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| Mon. July 6 | 2:30 PM | USA |
Directed by | |||
| Terence Young | |||
Writing credits | ||
| Richard Maibaum | (screenplay) | |
| Johanna Harwood | (adaptation) | |
| Ian Fleming | (novel) | |
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 | .... | dresser | |
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) | |
| Jimmy Snow | .... | special effects (uncredited) | |
| Jimmy Ward | .... | special effects (uncredited) | |
Visual Effects by | |||
| 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 | .... | camera operator: second unit (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 | |||
| Ben Rayner | .... | assembly editor | |
Music Department | |||
| John Barry | .... | conductor | |
| Monty Norman | .... | composer: James Bond theme | |
| Vic Flick | .... | musician: guitar (uncredited) | |
| Sidney Margo | .... | music contractor (uncredited) | |
Other crew | |||
| Trevor Bond | .... | assistant title designer | |
| Albert R. Broccoli | .... | presenter | |
| Robert Brownjohn | .... | title designer | |
| Frank Ernst | .... | location manager | |
| Ilhan Filmer | .... | production assistant: Istanbul (as Ilham Filmer) | |
| Kay Mander | .... | continuity | |
| Harry Saltzman | .... | presenter | |
| Captain John Crewdson | .... | helicopter pilot (uncredited) | |
| Maureen Newman | .... | assistant production accountant (uncredited) | |
| Golda Offenheim | .... | production office (uncredited) | |
| Golda Offenheim | .... | production secretary (uncredited) | |
| Charles Russhon | .... | military liaison: Turkey (uncredited) | |
| Charles Russhon | .... | technical advisor (uncredited) | |
| Bob Simmons | .... | body double: James Bond, in opening sequence (uncredited) | |
| Captain Cyril Sweetman | .... | helicopter pilot (uncredited) | |
| Terence Young | .... | body double: Pedro Armendáriz (uncredited) | |
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| Thunderball | Casino Royale | Goldfinger | The World Is Not Enough | Dr. No |
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Hard to believe, but the movie is actually an improvement on Fleming's novel. Rather than have the Lektor operation be a simple Russian scheme to discredit Bond as Fleming did, SPECTRE takes a hand here in their first on-screen appearance as an organization. The plot is improved considerably because of this. The movie thrives on its supporting actors and Sheybal. Connery is somewhat outshone by these greater lights, but gives a credible performance. From Russia... is a different pace of movie: no one here is intent on wiping out the world's population, or destroying the gold supply, or stealing submarines. Basically, it's a quiet little plot focusing on an elaborate "sting" operation. Until the end, the pace is kind of slow, and might lose more "modern" audiences, particularly those used to incredible stunt sequences every 20 minutes.