When Harry Met Cubby E-Book

Robert Sellers

• Herausgeber: The History Press
• Kategorie: Sachliteratur, Reportagen, Biografien
• Sprache: Englisch

Seitenzahl: 595

Veröffentlichungsjahr: 2019

Beschreibung

'Enthralling . . . an essential read, particularly for fans of 007.' - Cinema Retro 'When Harry Met Cubby is a fitting tribute to two extraordinary men. If you love behind the scenes stories about the making of movies, there's plenty of drama to sate you here.' - Entertainment Focus Albert R. 'Cubby' Broccoli and Harry Saltzman remain the most successful producing partnership in movie history. Together they were responsible for the phenomenally successful James Bond series; separately they brought kitchen-sink drama to the screen, made a star out of Michael Caine in the Harry Palmer films and were responsible for the children's classic Chitty Chitty Bang Bang. But their relationship was fraught almost from the very beginning. With such contrasting personalities, their interactions often span out of control. They managed to drive away their coveted star, Sean Connery, and ultimately each other. Loved and hated in equal measure, respected and feared by their contemporaries, few people have loomed as large over the film industry as Broccoli and Saltzman, yet their lives went in very different directions. Broccoli was feted as Hollywood royalty, whereas Saltzman ended up a forgotten recluse. When Harry Met Cubby charts the changing fortunes and clashing personalities of two titans of the big screen.

Leseprobe

First published 2019

This paperback edition published 2022

The History Press

97 St George’s Place, Cheltenham,

Gloucestershire, GL50 3QB

www.thehistorypress.co.uk

© Robert Sellers, 2019, 2022

The right of Robert Sellers to be identified as the Author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without the permission in writing from the Publishers.

British Library Cataloguing in Publication Data.

A catalogue record for this book is available from the British Library.

ISBN 978 0 75099 290 9

Typesetting and origination by The History Press

Printed and bound in Great Britain by TJ Books Limited, Padstow, Cornwall.

eBook converted by Geethik Technologies

Contents

Acknowledgements

Harry and Cubby: An Introduction

1 Cubby

2 Harry

3 Everything or Nothing

4 Just Another Movie

5 Calling Mr Hope

6 Turkish Delight

7 All That Glitters

8 Kitchen Sink Bond

9 Bond in the Bahamas

10 In the Money

11 Twice is the Only Way to Live

12 Palmer’s Last Stand

13 It’s Fantasmagorical

14 Wargames

15 The One Hit Wonder

16 A Musical Mishap

17 Return of the King

18 The Saintly Bond

19 The Last Encore

20 Breaking Up is Hard to Do

21 Out on Their Own

Bibliography

Notes

Acknowledgements

I am indebted to all of the following who spoke to me for this book and over the years on the subject of Broccoli and Saltzman and the world of James Bond:

Sir Ken Adam, Nick Alder, Vic Armstrong, Robert S. Baker, Keith Baxter, Michael Billington, Lord Birkett, Andrew Birkin, Honor Blackman, Earl Cameron, William P. Cartlidge, Chris Coppel, Michael Craig, Len Deighton, Shirley Eaton, Britt Ekland, Anthony Field, Sir Ranulph Fiennes, Cyril Frankel, Sidney J. Furie, Lewis Gilbert, Julian Glover, Ron Goodwin, Roger Green, Adrian Hall, Guy Hamilton, Graham Hartstone, Johanna Harwood, Cherry Hughes, Richard Jenkins, Burt Kwouk, Peter Lamont, Walter Lassally, Sir Christopher Lee, George Leech, Euan Lloyd, Sue Lloyd, Dyson Lovell, Joanna Lumley, Tom Mankiewicz, Tania Mallett, Sir Roger Moore, Monty Norman, Simon Oates, Luciana Paluzzi, Mollie Peters, David Picker, Eric Pleskow, Gary Raymond, John Ronane, Ken Russell, Philip Saville, Robert J. Sherman, Paul Tucker, Jeremy Vaughan, Norman Wanstall.

Special thanks go to: Mark Cerulli, Ajay Chowdhury, Matthew Field, Edward Gross, Sylvan Mason, Gareth Owen, Lee Pfieffer, Luis Abbou Planisi, Graham Rye and Dave Worrall.

Harry and Cubby: An Introduction

They are two of the most extraordinary filmmakers the movie business has ever known, responsible for the most successful movie franchise in history, and yet they were two men of such vastly different personalities, ambitions and desires, that it was a remarkable feat in itself that their partnership lasted as long as it did. Cubby the large, warm, Italian New Yorker, and Harry, a tough pugnacious Canadian; together they created fireworks. ‘We have a kind of chemistry that gels,’ Saltzman once said. ‘We fight with the distributors, we fight with the agents and we fight with each other.’1

Even with all the bickering and disagreements, they did complement one another because each of them brought something completely unique to Bond, as screenwriter Tom Mankiewicz observed: ‘Harry was such a volatile guy, all the time moving, going, things happening. And I always thought privately that Harry was never happier than when he was either suing somebody or getting sued. So much of the pizazz that went in Bond belonged to Harry, and much of the essence and soul of Bond was Cubby.’2

Cubby was the calmer of the two, the diplomat, as Michael Caine observed: ‘They’re like two policemen. Cubby gives you the cigarette and Harry knocks it out of your mouth.’3 Harry and Cubby worked as a double act, in the sense – and this often happens in partnerships – that Cubby was the nice guy, while Harry did most of the dirty work, laying down the law. This probably didn’t help Harry’s reputation with the crew, although that was probably his natural disposition anyway. As Honor Blackman observed on the set of Goldfinger, ‘Harry was the one who put the pressure on. Cubby was acting like a teddy bear.’4

Cubby was the practical one; problems in shooting or personal relationships, he would sort those out. He believed in people who worked hard and delivered the goods, not temperamental geniuses. ‘A genius is someone who costs you money,’ he once said.5 He was the one that would spend more time on the set, chatting with the crew, telling stories to the prop guys. ‘Cubby was more one of the boys,’ said Ken Adam.6 One of the things he loved to do was to arrive on a location very early in the morning and watch, as he put it, for the ‘circus’ to arrive, the camera and lighting trucks, the catering vans, the actors, and everything else that made up a crew on the road. ‘That was his big thrill,’ Barbara Broccoli remembered.7 Yet he could be just as tough as Harry and equally ruthless in business, while retaining unwavering loyalty from those around him.

