From Russia with Love (1963)
00:05:34: Establishing shot of Venice, where the chess match is being held. The Campanile of San Marco is frame left.
The chess match: Kronsteen of Czechoslovakia versus MacAdams of Canada
In this shot you can see Kronsteen reaches forward with his right hand, which holds his cigarette. You can see that the cigarette has a hollow cardboard end, which means that it is a Papirosi. The pack of Papirosi is on the table, with a cigarette lighter on top, under Kronsteen's right hand.
The message at the bottom of the glass from head of SPECTRE: "You are required at once"
Krontseen smokes the Papirosi
You can se the white pack of Papirosi and the gold cigarette lighter next to the glass of water.
The yacht of the head of SPECTRE
Studio: A henchman with a Schmeiser MP40
Krontseen opens the pack of Papirosi. The pack has a hinged lid and you can see the gold foil paper which covers the cigarettes. The more expensive brands of cigarettes pre-War and up the 1950s were presented in packets of this design.
Krontseen closes the pack of Papirosi and begins the extensive "tapping ceremony" which was undertaken before the Papirosi was placed in the mouth to be lit. Vladek Sheybal was Polish and Soviet Papirosi cigarettes were ubiquitous throughout the Soviet Bloc, which meant he would have been familiar with their use, including the "tapping ceremony."
Scene: Pre-credit action sequence where »Bond« is hunted by assassin Red Grant at SPECTRE Island
Location: The grounds of Heatherden Hall, Pinewood Studios. You can see this locations in daylight and in detail seven years later in Episode Twenty-One of The Persuaders! (1971) at 00:06:11
The bridge over the pond in the Renaissance Garden in the grounds of Pinewood House.
The Persuaders! (1971) episode 21 A Death in the Family 00:06:11. The griffon gargoyle is on the left hand plinth.
Bridge over the pond
Winter: Roger Moore in the Renaissance Gardens at Pinewood Studios in the mid 1970s
The garden path which runs parallel to the frontage of what is now the restaurant. The art director told that he wished to emulate some surreal elements of the sets of the formal gardens from Last Year in Marienbad (1961) , an objective in which he succeeds magnificently.
Bond gets off a shot by »point shooting« . Actors in this period are directed frequently to take pistol shots using the pistol held with the elbow at the side, forearm outstretched, allowing them to hold a full pose in the frame. In the Eighties and Nineties actors are directed more usually to adopt a two-handed Isosceles stance in order that the camera can see more of their face rather than the Weaver position, which obscures the face. While cameramen do not have a clue about shooting, they do know what looks good in a frame.
Obviously not the real James Bond because he is wearing a dress shirt with buttons and not studs.
Red Grant throttles a Bond double
Red Grant is equipped with a watch which features a garrotte .
Heatherden Hall, Pinewood Studios
The huge and sudden amperage draw of the Mole-Richardson »Brute« lights is amplified by the soundtrack having an electrical »thump« Foleyed onto it, although the Brutes, being arclights, give off a noise when you strike up the arc. Mole-Richardson are a family-owned company who make the lights for most of the film industry. The Brutes were the mainstay of movie lighting because their great power, greater than an anti-aircraft searchlight , enabled the engineers to provide enough light both on the set and on location to allow the slow-speed films of the day to gain enough light for them to provide the correct colors. After the production of The Third Man (1949) Carol Reid lent the city of Vienna his Mole-Richardson Brutes to illuminate St Stephen's Cathedral for its re-opening subsequent to its repairs after wartime bomb damage. I do not think there are any photographs of this event so this moment at Pinewood is likely the Brute's finest hour on film, a brief speaking part. The Mole-Richardson Brute is to lighting what the Browning .50cal is to machine-guns. Ubquitous, dependable, powerful, instant authority.
There is a good view of a Brute on the set of Goldfinger (1964) here.
This country house at Pinewood Studios is used frequently as a location and you can see it in detail at it was then in several episodes of The Persuaders (1971) as well as many other movies.
Scene: Colonel Klebb visits Red Grant at SPECTRE Island.
Location: The gardens of Heatherden Hall, Pinewood Studios. You can see this location in detail from several camera angles in Episode Twenty-One of The Persuaders! (1971) at 00:06:11
The helicopter lands at SPECTRE Island. By 1965, Heatherden Hall had received a coat of white paint.
Colonel Klebb is met by SPECTRE
The training area at SPECTRE Island, to the West of the house and closer to the main studio complex.
The training area at SPECTRE island. The full list of the extensive range of firearms used in From Russia with Love (1963) is available in the Internet Movie Firearms Database .
»Here at SPECTRE Island we also use live targets«
Colonel Klebb goes to inspect Grant
Grant receives a massage
Colonel Klebb arrives to inspect Grant
The scene in Fleming's novel From Russia with Love (1957) is mirrored in the film. Grant enjoys a similarly idyllic location at a Dacha on the Black Sea coast of the Crimea in the Soviet Union. Fleming takes the entire first chapter to describe this scene, lovingly describing each detail and painting a superb portrait.
Grant stands to attention
Pinewood House and Studios from the air. The locations used for SPECTRE island. Top right, the helicopter lands in front of Pinewood House. Top left, the training area on the lawns farthest west from the house. Bottom right, the south end of the north-south track in the gardens. Bottom left, Robert Shaw receives a massage on the lawns by the pond.
Approach of the helicopter to SPECTRE island, showing the position of the trees which are located on the southern boundary of the lawn outside Pinewood House. In the above frame, Colonel Klebb makes her way down the north-south path in the gardens between the house and the ponds, and stops at the edge of the lawns bounding the northern edge of the ponds. Robert Morley's game of croquet takes places on the other side of the hedge of the lowermost frame on the lawn to the north of the one which the guard stands upon.
The Gardens of SPECTRE Island, Grant receives a visit from Oberst Klebb. Notice that the scene with the masseuse in her bikini was filmed around mid-day, but the scene where she arrives and undresses was filmed in the late afternoon. On the opposite side of the lake and to right of frame is the location used for the scene with the parachute at the end of Goldfinger (1964).
The north-south footpath in the Gardens at Pinewood House. In the top frame, from Those Magnificent Men in their Flying Machines (1965), Colonel Klebb and her retinue would be walking behind the hedge behind Robert Morley, right to left on arrival and left to right on departure.
Pinewood House and grounds in 1964: A scene from Those Magnificent Men in their Flying Machines (1965). Note that two years later than the filming of SPECTRE Island, Heatherden Hall has received a coat of white paint.
Heatherden Hall, Pinewood Studios
Scene: Tatiana Romanova leaves the Soviet Embassy (00:13:42).
Location: Halaskargazi Street (Halaskargazi Caddesi), Sisli District in Beyoglu District, Istanbul.
