The World Is Not Enough: Pierce Brosnan’s Midnight Brioni Tuxedo as Bond

Pierce Brosnan as James Bond in The World is Not Enough (1999).
Photo by Keith Hamshere/Sygma via Getty Images.

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Pierce Brosnan as James Bond, sophisticated English spy

Baku and Istanbul, December 1999

Film: The World Is Not Enough
Release Date: November 8, 1999
Director: Michael Apted
Costume Designer: Lindy Hemming
Tailored by: Brioni

WARNING! Spoilers ahead!

Background

On the 00-7th of November, today’s post celebrates Pierce Brosnan’s third and penultimate movie as James Bond—The World Is Not Enough—which premiered 25 years ago tomorrow on November 8, 1999 at the Fox Bruin Theater in Los Angeles.

With most of Ian Fleming’s original material already adapted by the end of Timothy Dalton’s tenure, Brosnan’s Bond films relied on original storylines with nods to earlier works in the franchise. In the case of The World Is Not Enough, this applies to the title itself—the English translation of the Bond family coat of arms (“Orbis non sufficit”) mentioned in the novel and film On Her Majesty’s Secret Service.

Neal Purvis, Robert Wade, and Bruce Feirstein crafted the original screenplay for The World Is Not Enough, centered around Bond’s assignment to protect heiress Elektra King (Sophie Marceau) from Renard (Robert Carlyle), an international terrorist who had kidnapped her years earlier. As the stakes of his mission grow, he recruits the help of an old enemy-turned-friend Valentin Zukovsky (Robbie Coltrane) and the improbably named—and improbably cast—nuclear physicist Dr. Christmas Jones (Denise Richards).

A hallmark of the Bond franchise are its aspirational sequences that highlight both the danger and elevated lifestyle of James Bond’s missions, exemplified in The World Is Not Enough as he strides into a swanky casino in an exotic locale, clad as usual in an impeccable tuxedo with a Walther holstered under his arm and a dry martini in his hand. After a Bollinger-soaked romantic interlude with an impossibly beautiful woman, Bond’s back on the trail of his dangerous foe, who only narrowly escapes as Bond saves the life of yet another impossibly beautiful woman following a gunfight. Continue reading →

Succession: Kendall’s Brown Leather Tom Ford Jacket

Jeremy Strong as Kendall Roy on Succession (Episode 4.07: “Tailgate Party”). Photo credit: David Russell.

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Jeremy Strong as Kendall Roy, ousted media conglomerate exec and self-described defender of democracy

New York City, Fall 2020

Series: Succession
Episode: “Tailgate Party” (Episode 4.07)
Air Date: May 7, 2023
Directed by: Shari Springer Berman & Robert Pulcini
Creator: Jesse Armstrong
Costume Designer: Michelle Matland

WARNING! Spoilers ahead!

Background

It’s Election Day in America—a tense, centuries-old national tradition determining the fate of all those in the country not privileged enough to see politics as a mere game… which is exactly how the billionare Roy family experiences it on Succession, hosting their usual pre-election “tailgate party” fueled by money, gossip, and flag-waving finger foods.

Hosted at the apartment shared by Siobhan “Shiv” Roy (Sarah Snook) and her sleepy husband Tom Wambsgans (Matthew Macfadyen), the party provides an opportunity for the Roys to rub elbows with political insiders and industry bigwigs to position themselves for success over the next four years.

“They’re not all crypto-fascist and right-wing nutjobs, we also have some venture capital Dems and centrist ghouls,” Kendall (Jeremy Strong) observes of their late father’s guest list. “Dad’s ideological range was… wide.” Continue reading →

The Mechanic: Charles Bronson’s Deck Jacket

Charles Bronson in The Mechanic (1972)

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Charles Bronson as Arthur Bishop, disciplined but depressed contract killer

Los Angeles, Fall 1972

Film: The Mechanic
Release Date: November 17, 1972
Director: Michael Winner
Costume Designer: Lambert Marks

WARNING! Spoilers ahead!

Background

Action star and Army veteran Charles Bronson was born 103 years ago today on November 3, 1921. Born and raised in the Allegheny Mountains of western Pennsylvania where he mined coal before joining the U.S. Army Air Forces during World War II, Bronson brought his tough guy bona fides to supporting roles in 1960s war films and westerns like The Magnificent Seven (1960), The Great Escape (1963), The Dirty Dozen (1967), and Once Upon a Time in the West (1968).

Bronson emerged as the world’s top box-office star by the early 1970s during collaborations with director Michael Winner that included Chato’s Land (1972), The Mechanic (1972), The Stone Killer (1973), and Death Wish (1974). Their sophomore collaboration, The Mechanic, may be my favorite of this group. Conceptualized and written by Lewis John Carlino, the story centers around the skilled but anxiety-ridden assassin Arthur Bishop, whose personal and professional comfort is disrupted after hiring a hotheaded protégé.