Harry was a dreamer, a showman, a whirligig and a great salesman, a throwback almost to the old-style Hollywood package-promoter type of producer. Full of energy and ideas, he was constantly flitting from one project to the next. ‘I think probably his greatest strength was his greatest weakness,’ claimed Michael G. Wilson, ‘which is that he could talk anybody into anything, including himself.’8

He had an incredibly low boredom threshold. Where Cubby was a very steady kind of producer, focused on the job in hand, Harry’s mind was always racing. ‘His concentration was appalling,’ said his assistant Sue St John.9 In meetings he might suddenly grow restless and begin talking about something completely unrelated.

As people they were chalk and cheese, with scarcely anything in common, including their outside pursuits and social circles, as Tom Mankiewicz observed: ‘If one went to Harry’s house for dinner, or you went to Cubby’s, even if there were twenty people at dinner there was no overlap, Cubby’s friends were completely different to Harry’s.’10

Their attitude to work was different, how they operated as producers. Paul Tucker, who worked as production accountant on the early Roger Moore Bonds, saw this first hand. ‘Harry would be around, but you wouldn’t know he was there. He might be in his trailer or having meetings somewhere. Whereas Cubby was always very visual, always around.’11

Most significant of all, their attitude to Bond contrasted markedly. Harry was always busy on other ventures, buying up companies, signing up talent or movie properties; he had so many other strings to his bow, other balls in the air. ‘That was part of his nature,’ said Guy Hamilton. ‘Harry was a big entrepreneur. He loved the idea of being busy. Cubby meanwhile knew that Bond was like the goose that laid the golden egg and was intent on preserving it and to make sure that nobody tarnished it.’12

In spite of their differences, both men were creative, innovative and good businessmen. Both backed talent and followed their hunches. Roald Dahl called them ‘perfectionists’.13 George Lazenby preferred to label them as ‘good hustlers’.14 That’s why the partnership worked so well, at least at the beginning: they represented, in the words of publicity guru Jerry Juroe, ‘a relationship that was based on two opposing points of view reaching the same objective.’15 Yes, they used to have fights, with Harry the instigator and Cubby the leveller, according to effects man John Stears, but what kept them together at first was the success of the films; they needed each other, and it suited both of them to stay together. It was only when the films grew in size and immense popularity that, what had always been, in the words of art director Syd Cain, ‘an uneasy alliance’,16 began to fracture and ultimately fall apart.

This, then, is their story, a remarkable story that left the world with one of the greatest cultural legacies of the twentieth century.

1

Cubby

On the morning of 20 May 1927, the young Cubby Broccoli’s outlook on life changed forever. He’d read in the papers about the aviator Charles Lindbergh’s plan to fly the Atlantic solo, a course of action ridiculed by many since it had already claimed a number of capable pilots. To Cubby, Lindbergh wasn’t a fool; he was a hero, and sitting on a tractor about to plough the fields on the family farm in Long Island, his heart started racing as the unmistakable drone of an aircraft’s engine approached. Screenwriter Tom Mankiewicz recalled Cubby telling him what happened next:

He said, ‘Lindbergh flew over my farm, and everyone knew the Spirit of St Louis, and there it was on the side of the plane. It was so loaded with fuel it was flying very low, and I jumped up and down and I waved at the plane, and I can’t tell you for sure but it seemed to me he waggled his wings at me. That was the most thrilling moment of my life.’1

That night Cubby listened intently on the radio as news of Lindbergh’s historic flight was relayed back to a captivated nation. Cubby’s hero had beaten the odds; he’d made it in spite of all the naysayers. It was an event that proved to Cubby that anything was possible, just so long as you believed in yourself and aimed at the big horizon.

*

Cubby’s maternal grandmother Marietta, a widow, and her three children came to America from Calabria in Southern Italy in 1897, full of hopes and dreams, arriving by ocean liner at Ellis Island, the disembarkation point for all immigrants into New York. From there the family made their way by train to Astoria, Queens and settled into two small rooms at the top of a tenement block on Hoyt Avenue, packed with Polish, Jewish and German families. A tenacious woman, whose attitude to hard work inspired not only Cubby but the rest of the family, Marietta set herself up as a midwife and became a valuable asset to the neighbourhood.2

Marietta’s eldest daughter, Cristina, had met and fallen in love with another Italian immigrant, Giovanni Broccoli, a construction worker twice her age. They married in the spring of 1902 and within a year Cristina gave birth to a son, John. Six years later another son arrived, Albert Romolo Broccoli, on 5 April 1909, born in those same tenement rooms on Hoyt Avenue. Family legend has it that it was a breech birth and the baby had trouble breathing. Marietta resorted to a traditional Calabrian remedy – shoving the head of a black chicken into the mouth. The treatment worked and the boy started to breathe again.3

Kids grew up fast in Queens and Cubby was no different; he even learnt to tolerate the taunts of other kids when they called him ‘Dago’. One escape route was the picture house, where he went as often as he could, sometimes with his brother John or his cousin Pat de Cicco. Home was a warm and loving environment cultivated by his mother. His father worked at any construction job he could find, which sometimes took him away from the family for months at a time.4

For a while Cristina landed a job as a live-in cook and housekeeper with a rich family before Cubby’s uncle invited them to come live with him. Pasquale de Cicco had managed to scrape together enough cash to rent a farm outside Astoria and try his luck planting vegetables, especially broccoli. According to Cubby, Pasquale brought the very first broccoli seeds to America, taken from a particularly fine strain back home in Calabria. It would form the basis of a successful family enterprise.5

The Broccolis happily earned their keep on the farm, with Cubby helping to wash and crate the produce for delivery to Harlem market on carts drawn by horses; ‘beautiful big bay horses with feathers on their legs’.6 It was on the farm that Cubby and de Cicco’s son Pat grew even closer; there were just nine months separating them, forging a friendship that lasted until Pat’s death in 1978. It was Pat who came up with the now famous nickname of ‘Cubby’ that in time replaced his given name of Romolo. Pat said his cousin reminded him of a little fat, roly-poly comic strip character called Abie Kabible and that’s what he went around calling him. Over time, Kabible was shortened to ‘Kubbie’ and finally ‘Cubby’.7