Approx Co-Ordinates: 41 03 27.65 N 28 59 12.58 E
Directions: Find your way to the Sisli Mosque at Sisli, which is at the head of Halaskargazi Street. Walk back down Halaskargazi Street and the »Soviet Embassy« is on your right hand side after 200 meters.
In the above photograph, the building used as the »Soviet Embassy«.
The »Soviet Embassy« was in fact a secondary school. The building and grounds are largely unchanged, although the right hand pillar of the gate post is looking in need of repair. However, the buildings opposite and either side have all changed. In the scene where Bond arrives in the taxi, you can glimpse a small raised park opposite the »Soviet Embassy«, behind which is a BP gasoline station. This park has been built upon since filming and the gasoline station is no longer there. Watch carefully and during the scene where Bond arrives by taxi you can see crowds lining the wall, watching the filming. During the scene where Red Grant kills the KGB Agent in a beret (played by Hasan Ceylan) outside of the embassy and leaves the body in the Citroën , as the Citroën pulls up at the curbstone, at far right of frame, you can see the crowds lining the center of the road shoulder to shoulder. Just before the Soviet doorman opens the door of the Citroën, at right of frame you can see a Turkish policeman waving at crowds on the other side of the street and telling them to move back.
This was a hazard during filming in Istanbul and you can see more crowds on the scene shot on the Galata bridge, at Sirkeci station, and as Bond leaves the Grand Bazaar.
The mosque visible in the background at the head of the road is the Sisli Mosque.
Not only has the small park been built upon but the buildings in the street opposite have been torn down and replaced although the actual plots correspond.
In the above Montage, the Soviet Embassy.
In the above Montage, the view from the entrance to the Soviet Embassy.
In the street, the overhead electric wires for the trolley-buses and their supporting poles have been removed. This is the pole which is in-frame during Bond's arrival at the Embassy (01:01:07). The central division of the road is still in place but the road itself has been asphalted. In the film you can see the road surface is cobbled. There is a continuity error when the door of the car is opened to reveal the body of the KGB Agent in a beret (00:30:42), as you can see below his head on the ground that the cobblestones are missing from the set at Pinewood.
Daniela Bianchi as Tatiana Romanova visits Colonel Rosa Klebb. This location has been partially destroyed by construction of tramlines.
Scene: (00:20:50) In EON's From Russia with Love (1963) Bond is issued with a Q-branch attaché case. Q, played by Desmond Llewllyn, comes to M's office to brief Bond personally.
Location: Pinewood Studios
The gold sovereigns are pulled from their concealment. There is a more extensive examination of Bond's Q-Branch issue briefcase here.
Desmond Llewellyn tells that after being cast for 'Q' he was asked by the director of Dr No (1962) and From Russia with Love (1963) Terence Young to use a Welsh accent for the voice of 'Q' because Young had already directed Llewellyn when Llewellyn had played a Welshman in a motion picture. This motion picture was in fact They were not Divided (1950) an excellent but now obscure film about a unit of British Army tanks from D-Day to the Ardennes. Serendipitously two other actors who would appear in Bond movies appeared along side Llewellyn: Christopher Lee (who had been in SOE during the war) and Anthony Dawson . Furthermore editor Peter Hunt was the editor on this movie. Hunt himself had served in WWII in the British Army during the Italian campaign.
Terence Young himself had been a tank commander in the Irish Guards during WWII. Terence Young was the ideal director to shape the screen Bond because Terence Young himself was a man-of-action, drove fast-cars, lived a champagne lifestyle, was sophisticated and with savoir-faire.
Desmond Llewllyn, in in They were not Divided (1950)
Anthony Dawson in They Were Not Divided (1950)
Christopher Lee in They Were Not Divided (1950)
- Fleming himself had personal experience with many of the gadgets developed for SOE during the war. Many of the schemes dreamed up and put through planning were so far-fetched as to make the Bond novel plots look ordinary.
From The Life of Ian Fleming by John Pearson published by Jonathan Cape, 1967:
Other ironmongery guns and knives and gadgets held a peculiar fascination for Fleming. He became extremely attached to a small commando fighting knife which he bought from Wilkinsons and carried with him on most of his foreign assignments. These knives were named after the Earl of Suffolk, a member of SOE who was killed in 1941 during a bomb-disposal operation, and although Fleming used to laugh about his and say how useful it was for opening his letters and cutting his nails, he had it engraved with his name and rank along the blade and could become eloquent about it on occasion.
Scene: Bond arrives at Istanbul Airport (00:23:51).
Location: Ataturk International Airport at Yesilkoy [Turkish: Yesilk?y], Istanbul Turkey.
Approx Co-Ordinates: 40°58'37N, 28°48'53E
Sadly this airport terminal was replaced in 2000 by an all new terminal. In common with most airport developments, nothing remains of the original building or site.
Scene: Rolls-Royce on the road (00:24:50).
Location: At Edirnekapi
Approx Co-Ordinates: 41 01 43.27 N 28 55 58.34 E
Directions: Make for the Mihrimah Sultan Mosque.
From the Edirnekapi roundabout, the divided highway runs and is called Topkapi Edirnekapi Yolu. Appearing on your left are the ruins of the wall of Theodosius which you see in the right of frame. The Mosque in the background behind the Rolls-Royce at the start of the shot is the Mihrimah Sultan Mosque and at time of writing missing its only minaret.
In the above photograph, the Mihrimah Sultan Mosque, viewed from the start of the divided highway which you must enter to follow the Rolls-Royce on its journey.
In the above photograph, looking as if through the Rear View Mirror of the Rolls-Royce at the Mihrimah Sultan Mosque.
One of Istanbul's traffic cams, looking down the street toward the location:
In the above photograph, the divided highway down which the Rolls-Royce drive, viewed as if you are following the Rolls-Royce. The license plate of the Rolls-Royce in the movie was H 39 059.
In the above photograph, the Ruins of the Wall of Theodosius which are visible in the panning shot of the Rolls Royce on the divided highway.
In the above frame, the Mosque visible in the distance behind the Wall. The camera is looking over the highway in the direction of the city.
Scene: Rolls-Royce on the road (00:24:57).
Location: Gulhane Tram Stop [pronounced Gul-Haaa-Neee], the entrance to the Topkapi Palace. The narrow street which the Rolls-Royce descends is called Soguk Sesme [Turkish: # ] and the street which the trams run upon is called Alemdar Street [Turkish: Alemdar Caddesi].
Approx Co-Ordinates: 41 00 35.54 N 28 58 44.00 E
Directions: Tram Stop: Gulhane. The location is below you as you alight at the Gulhane tram stop.
BOND ENTERS THE BAZAAR
Scene: Rolls-Royce pulls up in Square (00:25:17).
