James Bond Encyclopedia

By John Cork and Collin Stutz
334 Pages, DK Publishing, $40

Nobody does it better. DK Publishing continues to put out the best assortment of visual reference books on pop culture and as we near the holidays, they keep pumping out one must have collection after another.

Few literary figures have endured changing eras and tastes likes Ian Fleming’s spy, [[[James Bond]]]. Fleming created the spy in the 1950s and continued his exploits through the dozen novels and nine short stories before his death in 1964. He got to see his creation catch the attention of a world made uncomfortable by the Cold War, giving them a clear cut hero to root for as he traveled the world and dispatched the Red Menace in all its guises.

Bond has endured despite the constant change in performer, indelibly begun by Sean Connery and carried through by George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan and currently Daniel Craig. The world has remained transfixed by the globe-trotter spy, equally adept with women and firearms, always looking best in a black tuxedo. The films, themselves, have gone from depicting the counterintelligence threat from Eastern Europe to megalomaniacs, trying to change and reflect the times. Much like Batman, Bond reflects the tastes of the masses. As a result, we went from the taut thrillers like Goldfinger to the buffoonery that was Moonraker to today’s reboot, a harsher, less disciplined Bond for a darker world.

All of that and more are covered in the 332-page [[[James Bond Encyclopedia]]], lovingly assembled by writers John Cork and Collin Stutz. A visual treat thanks to DK’s art department, the oversized tome introduces to all things Bond. The writers wisely broke things down into categories, updating from the 2007 edition to include [[[Quantum of Solace]]]. We have an introductory piece on Fleming, profiles of the six men to play James Bond, and the sections on The Bond Style, The Role of Bond, Bond Villains, Bond Women, Supporting Cast, Vehicles, Weapons & Equipment, and finally, backgrounds on the making of each movie.  The book concludes with a comprehensive index that’s quite useful.

The Barry Nelson television version, the Casino Royale satire, and Never Say Never Again are omitted – consider this the canonical Bond reference book. Each entry, where appropriate, compares the film version with its prose origins, and differentiates between the differing interpretations such as M, Q, Moneypenny, and Blofeld. If the character appeared on screen and said something, they were included, making this exhaustive and fun to flip through (I had totally forgotten Minnie Driver was in one of the films, for example).

While Cubby Broccoli, Harry Salzman, Barbara Broccoli, and Michael Wilson get their due for guiding the films through the years, I wish a little more attention had been given to the musicians who helped make each film an event. Visually, a section dedicated to Maurice Binder’s stunning opening credits would have been a treat.  Overall, though, this is a book every fan of Bond should have.

The 1970s remained a good time to be a kid, as the three networks continued to program Saturday mornings with hours and hours of programming aimed right at them. On the other hand, it was clear that finding new series to click with the evolving kiddie set was harder and harder so series seemed to come and go at a faster clip with shows from earlier years revived to fill gaps or revamped to bring the familiar to new audiences.

While super-heroes were largely done, magic, fantasy, and real adventure found their niches with series starting to be aimed at the younger set earlier and slightly more mature offerings as the hour grew later. All told, the dozen shows represented in Saturday Morning Cartoons: 1960s
, out tomorrow from Warner Home Video, are snapshot into the decade.

For that younger set, there is [[[Help! It’s the Hair Bear Bunch]]], which ran from 1971-1974, and featured three fairly stupid bears – Hair, Square, and Bubi – who escaped the Wonderland Zoo each episode, had an adventure and wound up back behind bars.

For those weaned on the reruns of the CBS sitcom, [[[The New Adventures of Gilligan]]] continued following the castaways, with most of the actors reprising their voices and a hideous laugh track for what was rather unfunny fare. It was just one of many prime time sitcoms to make the transition – none successfully other than [[[Star Trek]]].

Older fans were offered [[[Sealab 2020]]], a solid episode of which is here, showing that attempts were being made to bring in real world themes, plus attempts at characterization and serious stories.

Included here is [[[Shazzan]]], which is an oddity considering it originated in the 1967-1968 season and was never rerun in the 1970s. Two siblings find halves of a magic ring, which summoned a genie named Shazzan when put together. They were taken to a fantasy world with the hopes of finding their way home but had adventures along the way, getting rescued at least twice a story by the magical being. The two-disc set’s sole extra is [[[The Power of Shazzan]]] as a number of folk look back at the show, marveling at Alex Toth’s strong design and ridiculing the state of writing in the 1970s.