Just like Pasquale, Giovanni Broccoli dreamed of buying a farm, and after years of hard graft and putting as much money as he could afford to one side, that dream became a reality when he purchased a modest 25-acre piece of land close to Lake Ronkonkoma on Long Island. It came complete with a couple of tractors and a farmhouse, and the idea was to follow Pasquale’s example and grow vegetables to sell in Harlem market. Unable to afford any labourers at first, the whole family lent a hand; it was backbreaking work. Cubby’s shift started early in the morning before school, a 2-mile walk away. He’d plough the fields in a tractor, having learnt to drive at the age of 12, or crawl along the ground weeding out the crops.8 It was also his job to drive the produce to market and sell it. ‘It was hard times,’ he admitted. ‘If nobody would buy the stuff, instead of hauling it back again we’d dump it in the river.’9

Doing as well as he could at school, Cubby had no real idea what he wanted to do in life, ‘just a fascination for painting and sculpting, trying to create things’.10 Then he made an important decision: to quit school early to work on the farm full-time and help out his parents, who were toiling in the fields and not getting any younger. As writer and family friend Donald Zec would recall, ‘The thing that kept turning in Cubby’s narrative would be his memory of his mother on her knees in appalling heat pulling out the weeds between the furrows of the crops.’11 The family finally persuaded Cristina to give up physical chores and instead concentrate on feeding the increasing number of migrant labourers who had been taken on. Tragically, it was too late for Giovanni. One hot summer’s day working out in the fields with his two sons he suffered a massive heart attack and died within minutes.12

After the death of their father, Cubby and John embarked on a farming venture out in Florida, with disastrous results. Blight and a hurricane decimated two successive crops and left them both cash-strapped.13 Calling it quits in 1933, Cubby went to work for a distant relative, Agostino d’Orta, who owned the Long Island Casket Company.14 The morbidity of working around funeral parlours and undertakers soon depressed him and he was looking for another avenue of employment, but those months with the company certainly stayed with Cubby and are the reason why coffins pop up periodically throughout the 007 series, from Bond being menaced by a hearse in Dr No, to almost being cremated in Diamonds Are Forever, avoiding a coffin full of snakes in Live and Let Die and threatened by a knife-wielding killer emerging from a floating coffin in Moonraker.

While he was thinking what to do with his life next, Cubby decided to take a short break in Hollywood, where his cousin Pat was now living. Pat became a rich man when his father Pasquale died. Ditching farming altogether, his dark good looks and sartorial elegance made an indelible impression on New York’s social scene, where Cubby was sometimes asked to tag along, his first taste of an exciting new world that was a million miles away from clawing at the earth with your bare hands.

Now making a name for himself as an agent and business manager for actors in Hollywood, Cubby had been urged by his cousin to fly over and see him. Pat had married comedy actress Thelma Todd, then under contract to producer Hal Roach, working for the likes of Laurel and Hardy, along with being loaned out to star opposite the Marx Brothers and Buster Keaton. By the time Cubby landed in Hollywood the union had dissolved, but Pat still appeared to be very much a fixture about town, having cultivated friendships with the great and the good, including Cary Grant and Howard Hughes.

It didn’t take long for Hollywood to rub off on Cubby; the glamour and excitement of the place was intoxicating. Renting a tuxedo, he went to his first movie premiere, mixing with the stars. What left the biggest impression, though, was the fact that all these movie tycoons who ran the studios were immigrants themselves, all hailing from his father’s generation. From humble beginnings the Goldwyns, the Mayers and the Cohns had risen to the top, commanding absolute power over their empires.

With Pat keen for his cousin to stay in Los Angeles and try to find work, Cubby landed a job selling hair products door to door, then as a salesman in an exclusive Beverly Hills jeweller. But what he really hankered after was to get into the film business somehow. It was another immigrant tycoon, this one from Russia, Joe Schenck, who provided that invaluable first leg-up. Schenck, along with Darryl F. Zanuck, had established 20th Century Fox, and through Pat’s contacts Cubby got a job there as a third assistant. ‘If the director wanted a cup of coffee, or needed an actor to be called onto the set, I arranged it.’15

Sharing a house with Pat, the two men were often seen together at the Trocadero, an upscale nightclub that had only just opened on the Sunset Strip and immediately become the place where a lot of stars went to be seen and photographed. It was owned by Billy Wilkerson, who ran the Hollywood Reporter, the town’s most-read trade paper. Going there wasn’t cheap so Cubby asked the manager, Tom Seward, if there were any jobs going. As luck would have it the club needed a bouncer, and Cubby’s larger than life frame fitted the bill. The hours he worked paid for his food and bar bill. Seward recalled Cubby as an excellent doorman, certainly one not to mess with; ‘Cubby never backed down from a fight.’16

It wasn’t only at the Trocadero that Cubby spent his leisure time. One August evening in 1938, he was seen out on the town with a young glamorous socialite by the name of Nancy ‘Slim’ Gross. Making up a threesome was King Kong actor Bruce Cabot, whom Nancy uncharitably labelled ‘seriously dumb’, as opposed to the ‘truly intelligent’ Cubby. After going to watch a prize fight, the cosy group called into the Clover Club, a private gambling nightspot on the Sunset Strip. As Cubby and Nancy danced to the soft, lilting music, a pair of eyes couldn’t stop staring at them. They belonged to maverick film director Howard Hawks, whose picture Bringing Up Baby had recently opened. Hawks took Cubby aside to casually enquire, ‘Who’s the girl you’re with? I’d like to meet her.’ Hawks was pushing 42, Nancy was 20, but that didn’t seem to matter. Nancy went on to become Hawks’s wife and self-confessed muse, exerting a huge influence over his career.17

Slowly but surely Cubby was rising up the Hollywood ladder, perhaps not from a professional point of view, but he was certainly mixing in the right circles. Most weekends, along with Pat, Cubby was invited round to Joe Schenck’s house for a barbecue, and he had cultivated the friendship of businessman, filmmaker and aviator Howard Hughes. Often Hughes picked Cubby up and they’d fly out for a couple of days at the gaming tables of Las Vegas. Hughes also knew that if he needed help, Cubby was always there for him at the end of a telephone. ‘He and I got along, I suppose, because I understood and respected his craving for privacy,’ said Cubby. ‘Also, we agreed on most things, and I liked him.’18

Then there was Gloria Blondell, the younger sister of actress Joan who had starred alongside the likes of James Cagney and John Wayne. Gloria was an actress too, though not in Joan’s class. She had met Cubby and fallen in love with him. So fast was their romance that Pat tried to talk his cousin out of it when news reached him of their intended plan to marry. It went ahead anyway, in July 1940 in Las Vegas.19

Thanks to his connection with the two Howards – Hughes and Hawks – Cubby landed the role of assistant director on a Western picture the pair of them were making about Billy the Kid called The Outlaw. Hughes took personal charge of casting duties and snapped up at $50 a week a stunning 19-year-old girl that he was going to launch as a star. Her name was Jane Russell and she currently worked as a receptionist to a chiropodist.

