Bond the ropes of Istanbul. But more standard story elements from the Bond formula are still present, such as menacing villains Rosa Klebb (the terrifying Lotte Lenya) and hit-man Red Grant. (an utterly intimidating and menacing Robert Shaw, the film's standout) And of course, there is still a slew of beautiful women for Bond to seduce, especially Russian decoding clerk Tatiana Romanova, played by the immensely gorgeous Daniela Bianchi. Also watch for a tense boat chase near the film's climax, the kind of stunt frequented by future Bond films.
So 'From Russia with Love' is really a quieter, more suspenseful addition to the Bond series, with more focus on Bond doing some actual spying rather than explosions every five minutes and Bond saving the world from some elaborate scheme. It may drag at times, and may not prove quite as exciting as today's audiences might hope, but Connery is at the top of his game here as 007, and his opposers are genuinely menacing and intimidating. For those wishing the Bond franchise would place more emphasis of the espionage portion of Bond's occupation, 'From Russia with Love' should prove the perfect film for them.
-8/10