#film on her majestys secret service

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but he was surprised to find that all this nest-building gave him a curious pleasure, a feeling thatbut he was surprised to find that all this nest-building gave him a curious pleasure, a feeling thatbut he was surprised to find that all this nest-building gave him a curious pleasure, a feeling thatbut he was surprised to find that all this nest-building gave him a curious pleasure, a feeling thatbut he was surprised to find that all this nest-building gave him a curious pleasure, a feeling that

but he was surprised to find that all this nest-building gave him a curious pleasure, a feeling that he had at last come to rest and that life would now be fuller, have more meaning, for having someone to share it with. togetherness! what a curiously valid cliche it was!


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The Woman Dies by Aoko Matsuda / The Making of OHMSS by Charles HelfensteinIn 1963, when Chicago jouThe Woman Dies by Aoko Matsuda / The Making of OHMSS by Charles HelfensteinIn 1963, when Chicago jouThe Woman Dies by Aoko Matsuda / The Making of OHMSS by Charles HelfensteinIn 1963, when Chicago jouThe Woman Dies by Aoko Matsuda / The Making of OHMSS by Charles HelfensteinIn 1963, when Chicago jouThe Woman Dies by Aoko Matsuda / The Making of OHMSS by Charles HelfensteinIn 1963, when Chicago jouThe Woman Dies by Aoko Matsuda / The Making of OHMSS by Charles HelfensteinIn 1963, when Chicago jouThe Woman Dies by Aoko Matsuda / The Making of OHMSS by Charles HelfensteinIn 1963, when Chicago jou

The Woman Dies by Aoko MatsudaThe Making of OHMSS by Charles Helfenstein

In 1963, when Chicago journalist Roy Newquist told [Ian] Fleming of his displeasure with killing Tracy off in OHMSS, Fleming defended the tragic ending: “Well, James Bond couldn’t really be married. I can’t have him settling down. His wife would be irritated with his constantly going abroad, she’d change his way of life, his friends, and Bond would worry about the measles epidemic back home and his own faithfulness and – no, it can’t be done.” Fleming went on to explain that [Raymond] Chandler ran into the same problem with [his character] Marlowe, who was going to marry a French Countess and slowly lose his identity in catering to her wishes: “He’d take to the bottle, and between her wealth and his faults, the personality of Marlowe would be quashed. So in OHMSS I took the easy way out. Tracy is no more.”


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