About to travel with the crew to Flagstaff, Arizona, Hughes phoned Cubby the night before to ask if he could personally escort his starlet on the train to the location. ‘Make sure she has everything she needs,’ he ordered. ‘Oh … and Cubby. Keep all the characters away from her.’ From that moment on, Cubby acted as Miss Russell’s unofficial bodyguard.20

Another responsibility was to wake the Native Americans who were working as extras. Out he would go every morning into the wilderness to find them all covered in frost having slept outside in the desert.21

After just two weeks the film was in chaos. Hughes had the rushes flown to Los Angeles daily and was soon complaining of Hawks’s method, that he was economising too much and not ‘taking enough time’ with the filming.22 Fine, said Hawks, and quit. Hughes brought the entire cast and crew back to Hollywood to take personal charge of the filming on the Samuel Goldwyn lot. A renowned perfectionist, requiring twenty-four takes for some scenes, Hughes completed The Outlaw in February 1941, although it didn’t reach the nation’s screens for another two years, in part due to censorship problems surrounding the natural assets of Miss Russell. The country’s top censor, Joseph Breen, had seen nothing like them, according to a March 1941 interoffice memo: ‘in my more than ten years of critical examination of motion pictures, I have never seen anything quite so unacceptable as the shots of the breasts of the character of Rio … Throughout almost half the picture the girl’s breasts, which are quite large and prominent, are shockingly emphasized’.23 Maybe Mr Breen should have got out more.

By the time The Outlaw opened across the US, Cubby had joined the navy in light of America’s entry into the Second World War. His post was the Eleventh Naval District, which booked stars like Bing Crosby, Bob Hope, Danny Kaye and Dinah Shore to perform in shows for servicemen in camps and military hospitals across the States.24

Cubby was discharged from the navy in late 1945. Going in as a yeoman First Class, he’d ended up an ensign and considered his three years in the services a life experience, and in many ways a privilege. Back in Hollywood, though, he was just an unemployment statistic, trying to get another break in the industry. He had worked briefly as production manager for his cousin Pat on a film he was producing called Avalanche, directed by Irving Allen, but this was strictly B-movie territory and didn’t lead anywhere. The critic of the New York Times decried it as ‘A painful hodgepodge’, and that the most articulate member of the cast was a talking raven, ‘whose comments are crisply put and mercifully brief’.25

Things were no better at home, either. He and Gloria had decided they just weren’t compatible and sought an amicable divorce. Already in his mid-30s, Cubby found himself at something of a crossroads.26

In the winter of 1947, Cubby went into business with a friend of his called Bert Friedlob, a wealthy liquour salesman married to the actress Eleanor Parker. The idea was to sell Christmas trees and that’s exactly what Cubby had to do, standing in the freezing cold on the north-west corner of Wilshire Boulevard. It wasn’t very glamorous. ‘Now and again I began thinking, I have a multimillion-dollar friend, Howard Hughes: I’m the former naval ensign who took Lana Turner out to dinner, and now I’m hustling trees on a street corner.’27

The Christmas tree business lasted just the one season, after which Friedlob and Cubby tried their hand at the motor racing game. Along with another friend, Bob Topping, a millionaire socialite and the current husband of Lana Turner, they started promoting midget car racing, then a popular sport in the US. The idea was to take these cars and drivers over to Europe and race them there, but the whole thing turned into a financial disaster when crowds in London didn’t take to it and the whole tour collapsed.28

This was Cubby’s first trip over to Britain and he fell in love with the place and its people. ‘Where’s the King’s Arms?’ he asked a passer-by one evening as he searched for a pub to meet some friends. ‘Around the Queen’s arse,’ came the reply, which endeared him to the country instantly.29

This was 1948 and Britain was still in the grip of austerity, so soon after the war. Staying at the Savoy, Cubby was politely told that due to rationing his breakfast order of bacon and eggs and a pot of coffee would not be possible. A couple of days later, the same waiter came over to his table and proudly unveiled two boiled eggs. When Cubby asked how he’d got them, the waiter answered, ‘I brought them from home, sir.’30

Back in Los Angeles, Cubby went to work for Charlie Feldman, who ran the Famous Artists Agency, which had some of the biggest stars in Hollywood signed to it. Cubby liked Feldman, he was suave and personable, and learnt a great deal from him, not just about making money, but how to use it the right way. Feldman was amongst the first in Hollywood to put together ‘package deals’, choosing the right story, the right director and stars, and sometimes even financing and producing the films himself.

Cubby did well at the agency, bringing in Lana Turner to swell their star ranks and representing the likes of Ava Gardner, along with up-and-coming actors such as Robert Wagner. With his career on the turn, he decided to settle down and marry again. Her name was Nedra Clark, a former model and occasional actress. Nedra was attractive, with an easy-going charm that belied a life of heartbreaking tragedy. Born in Missouri in 1919, Nedra married at the age of 18, but the union quickly soured and when she sought a divorce her husband went wild, slashed her with a knife and stabbed to death their 2-year-old son and Nedra’s mother. Going to Hollywood, Nedra married the popular American singer Buddy Clark and they had a daughter together. In October 1949, Buddy was flying back from San Francisco when the small plane he was in developed a fault and had to make an emergency landing. The only passenger not wearing a seat belt, Buddy was thrown from the plane and died of his injuries.31 Less than a year later Nedra’s beloved daughter Penny, then just 7 years old, was struck by a car and killed on her way to a friend’s house. It was Cubby himself who had to break the devastating news to Nedra and drive her to the hospital.32 When the couple tied the knot in February 1951 in a Las Vegas chapel, Cubby must have hoped that he could bring some stability and happiness into Nedra’s life.

Facing the responsibilities of being a husband for the second time, one would have thought Cubby might knuckle down at his job at Famous Artists; after all, it had good prospects and was great security. Instead, this was the moment he decided to leave the company and strike out on his own as a producer. He believed that he had found the right story material for a film in Hilary St George Saunders’s book The Red Beret, published in 1950. Within its account of the British Parachute Regiment’s exploits during the Second World War, Cubby saw vast scope for a stirring tale of derring-do. With little or no spare money, he approached Irving Allen, not exactly flush himself, with the idea of going into partnership and pooling their meagre resources to buy a short option on Saunders’s book.