True to Carlino’s nuanced original vision, the first sixteen minutes of The Mechanic are devoid of dialogue as we follow the solitary Arthur through the motions of one of his artistic assassinations. Continue reading →

Joseph Cotten in The Third Man

Joseph Cotten as Holly Martins in The Third Man (1949)

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Joseph Cotten as Holly Martins, moderately successful writer

Vienna, Fall/Winter 1948

Film: The Third Man
Release Date: September 1, 1949
Director: Carol Reed
Wardrobe Credit: Ivy Baker

WARNING! Spoilers ahead!

Background

I’m lurking in the shadows of moody, war-torn Vienna today to kick off #Noirvember with The Third Man, one of my favorite films noir. Celebrating its 75th anniversary this year, The Third Man was directed by Carol Reed from a screenplay by Graham Greene.

American pulp novelist Holly Martins (Joseph Cotten) travels to the British sector of Allied-occupied Vienna to accept a job working for his old pal Harry Lime (Orson Welles), only to learn upon his arrival that “the best friend he ever had” is reported dead and buried after an automobile accident on his street. (“Is that what you say to people after death? ‘Goodness, that’s awkward’,” Holly responds to a new acquaintance’s platitudinous condolences.)

As a mostly penniless writer of “cheap novelettes”, Holly has little else to do but remain in Vienna and try to discover what happened to Harry, whom he soon learns from Royal Military Police officer Major Calloway (Trevor Howard) was “about the worst racketeer to ever make a living in this city.” Despite a contentious relationship with the major, Holly discovers he has a fan in his assistant, Sergeant Paine (Bernard Lee), who apologizes for having to subdue the writer and assures him that he’s read a few of his Western novels after helping him back to his feet. His personal investigation plunges him into the duplicitous underworld of the Austrian black market with characters ranging from Harry’s shady colleagues to his refugee girlfriend Anna Schmidt (Alida Valli).

With its iconic score by zither player Anton Karas, Welles’ memorable performance with his “cuckoo clock” monologue, and Academy Award-winning black-and-white cinematography by Robert Krasker, The Third Man remains not just one of the most acclaimed examples of classic film noir but also considered one of the greatest movies of all time. Continue reading →

Freddy Krueger in A Nightmare on Elm Street

In the spirit of Halloween tomorrow and following a suggestion received from a BAMF Style reader earlier this year, today’s post explores the costume of a cinematic horror icon who needs little introduction.

Robert Englund as Freddy Krueger in A Nightmare on Elm Street (1984)

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Robert Englund as Freddy Krueger, supernatural serial killer

Suburban Ohio, Spring 1981

Film: A Nightmare on Elm Street
Release Date: November 9, 1984
Director: Wes Craven
Costume Designer: Dana Lyman

WARNING! Spoilers ahead!

Background

Next month will mark the 40th anniversary of A Nightmare on Elm Street, Wes Craven’s iconic slasher film that introduced the world to the terrifying Freddy Krueger, the pizza-faced killer who can target his victims through their dreams—a concept inspired by the mysterious deaths among Hmong refugees who mysteriously died in their sleep following disturbing nightmares.

Craven embodied the terror of a monster who can attack people at their most vulnerable in the form of Freddy Krueger, the undead spirit of a vindictive child murderer. I have to respect Craven’s own vindictiveness, borrowing the name from his childhood bully Fred Krueger and immortalizing it as one of the most grotesque monsters in horror cinema history. Continue reading →

Kris Kristofferson’s Brown Suede Jacket as Cisco Pike

Kris Kristofferson on the cover of his 1971 album The Silver Tongued Devil and I, photographed by Baron Wolman the previous year while in costume for Cisco Pike (1973).

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Kris Kristofferson as Cisco Pike, down-on-his-luck musician and former drug dealer

Venice Beach, California, Fall 1970

Film: Cisco Pike
Release Date: January 14, 1972
Director: Bill L. Norton
Costume Designer: Rosanna Norton

WARNING! Spoilers ahead!

Background

eighth note He’s a poet, he’s a picker, he’s a prophet, he’s a pusher, he’s a pilgrim and a preacher and a problem when he’s stoned. He’s a walkin’ contradiction—partly truth and partly fiction—takin’ every wrong direction on his lonely way back home. eighth note

In tribute to the late outlaw country icon who died one month ago today at the age of 88, I recently received a great suggestion from a BAMF Style reader to cover the style that Kris Kristofferson wore in Bill L. Norton’s directorial debut Cisco Pike. Continue reading →

The Last American Hero: Jeff Bridges in Denim

Jeff Bridges in The Last American Hero (1973)

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Jeff Bridges as Elroy “Junior” Jackson, Jr., moonshine runner and aspiring race car driver

Gaston County, North Carolina, Fall 1972

Film: The Last American Hero
Release Date: July 27, 1973
Director: Lamont Johnson
Wardrobe Credit: Alan Levine

WARNING! Spoilers ahead!

