Keeping the British End Up: Four Decades of Saucy Cinema

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Keeping the British End Up: Four Decades of Saucy Cinema

Keeping the British End Up: Four Decades of Saucy Cinema

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Travelling around the UK, from Sheffield to Leicester, Kent, Surrey, Sussex, Wiltshire, Gloucestershire, Oxfordshire, Buckinghamshire and London, I’ve been filming with over 30 of the most interesting characters from the 1970s’ movie industry.

I also appreciated on Twitter about a month back the notion that James Bond is in fact its own Multiverse of Madness, which would explain SO much. The trouble got worse in 1975 when Kevin McClory’s ten-year ‘ban’ on producing a rival Bond picture ended. If they’re coming for economic reasons, if they have something to contribute, then I don’t blame the poor bastards for getting out! A far cry from the day's of the great Ealing comedies and epics like "Lawrence Of Arabia", it was a sign of the times. There is a larger colour picture section though than before and additional films have been added to the main section of the book.

In fact, the British sex comedy and Moore's Bond films were quite similar in that they were a mix of slapstick, sexy birds and a heavy dose of British repression. How could it not be, when he was the man who skied over the cliff edge only to be saved by a Union Jack parachute? He does seem like a reinvention of Blofeld to me, and as discussed the whole film is reminiscent of the ‘60s SPECTRE epics.

Live And Let Die was a huge success resulting in a steady increase in global box office, reaching new and younger audiences and crossing generations. Arguably no character symbolises Britain and British identity more than Bond, yet Bond's Britishness has assumed an overtly English form. Sheridan compiles a definitive filmography for the very first time, and coaxes the facts from previously reclusive and reluctant interviewees. It's an invaluable resource into 70's british sex cinema which you'll read from cover to cover and still come back to for reference again and again when you spot an all to infrequent new dvd release. I was expecting more from this book, going by the title but it failed to deliver not all films covered.The British tradition of 'saucy postcard' humour - boobs, bums and boorish innuendo - is perhaps best exemplified by the long running Carry On movies. As you might know, he had a lot to do with the screen treatment of Thunderball, and had teamed up with Saltzman and Broccoli in 1965 on the understanding that he wouldn’t launch a rival production.

He is a popular broadcaster on cult and retro culture and is a regular contributor to newspapers and magazines both in the UK and US. When I asked him whether as a country we should take in more refugees, he replied: “I drive around England quite a lot. I’m telling you this so you understand that when I say Roger Moore was my childhood hero, I really mean it. It’s a niche market, but if you’re looking for a unique historical critique on British film, with a wry sense of humor, look no further than Keeping the British End Up. Whereas Roger could kiss the girl, if he stuck a knife in her it would look nasty because Roger looks like a nice guy.He was sometimes his chief detractor but explained, “Listen, if I say I'm shit as an actor, then the critic can't, because I've already said it!

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