AJAY Chowdhury takes “scholars and worldwide enthusiasts” of James Bond movies on a guided tour of Mayfair to show how the world of the author Ian Fleming intersects with that of James Bond, his famous creation.
He makes it a point never to accept payment for what he describes as his “passion”.
If there is such a thing as a scholar of James Bond movies, then Chowdhury is that person. He is co-author, with Matthew Field, of Some Kind of Hero: The remarkable story of the James Bond Films which will be updated in April.
Chowdhury, who has been researching the background to the 007 movies for over 25 years, is also editor and spokesman for James Bond International fan club. He begins the tour on a sunny, warm day in London by setting out how so much of Bond is contained within a square mile of Mayfair.
“Today we are going to explore the haunts of Ian Fleming and the Bond film producers, Albert R ‘Cubby’ Broccoli and Harry Saltzman, and how these three lives intertwined serendipitously in the 1950s,” he says. “We dig deep not only into the fictional world of spies but actually the intersection with the real world of espionage.
“We are going to see Ian Fleming’s birthplace; we are going to see the homes of Cubby Broccoli and Harry Saltzman; we are going to see the offices and gaming clubs which they frequented; we are going to see the hotel, with real-life secret services links, where press launches were made. We are going to see locations which inspired the films; we are going to go around St James’s and the dining and sartorial haunts of Ian Fleming and Cubby and Harry.”
Starting with Casino Royale (1953), Fleming wrote 12 full-length James Bond novels, that also included Live and Let Die (1954); Moonraker (1955); Diamonds Are Forever (1956); From Russia, with Love (1957); Dr No (1958); Goldfinger (1959); Thunderball (1961); The Spy Who Loved Me (1962); On Her Majesty’s Secret Service (1963); You Only Live Twice (1964); and The Man with the Golden Gun (1965). For Your Eyes Only was a collection of short stories published in 1960, with such titles as From a View to a Kill; For Your Eyes Only; Quantum of Solace; Risico; and The Hildebrand Rarity.
Octopussy and The Living Daylights was the second collection of short stories, published posthumously in 1966 two years after the author’s death, with such titles as Octopussy; The Living Daylights; The Property of a Lady; and 007 in New York.
Although Fleming had been educated at Eton, he was adamant that Bond should not be a stereotypical Englishman with a received English pronunciation representing “the old school tie”, argues Chowdhury. During the war, Fleming, as director of naval intelligence, had set up “30AU” and wanted to cast Bond more in the mould of the rough and tough commandos who belonged to that assault unit between 1943-46. In the stories, Bond “is English but of Scottish and Swiss extraction”.
Fleming bought a home in Jamaica where he wrote his Bond stories and where his neighbour was the playwright Noël Coward. “Fleming was an internationalist, a man in many ways ahead of his time. He loved travelling around. He would sit with the Jamaicans or the Japanese and eat and drink what they were eating and drinking,” Chowdhury reveals.
Bond belonged to Blades, a fictional club based on Boodles in St James’s. Fleming dined at Boodle’s, as he also did at White’s, another nearby gentleman’s club.
Although Fleming did not include India in any of his stories, the film Octopussy was shot in Udaipur, Chowdhury points out.
He explains how the Indian connection came about: “Albert R Broccoli was a huge tennis fan and would often go to Wimbledon in the summer. It was there he made a connection with (the Indian tennis player) Vijay Amritraj, who then appeared as secret agent Vijay in Octopussy.”
Fleming had set the story in Jamaica, but Broccoli simply switched the setting to India to ensure that he continued playing tennis with Amritraj.
“Vijay Amritraj went on to become an ambassador for Unicef and worked closely on charity events with Roger Moore, who was Bond in Octopussy,” he adds.
The film’s costume designer, Emma Porteous, was born in Calcutta on June 26, 1936. Chowdhury found out that she “used to visit Southall to get Indian fabrics and Indian imagination. So the north Indian Punjabi community in Southall provided inspiration for the rather fanciful India of Octopussy.”
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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