Location: Nuruosmaniye Mosque, Nuruosmaniye entrance to the Grand Bazaar.
Approx Co-Ordinates: 41 00 36.65 N 28 58 12.29 E
Directions: Best approach is from Gulhane tram stop and approach down Nuruosmaniye Street [Turkish: Nuruosmaniye Caddesi], which takes you along the route the Rolls-Royce would have taken.
The motorcycle chase in Skyfall (2012) would take place across the roof of this bazaar, forty-eight years later.
Again, we see crowds of on-lookers, watching the filming, particularly as the Rolls-Royce leaves the square.
Once through the entrance to the bazaar, there is a short section of film shot within the Bazaar itself.
In the above photograph, you can see the place where the Citroën pulls up in front of the Nuruosmaniye Mosque. The ablution fountains are visible in the background of the movie frame. The Rolls-Royce pulls up left of frame, past the third tree and before the wall. This flower bed has been added since filming.
In the above photograph, a montage of the approach to the Nuruosmaniye entrance to the Grand Bazzar. The vehicles approach from the street through the arch right of frame, pull in front of the camera, the Citroën stopping in front of the ablution fountains. Bond and his driver proceed on foot down through Arch Number Two which penetrates the curtain wall of the Grand Bazaar. You may view a larger version of the montage here.
Robert Shaw at the Grand Bazaar during Filming.
Ian Fleming, Pedro Armendares and Robert Shaw leaving the Nuruosmaniye entrance to the Grand Bazzar. The ablution fountains of the Mosque are to their mid left.
Ian Fleming certainly enjoyed his time in Istanbul and after a visit to a nightclub where the gyrations of a belly dancer had come so close that it knocked the ash off the end of his cigarette, Fleming noted in his diary that it was in fact the buttocks of a woman and not her breasts which were the most beautiful part of her body. (Mitteleuropa notes that in fact most 'belly dancers' are set up for tourists using untrained models but there is a variety of belly dancing which has a traditional name which sounds like it is the kind of belly dancing witnessed by Fleming. I can confirm that indeed it is a moving experience to witness.) Characteristically, when Fleming returned to England, he complained about the lack of decent caviar in Istanbul. Must have been Hell.
In the above photograph the camera is looking backwards through the screen through Arch Number Two to the location where the Citroën pulls up in front of the mosque. The Façade of the Mosque is visible through the arch. The Citroën would have pulled up exactly under that section of façade.. Bond's route takes him through the arch and down to the Nuruosmaniye entrance which is left of frame, a few meters away.
In the above montage photograph you can see Bond's progression from the arch at the boundary wall of the Bazaar, on the right of camera, across the boundary lane of the Bazaar to the Nuruosmaniye entrance of the Grand Bazaar on the left of camera. You can see a larger version of the montage here.
In the above photograph: This is the lane which runs behind the boundary wall of the Grand Bazaar.
Bond cross from the right directly to the left, where the actual entrance to the Bazaar is (below). The man carrying the small suspended tray is carrying small cups of Chai , which is tea, usually served black with sugar. The sugar is usually the small rocks of unrefined brown sugar. Chai is served universally across the East from the North Atlantik to India and from the Indian Ocean to Soviet Central Asia. Any tea leaves will serve but if you wish to serve authentic Chai then ask one of the Chai stalls which tea they are using. Some speciality tea shippers in the West sell a tea blended to best represent Chai and these are good quality substitute. The reason why Chai, or even Turkish coffee never tastes the same when you make it back in the West is because normally before drinking Chai in the East you are thirsty, tired, hungry and have been staring at the dusty vanishing point of a rough road for most of the day with the deafening throb of an engine below you. The second factor is that your are outdoors, which produces a clear palate, and is far more important in tasting than any other factor.
The photograph above is the Nuruosmaniye entrance to the Grand Bazaar. It is through this doorway Bond and his driver enter the Bazaar.
The photograph above is the Nuruosmaniye entrance to the Grand Bazaar. It is through this doorway Bond and his driver enter the Bazaar. The large heraldic symbol is visible in the frame above the Bulgar during these scene.
Terence Young and the Crew during filming at the Nuruosmaniye entrance to the Grand Bazzar.
Nuruosmaniye entrance to the Grand Bazzar.
Scene: Bond and his driver walk through the Bazaar to Kerim Bey's office (00:25:36).
Location: Takkecilar Street [Turkish: Takkecilar Caddesi] within the Grand Bazaar, Istanbul, at the carpet sellers Bazaar.
Approx Co-Ordinates: 41 00 38.69 N 28 58 03.50 E
Directions: Enter the Grand Bazaar through same entrance as Bond and his driver, at the Nuruosmaniye Mosque. Continue along the same street within the bazaar until on your right you find Takkecilar Street [Turkish: Takkecilar Caddesi]. Proceed until you reach the square stone drinking fountain.
In the above montage, the path of Bond and his driver past the water fountain is illustrated.
There are two distinctive drinking fountains within the bazaar, shaped like square pillars and you can see the KGB Agent in a beret drink from one as he watches Bond walk toward Kerim Bey's office.
The scene within the bazaar is shot within the ten yards passing on either side of this drinking fountain. Bond and his driver descend (Takkecilar Street) [Turkish: Takkecilar Caddesi] toward the fountain and walk past it. The address of the shop you see as they dissappear away from the camera with the small neon sign saying 'Arsi Hali Bazari' is 'Takkecilar Sokak 1-113'. This shop has since been knocked into two shops. The location of the entrance to Kerim Bey's office is in Pinewood Studios.
In one of the carpet shops nearby in the visitor's book Sean Connery has left his name and then London address in Wimbledon, printed in all capitals in blue biro. I found a couple of old shopkeepers who remembered the day of the filming and could describe it.
The entrance to Kerim Bey's office is on the set at Pinewood.
In the above photograph the location where Bond and his driver walk down this street in the Bazaar toward the lens, past the other side of the drinking fountain.
Bond and his driver walk down this street in the Bazaar toward the lens.
In the above photograph, more detail of the street which Bond and his driver walk down. The drinking fountain is now behind the right of camera.
THE MYSTERIOUS V.W. TAILING THE ROLLS ROYCE AND THE CITROËN
VW tails the Rolls-Royce and the Citroën
VW tails the Rolls-Royce and the Citroën
VW tails the Rolls-Royce and the Citroën
The mysterious red VW Combi appears behind Grant's Citroën
s00:38:28 The mysterious red VW Combi departs the crime scene. A mysterious red VW Combi also tails Harry Palmer out of the Victoria and Albert Museum in London, in The Ipcress File (1965) although this VW has a blank panel and not glass in its rearmost quarter.
Scene: Descent into underground Cistern (00:33:27).