Cubby had got quite pally with Allen when they worked together on Avalanche and thought he might make an ideal partner. Born in Poland in 1905, Allen was still a child when his family emigrated to America. Educated at New York public schools, he attended Georgetown University and Brooklyn Law School before quitting to enter showbusiness. Moving to California, his big break arrived when he landed a job at Universal as an apprentice in the studio’s cutting rooms. Rising through the ranks from editor, to second unit director, Allen finally made it as a director in his own right, specialising largely in B-pictures. He also shot a number of well-received short films and documentaries, including Climbing the Matterhorn (1947), which earned him an Oscar for Best Short Subject.

Allen agreed to Broccoli’s proposal of joining forces and it was hoped that Saunders himself, who had served in the Welsh Guards during the First World War and been awarded the Military Cross, might adapt his own novel to the screen. When he died suddenly towards the end of 1951, Cubby and Irving brought in two experienced Hollywood screenwriters, Frank Nugent, a regular collaborator with John Ford, and Sy Bartlett.

Rejecting any idea of shooting the film in America, the producers decided to set up operations over in England. For one thing, they would be able to exert more creative control based outside of Hollywood, as well as taking advantage of what were cheaper production facilities and technicians. There was also the added inducement of something called the Eady Levy, a production fund established by the British government a little over a year before. This fund, accumulated from a tax on cinema tickets, was an absolute boon for producers working in the British film industry. What made it especially attractive to people like Cubby and Irving, and for the large number of American filmmakers who followed in their wake, was that even if a film was backed by a US studio, as long as the crew and actors were predominantly British then the production qualified for the subsidy.

Attention quickly turned to finding the right actor to play their paratrooper hero, with Richard Todd approached early on. As a member of the 7th Parachute Battalion and part of the D-Day landings, Todd didn’t much care for the script, ‘probably because I was still rather serious-minded about anything to do with the Airborne Forces and thought it an over-fictionalised treatment’, so he passed.33 Other names like Ray Milland and Trevor Howard were touted in the Hollywood trade journals before Cubby and Irving set their sights on Alan Ladd.

Their timing couldn’t have been any better. Ladd had just quit Paramount over a dispute about money and was looking for a fresh challenge. By chance, Cubby had a mutual friend, Billy Wilkerson of the Hollywood Reporter, and a meeting was set up. ‘As I drove out to his house,’ Broccoli later wrote, ‘I started thinking, here am I, going out to try and hire the biggest box-office star of the day, and I can just about pay my rent!’34

Ladd lived on a 5,000-acre ranch in Hidden Valley, a retreat tucked away in the Santa Monica mountains 50 miles outside Los Angeles, and when the producers arrived, he was up on the roof carrying out some repairs. Invited inside, the men talked about the project over a Jack Daniels. While Ladd expressed interest, the producers knew the one person they really needed to convince was the actor’s wife, Sue Carol, who essentially worked as his manager and was known as a tough operator. In the end, the offer on the table was too sweet to resist: $200,000 plus 10 per cent of the profits. In addition, Sue asked for $50,000 in expenses and for the producers to provide a house conveniently close to the studio, so Ladd could bring over his family for the duration of his stay in England.35

Not only did Cubby and Allen agree to all this, probably wondering how the hell they were going to pay for it, they also cannily broached the idea of Ladd signing up for a total of three pictures. Sue knew how advantageous it would be for Ladd’s tax situation to live and work outside the United States for something like eighteen months, and agreed the deal. It was an auspicious deal in so many ways, not just in launching Cubby as an independent producer, but also Ladd’s insistence that his personal friend and collaborator Richard Maibaum join him in England to rewrite the script.

Having bagged Alan Ladd, all Cubby and Allen needed now was a studio to back them. Together they approached Cubby’s old pal Howard Hughes, who had gained control of RKO Pictures. Enquiries were made and favourable noises came back, enough for Cubby to draw up the relevant paperwork, only the mercurial Hughes started avoiding him and not returning his calls. Finally, Broccoli tracked Hughes down at the home of one of his associates, Walter Kane, where the tycoon was on the phone in the toilet, a not unusual occurrence since Hughes often locked himself in a bathroom to conduct business; it was one of the few places he was never likely to be disturbed. There was the occasion, for example, when Cubby ran up debts with a local florist sending flowers on behalf of Hughes to his numerous girlfriends. When it came time for Cubby to tentatively broach the outstanding bill, Hughes locked himself in his toilet denying all knowledge. Cubby was made to wait sweating outside the bathroom, until there was a peal of laughter from inside and dollar bills came sliding under the door, one by one.36 This time he was in no mood to wait, and rapped hard on the door saying he wasn’t leaving until the contract was signed. ‘Pass it under the door,’ said Hughes. After a little while the signed document re-emerged. This might have been an unorthodox method to tie up a deal, but it meant Cubby and Allen were in business.37

Then disaster. C.J. Devlin, the man Hughes had put in charge of the day-to-day running of his studio, voiced a dislike for the project and the financing was pulled. In the end it didn’t matter; The Red Beret was gathering its own momentum around town and Leo Jaffe over at Columbia was happy to step into the breach and provide backing. Final negotiations took place at the Warwick Hotel in New York; a good omen, thought Cubby and Allen, who named their fledgling company Warwick Films.

Cubby and Nedra, along with Allen and his wife Nita, arrived in London full of excitement and expectation about what the future might hold for them in this new country. The Broccolis took over a large apartment in an old building in Portland Place, a short walk from the BBC’s Broadcasting House. A few months later, Ladd and his family arrived via boat, and eager to maximise publicity the producers leaked the arrival time of their train into Paddington station to ensure a large crowd of fans and journalists were there to greet him. They needed all the positive press they could get, since a controversy was brewing in the newspapers as to why a Hollywood star rather than a homegrown one had been chosen to play the lead in a film about British paratroopers. Eager not to offend the sensibilities of war veterans or the military establishment, Cubby stressed that Ladd’s character was in fact a Canadian who enlists in the Parachute Regiment to learn from them, and not another example of Americans believing they had won the war singlehandedly. Such assurances seemed to do the trick and what might have been harmful criticism of the film was avoided.

Shooting itself, which began late in September 1952 in North Wales and at the Royal Air Force’s Abingdon Parachute School in Oxfordshire, with interiors at Shepperton Studios, passed relatively smoothly. Cubby found Ladd to be a total professional; if he had any gripes or problems they were usually left to the formidable Sue to sort out. The producers were also fortunate in their choice of Terence Young as director, having admired his work on a recent British war picture called They Were Not Divided. Young had been an intelligence officer attached to the Guard’s Armoured Division during the war and saw heavy fighting at Normandy and Arnhem. He stayed with Warwick off and on for the rest of the decade, establishing himself as a director of transatlantic action movies.