Another show that debuted in 1968 and was gone by 1970 and is therefore in the wrong set is the atrocious [[[Banana Splits Adventure Hour]]]. Inspired by NBC’s [[[Rowan & Martin’s Laugh-In]]], four guys in costumes, designed by Sid and Marty Kroft (who got better when left to their own devices) performed short bursts of slapstick humor accompanied by two music videos that owed something to the Monkees. Interspersed throughout were three adventure shows. Two were animated: [[[Arabian Knights]]] and [[[The Three Musketeers]]] and we get their debut stories in this inaugural show. Both were standard cookie cutter H-B fare, largely unmemorable and gone after a season. The third was [[[Danger Island]]], attempting to turn [[[Jonny Quest]]] into a live-action show that was largely dubbed and poorly performed. Of note here is that the “hunk” was young Jan-Michael Vincent, well before [[[Airwolf]]].  What is astonishing given how bad the humor and the drama are is the fact that the entire first season was directed by Richard Donner. Yes, that Richard Donner.

Better was the two season show, [[[Valley of the Dinosaurs]]] that saw the Butler family accidentally lost in this time-frozen world accessed from the Amazon River. While seeking a way home, they were befriended by Gorak and his family. The mixed families formed the spine of the show as they struggled to learn from one another and survive dinosaur attacks.

Less memorable is [[[Inch High, Private Eye]]], which brings the bumbling secret agent to animation in the form of the diminutive detective, aided by his attractive niece, Lori, and the dim-witted would-be detective Gator (imagine Jethro Clampett). The episode included was entirely forgettable and unamusing.

Returning from volume one is [[[The Amazing Chan Clan]]], along with the familiar [[[Batman]]], [[[Tom & Jerry]]] and [[[Looney Tunes]]].

Studios were increasingly having their hands bound by parents groups and network regulators who didn’t want the viewers adversely affected by the violence they saw while eating their cereal. Much of the conflict was reduced or removed, with the writing suffering greatly for this as witnessed by the witless Hair Bear Bunch or the edits made to Road Runner reruns. Even when Captain Marvel arrived in the live action [[[Shazam]]]! (sadly missing from this set), he could barely touch the bad guys let alone duke it out with them.

Clearly, the Golden Age for Saturday morning had passed and quality fare for children would have to wait for the advent of cable television and the plethora of channels able to cater to their needs with verve and imagination.

With three networks programming cartoons from 8 a.m. until just about noon throughout the 1960s, there was a rich variety of characters, situations, and styles. While Hanna-Barbera pretty much owned the first half of the decade, Filmation and others arrived and brought some different looks.

Unfortunately, it’s hard to tell from the second volume of Saturday Morning Cartoons: 1960s, coming out Tuesday from Warner Home Video. Making return appearances are [[[The Jetsons]]],[[[Magilla Gorilla]]], [[[Atom Ant]]], and the [[[Looney Tunes]]] gang instead of shows yet to be sampled.

New for the second volume, which was sent for review, are [[[The Space Kidettes]]], [[[Samson & Goliath]]], and [[[The Adventures of Gulliver]]]. [[[The Kidettes]]], a show I had forgotten about, ran for a single season, 1966-1967, and featured four adorable tykes living in their space clubhouse (a converted Gemini capsule) and outwitting the nefarious Captain Skyhook. Two cute for words.

Samson may have inadvertently inspired Roy Thomas with  a teen, Samson, gained an enhanced form and super-powers by clanging together his bracelets, saying “I need Samson Power” and transformed into an adult hero. Clanging them a second time turned his trusty dog into a powerful lion, Goliath. No secret identities and lots of fighting evil organizations. The stories are predictable and Samson seems devoid of personality.

The one featurette, Completely Bananas: The Magilla Gorilla Story is short but points out this 1964 series was the end of an era for animal-centric series with H-B’s [[[Jonny Quest]]] about to debut and a move towards more human adventures. And as the super-heroes rapidly burned themselves out after just two seasons, networks sought other stories such as ABC’s The Adventures of Gulliver. The disc provides the pilot episode showing how the boy, Gary Gulliver, and his dog Bib survived a shipwreck and washed ashore on the very “lost” island they sought with Gary’s dad, now presumed missing. While Gary is drawn straight, the Lilliputians are cartoony and comical but a détente is achieved.

The disc also includes fresh installments of Wally Gator, Ricochet Rabbit, Mushmouth and Pumpkin’ Puss and their template, [[[Tom & Jerry]]. And assorted other features far more familiar than the above.

The two-disc set does not feel as fresh and inviting as the first and that could be because the mix isn’t as strong this time or, the nostalgia has worn after since the first volume came out earlier this year. Clearly, this is for the late Baby Boomers hoping to relive those years.

Once again there’s the absurd advisory about the material not suitable for this year’s kids.

For a true feel for the decade, we should have had [[[Tennessee Tuxedo and His Tales]]], [[[Fireball XL-5]]], [[[Jonny Quest]]], [[[Superman]]], [[[Spider-Man]]], [[[Banana Splits]]], [[[Wacky Races]]], and of course [[[George of the Jungle]]]. Rights issues, no doubt, prevented this from being properly representative.