Location: Basilica Cistern , also called the Yerebatan Sarayi or Yerebatan Sarnici on 13 Yerebatan Sarayi Sultanahmet. The entrance to the cistern is just across the road from Hagia Sophia and an equal distance from the Firuz Aga Mosque.
Approx Co-Ordinates: 41 00 30.52 N 28 58 40.37 E
This cistern is open to the public and as you descend into the cistern on the same stone staircase used in the film. The staircase is again visible at scene 01:03:36. The lowermost section of the stone banister has been changed. Bond and Kerim Bey take a boat from the jetty at the bottom of the steps and punt out through the cistern. The exit stairs from the cistern (which usually have a coffee stand on them) were used in the scene where Bond, Tatiana and Kerim Bey escape to the surface in order to catch the train.
In the above photograph, the Stairway leading down into the Basilica Cistern from Street level. Since filming, a small section at the end of the ballustrade has been removed, and a handrail has been added.
Scene: Assassination of Krilencu (00:47:02).
Location: Junction of Muradiye Street and Judavendiger Street, Istanbul. Above Serkici tram stop and below Gulhane tram stop. This scene is further down the hill from the scene where the Rolls-Royce passes the entrance to the Topkapi Palace, almost as far as Sirkeci Station.
Approx Co-Ordinates: 41 00 50.37 N 28 58 36.34 E
Directions: Walk up the hill from Sirkeci station as if on your way to Hagia Sophia. The stone kiosk appears on your right.
The ornate stone Rococco kiosk (one of several in Istanbul) is exactly the same as the kiosk in the frame. It is difficult to tell whether this location was used or whether it was re-created at the studio. The small yard into which Krilencu falls matches the plot in which a building is now constructed. After much investigation and thought, I decided that this was a studio shot because by this time, Pedro Armendares was so ill that location shooting was proving difficult. However, the studio set was without doubt drawn from this location. There is a production still of Krilencu actually in his escape 'window' in the studio set.
Sean Connery holds the AR7 Explorer rifle which will also be used in Goldfinger (1964) by Tilley Masterson in her attempt to assassinate Auric Goldfinger on the Furkapass.
In Fleming's novel From Russia with Love (1957), he describes the scene thus:
They stopped at the bottom of the alley. Kerim turned to him with a broad white grin. He pointed upwards at a towering block of black shadow. 'Mosque of Sultan Ahmet. Famous Byzantine frescoes. Sorry I haven't got time to show you more of the beauties of my country.' Without waiting for Bond's reply, he cut off to the right and along a dusty boulevard, lined with cheap shops, that sloped down towards the distant glint that was the Sea of Marmara. For ten minutes they walked in silence. Then Kerim slowed and beckoned Bond into the shadows.
'This will be a simple operation,' he said softly. 'Krilencu lives down there, beside the railway line.' He gestured vaguely towards a cluster of red and green lights at the end of the boulevard. 'He hides out in a shack behind a bill-hoarding. There is a front door to the shack. Also a trapdoor to the street through the hoarding. He thinks no one knows of this. My two men will go in at the front door. He will slip out through the hoarding. Then I shoot him. All right?'
'If you say so.'
They walked on down the boulevard, keeping close to the wall. After ten minutes, they came in sight of the twenty-foot-high hoarding that formed a facing wall to the T intersection at the bottom of the street. The moon was behind the hoarding and its face was in shadow. Now Kerim walked even more carefully, putting each foot softly in front of him. About a hundred yards from the hoarding the shadows ended and the moon blazed whitely down on the intersection. Kerim stopped in the last dark doorway and stationed Bond in front of him, up against his chest. 'Now we must wait,' he whispered. Bond heard Kerim fiddling behind him. There came a soft plop as the lid of the leather case came off. A thin, heavy steel tube, about two feet long, with a bulge at each end, was pressed into Bond's hand. 'Sniperscope. German model,' whispered Kerim. 'Infrared lens. Sees in the dark. Have a look at that big film advertisement over there. That face. Just below the nose. You'll see the outline of a trap-door. In direct line down from the signal box.'
Bond rested his forearm against the door jamb and raised the tube to his right eye. He focused it on the patch of black shadow opposite. Slowly the black dissolved into grey. The outline of a huge woman's face and some lettering appeared. Now Bond could read the lettering. It said: 'NIYAGARA. MARILYN MONROE YE JOSEPH GOTTEN' and underneath, the cartoon feature, 'BONZO FUTBOLOU'. Bond inched the glass down the vast pile of Marilyn Monroe's hair, and the cliff of forehead, and down the two feet of nose to the cavernous nostrils. A faint square showed in the poster. It ran from below the nose into the great alluring curve of the lips. It was about three feet deep. From it, there would be a longish drop to the ground.
Behind Bond there sounded a series of soft clicks. Kerim held forward his walking-stick. As Bond had supposed, it was a gun, a rifle, with a skeleton butt which was also a twist breech. The squat bulge of a silencer had taken the place of the rubber tip.
'Barrel from the new 88 Winchester,' whispered Kerim proudly. 'Put together for me by a, man in Ankara. Takes the .308 cartridge. The short one. Three of them. Give me the glass. I want to get that trap-door lined up before my men go in at the front. Mind if I use your shoulder as a rest?'
'All right.' Bond handed Kerim the Sniperscope. Kerim clipped it to the top of the barrel and slid the gun along Bond's shoulder.
Scene: Tatiana Romanova climbs stairs to the Galata Bridge (00:53:32).
Location: Galata Bridge , the Golden Horn, Istanbul.
Approx Co-Ordinates: 41 01 05.33 N 28 58 19.25 E
In the above photograph, the Galata Bridge from across the Golden Horn. In the film Daniella Bianchi is walking toward you. The Bosphorus Ferries dock dirctly to the left of the Bridge (one is visible) . Hagia Sophia is up to the far left of frame.
The bridge in the film was built in 1912 by German firm M.A.N. AG. It was damaged in a fire in 1992 and a replacement was constructed. The old bridge was towed upstream and it is still in use. Again you can see crowds building up on the bridge watching the filming.
1967 Pathe News aerial footage of the Galata Bridge
In the above photograph, a Panorama of Istanbul from the Galata Tower, looking directly at the Galata Bridge.
Istanbul: Galata Bridge, 1950s
Istanbul: Galata Bridge , 1940s
Scene: Tatiana Romanova approaches the Firuz Aga Mosque (00:53:42).
Location: Junction of Divan Yolu Caddesi and Atmeydanyi Sok, Istanbul, Turkey.
Approx Co-Ordinates: 41 00 28.29 N 28 58 33.58 E
Directions: If you walk North on Ayasofya Meydani Street where the entrance to Hagia Sophia is located then as you reach the junction of the street the Firuz Aga mosque is to your half left down Divan Yolu Caddessi (Divan Yolu Street).