Background

Amid the playoffs ahead of the NASCAR Cup Series Playoff Race at Martinsville a week from today on November 3, today’s post celebrates one of the more underdiscussed “mooonshine movies” that also draws on the link between Appalachain bootleggers and stock car racing.

Photographed by cinematographer George Silano against an authentic North Carolina autumn in late 1972, The Last American Hero was adapted from Tom Wolfe’s Esquire essay about moonshiner-turned-NASCAR star Robert “Junior” Johnson, represented on screen by Jeff Bridges (in one of his first starring roles) as Elroy “Junior” Jackson, Jr., who speeds through the mountains of North Carolina in his ’67 Mustang to run moonshine for his father Elroy (Art Lund) and brother Wayne (Gary Busey). Continue reading →

Dillinger (1973): Ben Johnson’s Stone Summer Suit as Melvin Purvis

Ben Johnson as Melvin Purvis in Dillinger (1973)

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Ben Johnson as Melvin Purvis, experienced federal agent

Memphis, Tennessee, September 1933

Film: Dillinger
Release Date: July 20, 1973
Director: John Milius
Costume Designer: James M. George

Background

My most recent post commemorated the 90th anniversary of outlaw “Pretty Boy” Floyd’s death following a brief manhunt through rural Ohio led by federal agent Melvin Purvis, as portrayed by Christian Bale in Michael Mann’s 2009 drama Public Enemies. Two days later, on what would have been his 121st birthday, agent Purvis has inspired his second consecutive BAMF Style post—this time via Ben Johnson’s more grizzled characterization in John Milius’ bullet-riddled 1973 film Dillinger. Continue reading →

Public Enemies: Christian Bale’s Hunting Gear as Melvin Purvis

Christian Bale as Melvin Purvis in Public Enemies (2009)

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Christian Bale as Melvin Purvis, ambitious FBI agent

Columbiana County, Ohio, October 1934

Film: Public Enemies
Release Date: July 1, 2009
Director: Michael Mann
Costume Designer: Colleen Atwood

WARNING! Spoilers ahead!

Background

Ninety years ago today, a law enforcement team combined of local police and federal agents led by Melvin Purvis cornered and killed the Depression-era desperado Charles “Pretty Boy” Floyd on a farm outside of Clarkson in western Ohio. Purvis had risen to national prominence for his role in the death of bank robber John Dillinger three months earlier in Chicago, an incident that propelled the Oklahoma-born outlaw Floyd to the top of J. Edgar Hoover’s list of “Public Enemies”.

Based on Bryan Burrough’s nonfiction volume of the same name, Michael Mann’s 2009 film Public Enemies centered primarily around Purvis’ hunt for Dillinger, following Mann’s formula from films like Manhunter, Heat, and Collateral that reflects the unique mirror between two professionals on opposing sides of the law—in this case represented by the charismatic criminal Dillinger (Johnny Depp) and more laconic lawman Purvis (Christian Bale).

As a result, lip service is paid to Floyd’s notoriety but the circumstances of his October 1934 death are actually positioned a year earlier so that Bale’s Purvis leads the hunt and fires the fatal shot into “Pretty Boy” Floyd (Channing Tatum) before he’s even recruited into the Dillinger manhunt. Continue reading →

Stop Making Sense: David Byrne’s Big Suit

David Byrne models the famous “big suit” he introduced in Stop Making Sense (1984)

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David Byrne, eccentric Talking Heads frontman

Los Angeles, December 1983

Film: Stop Making Sense
Release Date: October 19, 1984
Director: Jonathan Demme
Costume Designer: Gail Blacker

Background

Widely regarded as one of the best concert films ever made, Stop Making Sense was released 40 years ago today on October 19, 1984. Independently produced by Gary Goetzman and directed by Jonathan Demme, Stop Making Sense captures Talking Heads performing over four nights in December 1983 at the Pantages Theater in Los Angeles, during their tour promoting the album Speaking in Tongues.

As the lead singer and chief songwriter, frontman David Byrne defined much of the band’s quirky personality, energetically dancing across the stage and rotating between his Martin D-35 acoustic guitar, sunburst ’63 Fender Stratocaster, and dual-humbucker Roland guitars.

In a 2020 Newsweek interview with Samuel Spencer, Byrne shared that he maintained a cohesive visual effect by “[asking] everyone to wear medium grey outfits, whatever style they preferred (a questionable decision there), but always in medium grey. It worked—this consistency meant the effects of the various lighting cues and gags were more seamless.” However, drummer Chris Frantz had to break from this neutral formula after his laundry wasn’t returned following the first night’s performance, opting for a turquoise-blue polo shirt each night to maintain continuity.

Still, it’s not Frantz’s splash of color that steals the sartorial spotlight in Stop Making Sense. After Tina Weymouth and Frantz perform “Genius of Love” from their side project Tom Tom Club, Byrne rejoins his band on stage ahead of “Girlfriend is Better”, now dressed in an absurdly oversized business suit. Continue reading →