A couple of things stand out about The Red Beret. Firstly, the decision to use Technicolor; most British war pictures of this period were made in black and white, largely as a cost-cutting measure so that newsreel battle footage could be used. When Cubby first approached Technicolor, he was told the company was booked up solid and nothing could be done. Not giving up, Cubby once again approached his friend Billy Wilkerson, who personally knew Herbert Kalmus, co-founder of Technicolor, and managed to persuade them to change their minds. As a token of gratitude, Cubby bought the parking lot next door to the Hollywood Reporter offices that Wilkerson was currently renting and handed him the deed.38

The producers also surrounded Alan Ladd with a supporting cast of consummate British actors: Harry Andrews, Stanley Baker, Donald Houston and Leo Genn. At one stage Genn, as the unit’s commander, enters an office and casually tosses his beret across the room onto a hat rack. It’s a little bit of business that Terence Young later remembered and had Sean Connery do in Dr No. What lets the film down is the all-too-hackneyed plot of watching a group of disparate individuals go through training and following them onto the battlefield, although the action set pieces are competently handled.

Someone who got an early break on the picture was a young greenhorn stuntman called Bob Simmons. At the end of one stunt, that saw Simmons blown up on a staircase and fall 16ft, he landed with a crunch on the floor, obviously in distress. Cubby was the first one over to see if everything was all right and noticed he wasn’t wearing any protective clothing or stunt pads. Simmons asked in all innocence what stunt pads were. ‘If you want to go on working,’ said Cubby, ‘you’re going to have to wear pads – as of now.’ With that, he beckoned Alan Ladd over. ‘Just look at this kid, will ya? No pads. Not even a back pad. Jesus.’ Ladd brought over a set of his own stunt pads and gave them to Simmons, telling him if he didn’t wear them, he’d personally throw him off the picture. Simmons kept those pads for the rest of his career.39

Simmons went on to work on a number of pictures for Warwick. Already Broccoli was beginning to earn a reputation for employing the same technicians and crew members. ‘If Cubby liked your work, chances are you would be employed on his future productions,’ said art director Syd Cain, who also landed his big break at Warwick.40

By the time The Red Beret opened in cinemas to a lukewarm reception from critics, but solid activity at the international box office, Warwick had already begun their second picture with Alan Ladd, Hell Below Zero. It was based on a book by popular author Hammond Innes about whaling ships in the Antarctic and directed by Mark Robson, who replaced the original choice Raoul Walsh. Although the film’s melodramatics would be criticised, the producers showed real ambition by sending a film crew out to capture the work of real whaling ships operating in the frozen wastes near the South Pole. It was Cubby who drew the short straw and went out with the second unit while his partner stayed behind in London. This turned out to be a general pattern in their relationship, according to production supervisor Adrian Worker. ‘Cubby always had the dirty end. When we went out to Africa, Cubby’s the one who had to come out there, not Irving. Irving wouldn’t move outside a hotel if he could help it.’41

Worker made five pictures for Warwick, and at the beginning saw Broccoli as probably the minor partner in the relationship: ‘Irving certainly was the go-ahead one. But Cubby was always a nice man. He never got flustered, ever.’42

Cubby never forgot his experience at sea. Hiring an icebreaker out of Cape Town the film crew rendezvoused with the whaling fleet and stayed with them for six weeks capturing the grisly business of harpooning and then eviscerating whales. As a parting gift the crew presented Broccoli with two whale penises.43

Some of the cast made the trip out there, too, including Stanley Baker, who Cubby recalled was great company aboard ship, and it was the start of a close and lifelong friendship. Ladd wasn’t required, with the crew making use of a double for long shots. Even so, Ladd was pretty miserable on the film according to Mark Robson:

We all knew we were working on a stinker. Alan did the best he could, under the circumstances. Alan frequently remarked that he was fed up with Europe, that he had made a mistake in tying himself up for so long and felt he was serving a prison term. He was a very, very unhappy man.44

If Hell Below Zero was tough to bear, Ladd reached an absolute nadir with his third and final picture for Warwick. The Black Knight was a historically muddled attempt to cash in on the sudden popularity of medieval epics, and cast Ladd as an unlikely swordsmith who heroically defends King Arthur’s throne against a coup led by a villainous Peter Cushing. At first Ladd wanted nothing to do with the project, running around in tights à la Errol Flynn was just not his scene at all. It was only the intervention of a young publicist called Euan Lloyd that saved the day. Euan had become friendly with Ladd and was invited to join the actor and his family on a brief holiday in the South of France. Within days Cubby and Allen arrived to start negotiations. ‘But Alan hated the script of The Black Knight,’ recalled Lloyd:

[He]swore never to play in it. Cubby used all his persuasive powers to change his mind, all to no effect. Cubby would not give up. Finally, Alan relented, on one amazing condition. He would do the picture if Cubby and Irving would employ me, not as a publicist, but in the production itself. I was speechless.45

For the next five years Euan Lloyd served as personal assistant to the two producers. ‘Being alongside these two great men on a daily basis was unquestionably the education any student of film production could only dream of.’46 Watching Cubby, especially at close quarters, Lloyd learned how to deal with stars, getting that little extra out of them through sheer good manners and courtesy rather than aggravation and implacableness, and how he took a calm approach to matters: ‘A desperately needed skill in producing, especially large budget films.’47 Something else Lloyd took from Cubby was how to choose his material carefully, ‘and when focusing on a particular property to examine it from every angle and ask yourself before proceeding, would I pay good money to see this film?’48 Lloyd did later carve out a successful career as an independent producer, responsible for teaming Sean Connery with Brigitte Bardot in the western Shalako (1968), and testosterone-charged action films such as The Wild Geese (1978) and Who Dares Wins (1980).