The large mosque in the background is the Blue Mosque. The ground between the two mosques was rough at the time but is now a park. The small Firuz Aga Mosque which Tatiana Romanova approaches now boasts cast iron railings and a garden.
In the above satellite image, you can see the relationship of the St Sophia Mosque , the Blue Mosque , the Firuz Aga Mosque and the Basilica Cistern . The line Daniella Bianchi follows can be drawn by lining up the minarets on the Blue Mosque.
In the above photographs above and below, Daniella Bianchi during filming at the Firuz Aga Mosque , which is visible over her right shoulder.
Two studio stills for Italian Cinemas
In the above photograph, the Firuz Aga Mosque as it is today. It is now surrounded by high walls and shrubbery. Daniella Bianchi entered the scene from the right hand side of the front of the Mosque as we see it and proceeds across to the left of the frame. The Blue Mosque is now obscured by shrubbery.
In the above photograph, the camera is just to the right of the Firuz Aga Mosque, looking toward the Blue Mosque. The original camera position used to shoot Daniella Bianchi's approach would have been around five meters to the left.
Ian Fleming in Istanbul
Sean Connery and Daniella Bianchi
Scene: Tatiana Romanova exchanges the plans with Bond within Hagia Sophia (00:53:55).
Location: Hagia Sophia Mosque, Istanbul.
Approx Co-Ordinates: 41 00 31.39 N 28 58 47.83 E
In the above photograph, the column in Hagia Sophia around which Bond peers at the Bulgar, who is observing Tatiana. The square screened area with the pillars where Tatiana leaves the compact is just ahead ten meters.
In the above photograph, the pillar by which Daniella Bianchi leaves the compact containing the plans.
In the above photogrraph, the place on the base of the pillar where Daniella Bianchi leaves the compact.
The action in Hagia Sophia takes place to the left hand side of the main entrance, which is the Imperial Gate. As you enter, you can see the huge perfume cisterns to your left.
There is a curved colonnade of six pillars which stretches away to your left and around to meet the straight line of the colonnade of four pillars which supports the left hand side of the building and proceeds away from you down the line of the building. The action takes place between this colonnade and the outer wall of the building.
After appearing next to the perfume cistern, Bond disappears around behind the line of the colonnade.
Red Grant and the KGB Agent in a beret are concealing themselves behind the line of this colonnade, further up the building, as Tatania enters the building from the far right hand side at the mid-line where there is an entrance from the Library of Sultan Mahmut I.
Bond moves behind the line of the colonnade and stops at a section where the colonnade is a solid section of wall. He conceals himself next to a pillar and peers around to see the Bulgar concealing himself observing Tatiana entering the building from the far side. Just left of the Bulgar's head is the Grandfather Clock in side-view which you will see behind the shot of Red Grant.
If you move down the line of the colonnade on this side next to the outer wall, following Bond, after the short section of wall and two buttresses, you will see an ornate screen at the height of your hip, marking out a square area under the colonnades. There is a Grandfather Clock visible at the back of the screened area which is no longer present. There is a second screened area, further along under the central area of the colonnades. As you proceed from the first screen in footsteps of Bond and meet the second screen, the pillar in front of it is the pillar used in the exchange. You can see the pattern in the grain of the Porphyrytic Granite evident in the film and you can match this against the pillar as it stands today.
There is a lengthy scene in Argo (2012) shot in and around Hagia Sophia.
Scene: Bond and Tatania Romanova meet on the Ferry (00:57:40).
Location: Ferry to Besiktas [Turkish:# ] from Bosphorus Line pier next to the Galata Bridge on the Serkeci side of the Golden Horn.
In these scenes, Bond and Tatiana take the ferry from the foot of the Galata bridge across the Golden Horn to the Beyoglu District . This ferry leaves from the foot of the Galata bridge at Eminonu on the Bosphorus Line Pier and terminates in Beyoglu at Besiktas [Turkish: Be ikta ]
Daniella Bianchi at the Dolmabahce Palace
Sean Connery, Daniela Bianchi and Terence Young rehearse the bedroom scene.
Scene: The Night Fight at the Gypsy Camp 00:37:00
Location: Pinewood back lot.
The night fight with the Bulgars at the Gypsy Camp is one of several icon scenes within From Russia with Love so much so that it would almost stand on its own. It has powerful fast moving images, tension, crisp scriptural interchanges. A masterwork in its own right.
A measure of a scene's success is when your mind repeatedly takes you back to the scene and runs through what you would do if you found yourself at the scene, especially if the outcome of the scene is not to your liking.
Bond is hampered by being equipped only with this concealment arm, which obviously being for the purposes of concealment, is small and designed only to get him out of dangerous moment and back in control of a situation.. In 1963 you could actually travel via air while wearing a pistol without fear of discovery. Successive PLO hijackings in the late Sixties put an end to that although you could travel with a knife until the attacks on the World Trade Center on 2001-9-11. In the early Seventies a friend of mine had a sword made in Toledo and when collecting it carried it on as hand luggage.
The screenwriters have Red Grant equipped with a Mauser Broomhandle . Within film, many choices regarding weaponry and skill at arms are made in order to bring powerful visual impact to the frame. The Mauser Broomhandle appears as the pistol of choice for many evil antagonists because it is large and visually striking, angular.
In fact the six inch barrel version shown here would be an excellent choice for such work, particularly because of the long shots required. A pistol is an emergency weapon which is used to recover from a situation which has gone wrong, where the cards have fallen against you, and you need to recover and fight your way back to your rifle, back to a position of advantage. If entering a fight knowingly, you would enter the fight using the most appropriate arm, which is a rifle (with very few exceptions). »Your pistol is to fight your way to your rifle «.
Pistols appear more often in films because they allow the actor to pose in a striking manner. A rifle would mean that his head and face would be concealed and only partially visible from his strong-side. This is the same reason that movie footage of jet fighter pilots feature open-face helmets, which, with rare exceptions, were never used in combat.
The Mauser Broomhandle was almost the first automatic pistol and is an exceptionally complicated internally. It has written itself into history in a number of areas: Winston Churchill used one in a cavalry action at Omdurman after a shoulder injury incurred in India prevented him from using a saber. Large numbers were sold to the Bolsheviks during the Russian Civil War , as well as several sides in the Chinese conflicts prior to 1949.
One version of the Broomhandle Mauser came equipped with a buttstock which was large enough for the pistol to be stored within when not in use. Once withdrawn, the buttstock could be fixed to the handle of the pistol giving it a rifle-like steadiness and effectiveness. The advantages of such a weapon in a situation such as the Gypsy camp shoot-out are obvious.
