(United Artists) Sean Connery, Ursula Andress, Joseph Wiseman, Jack Lord, Anthony Dawson, Regina Dawson, John Kitzmuller, Bernard Lee, Lois Maxwell. Directed by Terence Young
There are few characters in the movies more iconic than James Bond. The suave, sophisticated British superspy can karate-chop a bad guy into submission, or kill him in a particularly gruesome fashion and save the day with an urbane quip. He can seduce just about any woman nearly at will. He is the man every guy wants to be and every woman wants to be with, and no actor embodied him as well as Connery, even to this day.
In his first big screen adventure (a television version of Casino Royale had been made some years earlier, but it had been Americanized and has been mercifully lost to the mists of time), Bond is summoned to Jamaica to investigate the murder of an MI6 field agent named Strangways who at the behest of the Americans had been investigating mysterious radio interference of rockets being launched from Cape Canaveral. Bond discovers that Strangways had been looking into a sinister place called Crab Key, an island off the coast of Jamaica that the locals are afraid of visiting because of rumors that a dragon patrols the beach. Bond also discovers that Strangways had submitted some rocks to his bridge partner Professor Dent (Dawson) to examine.
Bond is aided by CIA operative Felix Lieter (Lord) and Quarrel (Kitzmuller), a local boatman who has assisted the CIA in the past. Several attempts are made on 007’s life before he finally heads out to Crab Key along with Quarrel. They meet the fetching Honey Ryder (Andress), a comely but no-nonsense seashell collector who has been taking shells from Crab Key to sell in Jamaica. The three eventually discover that the island’s owner, Dr. No (Wiseman) has an evil plan up his sleeve and is the member of an organization called SPECTRE, bent on the destabilization of the world.
Coming up on its 50th anniversary, the movie holds up surprisingly well in some ways. Yes, it’s hopelessly dated in its attitudes towards women, minorities and politics, but if you can get past some of the special effects (which are admittedly primitive but keep in mind that this was a low-budget production even for its time) and the dialogue which can be laughable, you’re left with some wonderful action sequences, amazing set design and of course Bond.
Here is the first appearance of the James Bond theme, the first time “My name is Bond, James Bond” is uttered. It’s the first appearance of the Walther PPK, the first time we see M (Lee), the head of MI6 and his wonderfully efficient but oversexed secretary Moneypenny (Maxwell).
The Hollywood conceit of a megalomaniac on an island is essentially established here, one that would be followed in many a Bond movie to follow as well as in other spy and action movies over the next half century. The urbane Dr. No would be a model for Bond villains; suave, sophisticated, brilliant and egomaniacal but ultimately done in by his own hubris.
It seems hard to believe now but United Artists was not pleased with the choice of Sean Connery as James Bond (and Ian Fleming apparently wasn’t happy either, at least until he saw the movie for the first time). The rugged Connery was not the picture of a sophisticated upper class Englishman (Connery is a working class Scot) that the books had suggested.
When watching Dr. No, you can’t help but be aware of the times in which the movie existed. John Kennedy was president (and a big fan of the Bond series, which was one of the selling points for the movie) and the Cuban Missile Crisis was in full bloom, making nefarious doings in the Caribbean all the more believable for nervous American (and global) audiences. The Second World War was twenty years in the rear-view mirror and the Cold War was at its peak. The space race was just beginning and the New York Worlds Fair was only two years away (the architecture of the fair was foreshadowed by the ultra-sleek lair of Dr. No). It was a time of great optimism yet a time ruled by enormous fear.
James Bond played into both. Yes, there was much evil in the world, and evil geniuses plotting to take over but with Bond on the case, the Free World could rest easy knowing that 007 was laying the smackdown on wannabe world dictators (the memory of Hitler still fresh in the minds of many). He conformed to the ideals of manhood of the time; virile, decisive, rough, smart and sophisticated, able to wear an expensive Saville Row suit at the baccarat table with a stunning sex kitten on one arm, a (shaken, not stirred) martini in one hand, his trusty Walther PPK in his waistband and impeccably coiffed hair barely ruffled after beating the crap out of a thug (and uttering a bon mot over the inert body of his assailant).
Times have changed and feminists no doubt cringe at the attitudes of Bond, but all the same he still holds a fascination that has carried him through nearly five decades of nearly continuous missions that still continue to this day. Bond was, at the time, unlike any other hero that had ever appeared on the silver screen and is unlikely to be duplicated ever again (Indiana Jones comes close). Dr. No stands up today not just because it was first but because it’s actually a very good movie, despite its flaws.
WHY RENT THIS: This is where it all began. Connery is electric as Bond and the action almost never stops.
WHY RENT SOMETHING ELSE: Hopelessly dated, some of the dialogue and effects are laugh-inducing.
FAMILY VALUES: There’s a surprising amount of violence, much smoking (remember, that was common for the era) but still pretty tame by modern standards.
TRIVIAL PURSUIT: Ah, where to begin? It’s the only Bond movie in which Bond sings and doesn’t feature a pre-title sequence. Also, Bond’s armorer is known as Major Boothroyd (not Q as in later films) and is named after a reader who wrote Ian Fleming asserting that a true British spy would never use a Beretta as Bond does in the early novels, but a Walther PPK. Fleming concurred and the incident was actually used in a kind of backhanded way in the film.
NOTABLE DVD EXTRAS: The new Blu-Ray contains a digitally enhanced print that cleans up some of the graininess of the original and actually looks better than when it was released theatrically. There are a number of contemporaneous features about the premiere, and on-set featurettes. There’s a nice feature on the guns of James Bond and a piece on the restoration of the print.
FINAL RATING: 7/10