Ladd was right about the script: it stank. The writer was Alec Coppel, who’d worked on Hell Below Zero. He was an odd choice for a medieval story since he normally specialised in thrillers, and according to his son Chris regarded his time working on The Black Knight as:

A living hell. He always wished he had never had a credit on that one. He was not that happy working on writing projects where it was dictated how it was to be written and felt ‘caged’ doing re-writes and adaptations. He, however, liked the money. He did used to come home disheartened while working on The Black Knight. I remember his referring to the producers as cigar smoking tasteless hacks.49

With shooting due to start in a few days under the stewardship of Tay Garnett, Cubby felt the script still required another quick touch-up and brought in a young actor by the name of Bryan Forbes, whose recently published collection of short stories had caught his eye. Forbes was also beginning to win a reputation as a script doctor, usually called in, as he put it, to perform ‘emergency surgery on terminal cases’. So, Cubby gave him a call. ‘I gather you’re a fast man with the pen. Can you provide some pages?’50

It was Forbes’s presence on The Black Knight set at Pinewood that led to one of the most amusing anecdotes to come out of any Warwick production. It concerned a scene in which Ladd was required to steal a horse in order to escape from the villain’s lair. Sue, who carefully vetted all of her husband’s scripts, was having none of it: such an act would do harm to Ladd’s clean-cut image back in the States. Told to find a compromise, the producers quite frankly couldn’t see how else the action could unfold; Ladd had to get out of the place.

‘Not on a stolen horse,’ insisted Sue.

‘You want him to take a taxi,’ said Allen.

It was Forbes who made the suggestion that perhaps after Ladd jumps from the battlements into a hay wagon, a kindly Saracen could appear saying, ‘Sire, this is the horse you ordered.’

Amazingly, this seemed to placate Sue and the scene went ahead. Cubby certainly saw the funny side of it as Forbes watched him laugh all the way back to his office.51

While the three films with Alan Ladd were hardly artistic triumphs, they put Warwick on its fiscal feet and established Broccoli and Allen as producers who could churn out saleable products on time and on budget. Both men firmly believed in making entertainment for the masses; their films were supposed to make profits, not win awards. It was commerce they were interested in, not art. ‘If somebody sends me a literate script do you know what I do with it?’ Allen told one journalist. ‘I throw it in the waste paper basket, that’s what I do with it. It’s no use making intelligent films. There aren’t enough intelligent people to fill the cinemas.’52 In the same interview, Allen made the confession that he would never watch one of his own films. ‘I’ve got more taste than that. Does Barbara Hutton buy her jewellery at Woolworths?’

Warwick had set up their business in a plush set of offices in South Audley Street in London’s Mayfair. In a 1959 Evening Standard profile, it was reported that Warwick had a staff of twenty-six, ‘including a company secretary who used to be at the Bank of England – round the clock chauffeurs, a private cinema done up in red leather, and a Turkish bath.’

Euan Lloyd recalled that the two men shared the same office, facing each other across a vast desk, and yet were of vastly conflicting personalities. ‘Irving was abrasive, quick-tempered, and sometimes downright rude. Cubby was patient and kind. When Irving created a tempest, Cubby would quickly pour oil on the waters. In fact, during my years with Warwick, I can recall only one occasion when Cubby lost his temper.’53 Even Broccoli himself had to admit that Allen was ‘a cantankerous associate, though with a bark much worse than his bite’.54

Thanks to a close relationship with Mike Frankovich, who was in charge of Columbia’s British office, Warwick continued to have the backing of the Hollywood studio and sought out fresh story material. They bought the film rights to Robert Graves’s exciting historical novel about the Greek myth of Jason and his crew of Argonauts, The Golden Fleece, but the project never went beyond the pre-production stage, probably because of the inherent high cost involved.55 Columbia obviously found merit in the material since it would later finance the famous 1963 Ray Harryhausen version of the story.

Instead, the producers turned to a novel called Prize of Gold, about a US military officer stationed in Berlin who steals a cargo of gold to help a refugee’s bid to repatriate European war orphans. Feeling confident, they approached one of the most respected writers in the country to adapt it to the screen. R.C. Sherriff, whose screen credits included The Invisible Man (1933), Goodbye, Mr Chips (1939) and Odd Man Out (1947), is best remembered for his enduring play Journey’s End, set in the British trenches of the First World War. Sherriff agreed to the offer and accepted a fee of £4,500 to write a first draft. If this was a move on the producers’ part to gain a little bit of respectability, it backfired when they ended up using none of Sherriff’s work when the script was rewritten and his name left off the credits.56

With the departure of Alan Ladd, the producers brought over another American star, Richard Widmark, who had just been released from a seven-year contract at 20th Century Fox. This was to remain Warwick’s policy for the rest of its existence, to import an American ‘name’ to maximise the international appeal of their product, as Broccoli stated in a 1954 interview:

We’re not making British pictures, but American pictures in Britain. We’re trying to Americanize the actors’ speech in order to make the Englishman understood down in Texas and Oklahoma – in other words, break down a natural resistance and get our pictures out of the art houses and into the regular theatres.57

Widmark was teamed with the Swedish actress Mai Zetterling, but under the direction of Mark Robson Prize of Gold remained fairly routine stuff, with a ‘leaden and synthetic plot’, according to the unimpressed critic of the New York Times. It was only enlivened by a top-notch supporting cast that included Nigel Patrick, George Cole and Donald Wolfit, and some atmospheric location photography amongst the bombed-out ruins of Berlin courtesy of Ted Moore, a camera operator on Warwick’s first three productions who had been promoted to Director of Photography.

*

Cubby had arrived in Estoril, the resort town on the Portuguese Riviera, to begin work on Warwick’s next production, Cockleshell Heroes. All relevant permits had been obtained and he was looking forward to a straightforward shoot. Then came the phone call. It was a senior government official: permission to film in their country had been rescinded. As Cubby struggled to comprehend what might have gone wrong, the conversation continued and he realised what was happening: blackmail. Cubby was incensed, but it was too late now to make alternative plans.

Driving all the way from Britain, Euan Lloyd scarcely had time to unpack when Cubby and Allen accosted him in the hotel lobby with the news. ‘They want a short documentary about Portugal to expand the tourist trade,’ said Cubby. ‘That’s the deal. I don’t like blackmail of any kind, but there it is. Our hands are tied.’

Allen took over. ‘As of this moment, Euan, you are the writer, director and producer of this documentary. Keep the costs down, but do a good job.’ When word reached the authorities that the documentary was under way, they immediately restored permission to make Cockleshell Heroes.58

The producers approached the subject of this picture with great care, since it was based on true events in which a team of Royal Marines canoed almost 100 miles behind enemy lines to blow up ships in the German-occupied French port of Bordeaux during the Second World War. Like The Red Beret, the story focused mainly on the meticulous training leading up to the raid and the producers were given the full cooperation of the military. Major Hasler, the man who planned and personally led the operation, acted as technical adviser and sundry other Royal Marine personnel were seconded to the production, along with the use of barracks and army facilities.