From the perspective of drama, the sudden capture of the protagonists by a fierce tribe of natives, who turn out to be sworn enemies of the antagonists, is a stock-scene and has a Gilbert&Sullivan Opera Buffo element to it. But it is the repetitions of the original dramatic element, not the original dramatic element which lessen the value. It is the repetitions of the original phrase which are the cliché, not the original phrase. While the Gypsy Camp shootout in From Russia with Love may not be first of its kind, it is certainly the best.
The entire Gypsy Camp scene is a feast in itself. Bond and his companions receive a night of dramatic and sensuous entertainment. They then enjoy a splendid all-arms mêlée, guns, knives, fists, clubs, then celebrate their victory with quantities of the local liquor in fine company. Bond then enjoys a pot of Turkish coffee before spending the night with a couple of voluptuous local beauties.
Does it get better than this I ask you ?
00:36:57 The establishing shot in Istanbul. At 00:37:21 there is a second establishing shot of the station wagon, but this is at Pinewood.
The magnificent Gypsy Camp set at Pinewood. The camp appears to be set among Byzantine ruins. The large arches are always a good choice in sets because further pieces of set dressing can be positioned through the archway, which lead the perception to believe that this really is a Gypsy Camp in a Byzantine ruins. Similar set design is used in Sirocco and in The Garden of Allah .
The girls fight
Red Grant keeps watch with his Mauser C96 Broomhandle .
Red Grant conceals himself ready for action, this time left handed. There are some shooters who are ambidextrous, but in this instance the director has chosen left-handed in order to make the dramatic outline of the Mauser appear before the camera.
Chinese built Mauser C96.
Mause C96 with shoulder stock attatched. The pistol can be stored within the buttstock when dismounted, and the buttstock held upon the belt of the wearer. The buttstock enables much greater accuracy. The C96 is the perfect choice for Red Grant's mission.
The next morning. Black Park, the trees behind the back lot at Pinewood, are visible. Large heavy cloddy well-fed English horses, not the bare-boned breeds owned by Turkish gypsies. The Gypsy Camp set was constructed in the same place on the back lot which would be used for Fort Knox and the Kentucky Ranch in Goldfinger (1964).
James Bond relaxes with a pot of coffee.
Turkish coffee is made by grinding the beans into a fine powder. The powder is then boiled in the brass pot until the powder makes a black foam on the top. Bring it to the boil several times and then serve immediately into one of the small cups you see in Bond's hand. Greeks make coffee the same way. The best choice of coffee bean is one which makes a dark strong coffee and suits being dark roasted.
The Garden of Allah (1936) : A Turkish Coffee set, with three coffee pots, three cups and rock sugar . The rock sugar is usually brown.
Pinewood Studios showing the position of the Gypsy Camp.
The British Board of Film Censors demanded many cuts to From Russia with Love and some detailed research by experts at web board DVDtalk reveals that the scenes receiving the worst damage are the Gypsy Camp fight and the Bond-Grant fight on the Orient Express:
1) - References to "lovers" and "physical enjoyment" have been cut. There's no indication of exactly where these references appear.
It appears that there are no editions of From Russia with Love in any medium which contain the footage cut by the censors. It is rare that cuttings are kept and if they are found usually it is in private hands because they were kept by some one who worked on the movie. I am certain that all our readers join me in wishing the British Board of Film Censors a long and particularly unpleasant stay in Hell.
BOND ON THE FERRY
Scene: Bond on the ferry (00:57:47)
Location: Maiden's Tower (Kiz Kulesi) - view of Asian side
In this scene you can view the Maiden's Tower (Kiz Kulesi) (41 01 15.35 N 29 00 15.5 E) on the Asiatic side of the Bosphorus. This features as a location in The World is not Enough and you may view nearly all of the locations used in From Russia with Love (1963) during the scene in The World is not Enough at 01:33:07.
Scene: Tatiana Romanova makes appearance on the ferry (00:57:53).
Location: Dolmabahce Palace [Turkish: Dolmabahçe Palace ]
The location in the background is the Dolmabahce Palace [Turkish: Dolmabahçe Palace] in the Beyoglu on the European side of the Bosphorus. Watch for the distinctive clock tower to the left of frame.
BOND AND THE TAPE RECORDER
Scene: Bond has Tatiana speak into the tape Recorder (00:58:27)
Location: The Inonu football stadium to left hand side of Dolmabahce Palace [Turkish: Dolmabahçe Palace ]
To the left of the frame, behind the clock tower, you can see the lighting towers of the Inonu football stadium (41 02 20.87 N 28 59 41.26 E) which is to our left of the Dolmabahce Palace.
Scene: Bond causes an explosion at the Soviet Embassy
Location: Pinewood Studios
James Bond checks his Rolex Submariner wrist-watch while waiting for the bomb to go off under the Soviet Embassy.
Scene: Exit from trapdoor into street vendor's hut (01:04:02).
Location: Outside the entrance to Sirkeci Station
Approx Co-Ordinates: 41 00 53.36 N 28 58 32.78 E
Directions: Tram Stop: Sirkeci
In the above map, Sirkeci Station.
In the above photograph, the Main Entrance to Sirkeci Station. Bond and Tatiana run across this square and into the main Façade of the Station. They emerge from a street vendor's hut which would have been located just in front of the yellow taxicab closest to the camera. The tree visible in the film is still there and can be seen here level with the trunk of that same taxicab.
In the above photograph, the Location in front of Sirkeci Station taken from further back up the Street from the Water. The large red metal frame supports advertizing boards and obscure the beautiful main elevation of Sirkeci Station in a crass manner. The dome of the corner building of the station is visible above the advertising board. The tree visible in the Frames of the Film is to the right of the red metal Framework.
In the above photograph, the view through the entrance doors onto the platform of Sirkeci Station.
The tram runs right through this scene. The camera is facing the entrance to Sirkeci station. You can see one of the distinctive window arches in the top of the frame, partially obscured by trees. Sirkeci station was one of the locations where crowd control became a problem during filming and you can see in the film that the square is full of onlookers.
The only portion of the square in front of the station which remains the same is the tree to right of frame. This is now much thicker but unaltered. Presently a street vendor's hut is located underneath it but the roads and traffic islands flow through the square in different places. Bond, Tatiana and Kerim Bey run across the square into Sirkeci station.
The opposite side of the Station to the one used to board the Orient Express doubles for Belgrad. The same side of the Station used to board the Orient Express (which the Camera is standing upon) doubles for Zagreb.
Scene: Arrival at the Station Platform (01:04:06).
Location: Sirkeci Station
Approx Co-Ordinates: 41 00 54.24 N 28 58 36.18 E
Bond, Tatiana Romanova and Kerim Bey enter Sirkeci station from the side visible in the previous scene. The layout of the station is unchanged but various pieces of furniture have been moved. There Sixties era steel frame window offices which lined across the entrance have been removed. The ornate barrier which cordoned the platform has also gone. The buffers have been removed and just after them, a monument to Ataturk has been installed.