Cubby had already come to appreciate the writing skills of Richard Maibaum and thought he was the ideal choice for the film. While Maibaum delivered a tightly constructed first draft, Cubby thought it lacked an authentic British flavour, especially in the servicemen’s dialogue, so he turned again to Bryan Forbes to do a rewrite. Cockleshell Heroes became Forbes’s first credit as a screenwriter.

Although a wholly British operation, the producers’ rigid policy on imported American stars meant that a miscast Jose Ferrer was the Commando leader. Much better was Trevor Howard as his second-in-command, and there was the usual fine supporting cast, including an early role for Christopher Lee. Whilst screening the rushes every night on location in a local cinema, Cubby noticed that Ferrer, who was also directing, had an interminable number of close-ups paddling his boat earnestly towards the enemy. Allen had noticed, too, and wasn’t one to keep his own counsel. ‘Jesus Christ!’ his voice boomed out into the darkness one night. ‘If there are any more of these shots, we’ll have to change the title from Cockleshell Heroes to Rowing up the River!’ There was a commotion at the back of the auditorium. Cubby looked and saw the figure of Ferrer dart out of the door. Not only had Ferrer not seen the funny side of Allen’s comments, he later informed Cubby that he didn’t want the man anywhere near the set from now on.59 According to the film’s focus puller, Ronnie Maasz, Ferrer and Allen never spoke to each other again.60

In order to give the film added gravitas, Broccoli and Allen mounted an impressive premiere in November 1955 at the Empire Leicester Square, with both Earl Mountbatten and Prince Philip in attendance. When the prince suggested some inaccuracies in the plot at a drinks reception after the performance, Cubby decided to incorporate his advice and hurriedly shot additional scenes to be added to the release print at a cost of almost $6,000.61 It was money well spent, as Cockleshell Heroes made the top ten list of UK box office champions for 1956 and won critical plaudits; ‘A very worthy member of a long line of distinguished war films made in this country,’ said the Manchester Guardian. ‘It is extraordinary though that an American company should have made it – and should be the first to honour the Royal Marines.’

It was whilst riding high on the success of Cockleshell Heroes that Broccoli and Allen negotiated a new contract with Columbia to produce a total of nine films over the next three years at an overall cost of £6 million.62 It was a deal that showed just how much faith Columbia had in the two producers to deliver the right product.

There was another reason for Cubby to feel in a happy mood. Early in his marriage, doctors had broken the news that Nedra was unable to have children, a heartrending revelation that led to the adoption of a newborn child in 1954, christened Tony Broccoli. Imagine the couple’s delight, especially given the traumas of Nedra’s past, when she announced an unexpected pregnancy and later gave birth to a healthy baby girl, which they called Tina, after Cubby’s mother.63

Warwick’s next production was by far the company’s strangest. The Gamma People was a real oddball of a film combining elements of horror, science fiction, political thriller and comedy. The story is of two journalists who find themselves stranded in a fictional European bloc country ruled over by a Nazi-like scientist performing sinister gamma ray experiments on children. Evolved from a script written in the early 1950s by Robert Aldrich, future director of What Ever Happened to Baby Jane? (1962) and The Dirty Dozen (1967), the film is a weak commentary on the Cold War climate of the time, though Leslie Phillips and Paul Douglas, a former New York sportswriter, make an endearing team and the Austrian backdrop is nicely captured by Ted Moore’s camera. Director John Gilling would later become noted for his work at the famous horror studios of Hammer.

As work commenced on The Gamma People, Cubby and Allen were tying up a two-picture deal with Victor Mature, the star of such biblical epics as Samson and Delilah (1949) and The Robe (1953). Mature was a little strapped for cash at the time, which might explain his readiness to leave Hollywood and work in England. Arriving in London, Mature told a journalist about his financial plight and within days fan letters arrived at the studio containing money, which the grateful star sent back.64

Mature’s first film for Warwick was Safari, directed by Terence Young, an adventure-melodrama in which he played a big game hunter in Kenya opposite a pre-Psycho Janet Leigh. Another big game hunter film, Odongo, starring Rhonda Fleming, was scripted and cast in five weeks by Cubby and Allen in order for it to be shot back-to-back with Safari on the same African locations during late autumn 1955.65 Africa presented itself as an ideal ‘exotic’ location for Warwick, since the producers could take advantage of an Empire development scheme that provided British grants to filmmakers working in Commonwealth nations.

The story of Safari took place against the backdrop of the Mau Mau uprising, which was still going on when Cubby and his crew touched down at Nairobi airport. Sometimes the troubles got a little too close for comfort, such as when a crude bomb exploded outside Mature’s hotel room. According to Janet Leigh, the second unit was actually attacked by the Mau Mau and several of the crew were robbed, including Janet herself.66

There were other discomforts, too, like dysentery, understandable in such a far-flung location. Terence Young suffered so badly from heat exhaustion it brought on a fever; gamely, he carried on. Then the plane carrying the film’s wardrobe and props crashed in Khartoum and everything had to be replaced.67

Mature had confessed to Cubby that he was ‘a devout coward’, although no one blamed him when he asked for two armed guards to protect him round the clock. When the crew moved out into the bush, Mature insisted on sharing a tent with Cubby. ‘He reasoned that if anybody was going to be safe, it would be the producer.’68 As for being asked to wade through a crocodile-infested river in order to rescue his leading lady, Mature would only do it if Cubby went in first. To placate a star, these are the kinds of things a producer often finds himself doing.

Once in the water, Cubby felt something brush past his leg and he flinched. Luckily it was only a catfish. Looking across at Mature gingerly treading water, it was obvious his star was still not fully committed to what he was supposed to be doing and needed a bit of gentle encouragement. ‘For chrissakes, Vic,’ Cubby yelled. ‘Go out there, pick up Janet in your arms and put her on the beach.’ Before too long there was another disturbance in the water and something brushed past Mature’s leg, only this time it was much bigger. ‘Screw this!’ he shouted and jumped back onto the riverbank.69

Safari is an interesting film in regard to Warwick’s relationship with an organisation called Film Finances, which began on The Red Beret and continued until their final picture. Film Finances was the world’s leading completion guarantor since its formation in 1950. Its function was to guarantee delivery of a film to the distributor. To this end, it acted as both mediator and production consultant. It required the independent producer, in this case Broccoli and Allen, to undertake the most rigorous preparation before a film went on the floor and continued to monitor the progress of the production closely. If a production exceeded its budget, they would then step in and provide the extra finance necessary to complete the film.