The KGB man Benz is sitting in the Café on the left of the platform, at the third table from the far wall, as you look from the direction of the camera. You can see the distinctive pattern of brickwork on the wall, out of focus, to the left of his head as he stands. You can still take coffee at Benz's table as the pillar in the frame remains, although the screen has been removed.
In the above photograph, Benz has been superimposed on the present day Café layout. The screen ran between the pillars which are still visible. Benz's seat is the seat middle center lower of frame, the seat at which a sheaf of printed frames from the film is lying open upon. On the sheaf open toward camera you can see the frame showing Benz sitting at that seat.
In the above photograph Benz starts from his seat in the station Café . The slight difference in camera angles means that the pedestal on the screen is higher than it would have been in real life. Personally I greatly preferred the Café when it had the screen surround.
Bond and Tatiana board the train between the second and third pillar.
If you watch the passengers on the train behind the action, in successive scenes, you can see that they must be waving to their relatives for a full five minutes while Bond, Tatiana and Kerim Bey board the train. Harry Salzman's wife makes an appearance as a passenger. She is standing at window of a carriage to the cameraman's left of Robert Shaw, and just as the train pulls out she stops looking directly ahead and turns to look at the camera. Even experienced actors seem to make this mistake, which must upset the film editor greatly. Errol Flynn, making a similar background appearance in Lady from Shanghai (1947) makes the same mistake.
In reality, Sirkeci Station really is the terminus of the Orient Express, which lends even more atmosphere to the location.
The railway carriage into which Bond and Tatiana alight carries the identification number 3893 which was a Turkish railways Type Y built in 1948 (serials 3888 to 3902) which was normally used on the Istanbul to Ankara express, leaving from Haydarpasa station on the Asiatic side of Istanbul. The carriages contained eleven two-bed compartments, with zig-zag walls and connecting doors.
+ The Orient Express leaves London Victoria pulled by a Merchant Navy Class Clan Lines number 35028
+ The Orient Express and the Great Trans-European Trains http://trains-worldexpresses.com/
This website is a superb reference work on all of the Great Trans-European Trains of which the Orient-Express is perhaps the most famous.
During the scenes upon the Orient Express, we catch a glimpse of Bond's Rolex Submariner:
In the above Map, the train pulls into the platform on the opposite side of its departure, which stands in for Belgrad Station.
In the above Map, Kerim Bey's son is waiting on the opposite side of the Station in the Café and is standing at Benz's table. The objects behind him are luggage. The light colored object next to the left of his head is not a window but is a light colored hat box on top of the stack of luggage.
In the above Map, the Roof profile visible against the sky above the middle platform canopy is on the second building along the platform on the departure side of the Station where the tracks are beginning to curve. You can see the building in daylight in the photograph taken from the opposite direction.
The real Belgrad Railway Station.
The real Belgrad Railway Station.
At 01:14:29 we see stock footage of a steam locomotive pulling passengers carriages which are not CIWL. This was stock footage taken in Spain of a RENFE 2-8-2 locomotive pulling a Spanish passenger train. There were 242 engines built of this class by various builders. Also at 01:16:52, then cutting immediatly to the night-time stock footage of a either a rebuilt LMS Patriot or rebuilt LMS Jubilee class locomotive pulling British Rail carriages in a green livery. Then at 01:16:54 to the stock footage below, which is of a Black Five .
01:16:52: Stock Footage of a rebuilt LMS Patriot or rebuilt LMS Jubilee class locomotive pulling British Rail carriages in a green livery. Then at 01:16:54 to the stock footage below, which is of a Black Five.
On the left is Episode One, Series One (1962) of The Saint , and on the right is the same stock footage used in From Russia with Love (1963). Other stock footage in that episode of The Saint shows the Black Five in BR livery with the BR lion symbol on the tender. Several pieces of stock footage of the same Black Five appear in this same episode.
Another odd serendipity in this episode of The Saint is that Roger Moore plays opposite Shirley Eaton , who would go on to play the golden girl in Goldfinger (1964).
At 01:17:12 we return to the original camera position for the passing of the Black Five.
In the above Map, the frame shows the second building on the Station House side of the station. The train is pulling into the platform used in the scene of departure.
In the above map, Red Grant waits on the Platform, with Benz's table some meters away in the background.
In the above Map, Red Grant follows the man from »Station Y« into the Lavatory which is to the frame left of the Café where Benz takes coffee.
At Zagreb Bond has to exchange a recognition code with Nash as they meet on Zagreb station.
BOND: Have you got a match ?
RED GRANT : No, but I have a lighter.
BOND: Better still, until they break down.
Nuruosmaniye Entrance to the Grand Bazaar.
The Nuruosmaniye Entrance to the Grand Bazaar. Rolls-Royce license plate H 39 059
The Galata bridge. The lovely Daniella Bianchi crosses the Golden Horn surrounded by a huge crowd of drooling Turkish ferrymen.
Bond arrives in a taxi at the Soviet Embassy
The doorman at the Soviet Embassy discovers the dead Bulgar while a Turkish Policeman tried to keep back the crowds of on-lookers.
Crowds line the central divider of the street watching filming. Citroën license plate H 31554.
Crowds line the median of the street safely out of the range of the Turkish Policeman's wrath.
The Soviet Embassy.
Scene: Bond and Grant fight to the death on the Orient Express 01:26:20
Location: Pinewood Studios
Red Grant shows Bond the incriminating 8mm Ciné reel. That yellow clip on the reel olds the end of the film within the reel.
In the above frame we see the underside and end of the briefcase. The shadow seems to indicate that the top half of the briefcase is larger than the bottom half and that the briefcase shuts with an overlap. There is a more extensive examination of Bond's Q-Branch issue briefcase here.
+ Sagmacilar Jail in which the protagonist was incarcerated in the story Midnight Express (1978) has been converted into a luxury hôtel . I almost had the displeasure of a stay in this prison some thirty years previously. Almost. So it was with no small sense of relief that I could both stay inside and voluntarily and leave any time I liked. It is located at 1 Tevkifhane Sk, Cankurtaran, Istanbul, which is not far from the scene where Bond passes the entrance to the Topkapi Palace
Scene: Bond and Tatiana jump from the Orient Express at a crossing
Location: Pendik , Turkey, South-West of Istanbul
NATO TPC F-3C section Sea of Marmara, coast of Pendik circa early 1970s, showing the railway line near the coast at Tuzla
Ian Fleming seated in front of the Henschel class 56 locomotive no 45503
Ian Fleming at Pendik. Not the production truck in the background.
Ian Fleming in front of the Henschel
Ian Fleming and Sean Connery on location at Pendik in Turkey
There are not many single track railways within sight of the sea and Pendik has a single track loop. At the time of filming Pendik was rural but a large amount of industrial and domestic building has taken place since that time.
The Locomotive is a German Class 56 number 56501 made by Henschel and delivered 1943 as one of ten..
In Fleming's Novel From Russia with Love (1957), at Chapter Twenty-One, Fleming mentions Bond sighting German locomotives as they reach northern Jugoslavia, but these would have been the very similar Class 52 »Kriegslok« , the war-austerity design produced by all the German heavy engineering firms in large quantities during the war, the most numerous locomotive ever to be produced:
»Vincovci came and then, against a flaming dawn, the ugly sprawl of Zagreb . The train came to a stop between lines of rusting locomotives captured from the Germans and still standing forlornly amongst the grass and weeds on the sidings. Bond read the plate on one of them -BERLINER MASCHINENBAU GMBH- as they slid out through the iron cemetery. Its long black barrel had been raked with machine gun bullets. Bond heard the scream of the dive-bomber and saw the upflung arms of the driver. For a moment he thought nostalgically and unreasonably of the excitement and turmoil of the hot war, compared with his own underground skirmishings since the war had turned cold.
They hammered into the mountains of Slovenia where the apple trees and the chalets were almost Austrian. The train laboured its way through Ljubliana . The girl awoke. They had breakfast of fried eggs and hard brown bread and coffee that was mostly chicory . The restaurant car was full of cheerful English and American tourists from the Adriatic coast, and Bond thought with a lift of the heart that by the afternoon they would be over the frontier into western Europe and that a third dangerous night was gone.«
Berliner Maschinenbau is frequently abbreviated to BMAG . The company is also referred to as L. Schwartzkopff.
BMAG Class 52 Kriegslok.
BMAG makers plate. Due to wartime shortages of non-ferrous metals makers' plates on locomotives frequently makers plates were omitted in preference for punched numerals on the locomotive chassis. Makers' plates are prized by looters in the same way the bell of a sunken ship is prized by SCUBA divers.
See the superb reference work The German Class 52 Kriegslok published by Frank Stenvalls Förlag in Sweden and written by Peter Slaughter, Alexander Vassiliev, Roland Beier ISBN 9107266-140-2. Available in German and English.
Fleming's Novel From Russia with Love (1957) Chapter Twenty-One:
The great trains are going out all over Europe, one by one, but still, three times a week, the Orient Express thunders superbly over the 1,400 miles of glittering steel track between Istanbul and Paris.
Under the arc-lights, the long-chassied German locomotive panted quietly with the laboured breath of a dragon dying of asthma. Each heavy breath seemed certain to be the last. Then came another. Wisps of steam rose from the couplings between the carriages and died quickly in the warm August air. The Orient Express was the only live train in the ugly, cheaply architectured burrow that is Istanbul's main station. The trains on the other lines were engineless and unattended-waiting for tomorrow. Only Track No. 3, and its platform, throbbed with the tragic poetry of departure.
The heavy bronze cipher on the side of the dark blue coach said,
'COMPAGNIE INTERNATIONALE DES WAGON-LITS ET DES GRANDS EXPRESS EUROPEENS.
Above the cipher, fitted into metal slots, was a flat iron sign that announced, in black capitals on white, ORIENT EXPRESS, and underneath, in three lines:
ISTANBUL - THESSALONIKI - BEOGRAD
VENEZIA - MILAN
LAUSANNE - PARIS
James Bond gazed vaguely at one of the most romantic signs in the world. For the tenth time he looked at his watch. 8.51. His eyes went back to the sign. All the towns were spelled in the language of the country except MILAN. Why not MILANO? Bond took out his handkerchief and wiped his face. Where the hell was the girl? Had she been caught? Had she had second thoughts?
Scene: Bond and Tatiana are chased by a SPECTRE Helicopter
Location: Crinan , Scotland, 1963-JUL-17
The crew stayed at the Hôtel Crinan
Scene: Bond and Tatiana arrive at a Pier and take off in a Motor Yacht
Location: Crinan, Scotland
Peter Twiss takes the helm for Fairy Marine
Test pilot the late Peter Twiss. Twiss took many photographs on location.
- www.bmt216a.dk - Bond vehicle website BMT216A has Peter Twiss's photographs of filming.
- Here is an example of what the soundtrack should have sounded like. These are twin Lamborghini V12s in a Riva . The sound evokes other powerful twin V12s like the Mosquito and develops that throbbing disonnance when the engine speeds are not synchronised. Supposedly, during WWII nighttime raids by the Luftwaffe over England, civilians on the ground could distinguish between the bombers because RAF pilots used to synchronise their engines, giving a single uniform engine note, whereas Luftwaffe pilots did not, which would produced a resonance equaly to the difference between the two frequencies. This was typically only a few rpm, which meant that sound was only a few Hz, which sounds like a low resonating note.
Scene: Bond and Tatiana make good their escape to Venice
Location: Establishing shots and backprojection filmed in Venice, with interiors filmed at Pinewood
Establishing shot of Venice, the Campanile of San Marco is frame left.
Pinewood Studios for the iconic fight scene with Lotte Lenya, playing Colonel Rosa Klebb
The Lektor machine on the hall table
The Bridge of Sighs
Bond inspects the reel of 8mm film. 8mm was half a 16mm strip, with the apertures for the teeth down one side only. 8mm film stopped being manufactured around 1989, as video cameras which used magentic tape were taking over its market.
Venice Grand Canal
Location: The Odeon Cinema, Leicester Square, Tuesday October 8th 1963
Invitation to the Premiere of From Russia with Love (1963).
Ian Fleming occupied the entire front row with his party of friends. Back at his house at Victoria Square, Fleming, using some huge winnings from the casino at Le Touquet, had bought a mountain of caviar from Paris dealer Petrossian which he offered to his guests.
This is the Odeon Cinema on the East side of Leicester Square in London, where the premiere of From Russia with Love was held.
AA map of Leicester Square in London, 1950. Traffic still circulated around the square and adjoining streets, which are now open only to pedestrians.
- James Bond Movie Locations
- Ian Fleming's Novel From Russia with Love (1957).
- James Bond's Rolex Submariner
+ EXTERNAL LINKS
- http://trains-worldexpresses.com/ The Orient Express and the Great Trans-European Trains. This website is a superb reference work on all of the Great Trans-European Trains of which the Orient-Express is perhaps the most famous.
- Seat 61 on the Orient Express
- From Russia with Love (1963) at the Internet Movie Firearms Database
- Script of From Russia with Love (1963)
- http://www.aveleyman.com/ - A page which matches the faces from the movie with the credit list and identifies some of the uncredited characters.
Dr No (1962)
From Russia with Love (1963)
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