March 2012

Encounters

Shane Maloney and Chris Grosz

George Lazenby & Cubby Broccoli

Words: Shane Maloney | Illustration: Chris Grosz

The railway worker’s son from Goulburn had done pretty well for himself since arriving in London in 1964. Within three years, the knockabout car salesman, mechanic and ski instructor was one of the most expensive male models in the world. European Marlboro Man, no less. Life as a clothes peg was swinging. But at 28, George Lazenby had just one burning desire. He wanted to be James Bond.

The job was up for grabs. After five films, Sean Connery decided he was getting typecast and short-changed. But the franchise was a goldmine and plans for the next instalment proceeded, minus a star. It was an open field.

Although he had no acting experience, Lazenby was not short on he-man self-confidence. He bought a suit from Connery’s Savile Row tailor, a Rolex Submariner wristwatch and took to having his hair trimmed by the barber patronised by Albert ‘Cubby’ Broccoli.

Broccoli was the man to know. Once a gopher for Howard Hughes, he’d set up as a producer in London in 1951 to tap into British government film subsidies. After a string of forgettable but profitable action adventure movies, he went bust when his self-financed film about Oscar Wilde proved impossible to promote in America. Never saying never again, he formed a partnership with Canadian Harry Saltzman to secure the film rights to Ian Fleming’s bestselling books. United Artists agreed to stump up the cash.

Lazenby’s efforts eventually made an impression. Called to audition, he wore his snappy suit and 007 wristwatch. Tall, athletic, masculine, he bounded up the stairs, lied about his acting experience, demanded payment for a screen test, punched a stuntman in the face and, in the ultimate litmus test, turned heads in the typing pool.  

On Her Majesty’s Secret Service has James Bond save the planet from Telly Savalas and his henchwomen, get groovy with Diana Rigg, and wear a kilt. But even before shooting began, the Australian action man was acting the prima donna. He wanted the international superstar treatment and he wanted it now. And anyway, this Bond thing was getting a bit passé. Sometimes he felt like the only man in England with short hair.

Cubby found him “a pain in the neck”, particularly when he announced on American television on the eve of the film’s release that he wouldn’t be doing any more Bonds. But he offered him a seven-movie deal anyway. Lazenby didn’t think $28 million was enough. He went on a cruise instead. Apart from the regrets, he has no regrets.

Shane Maloney and Chris Grosz

Shane Maloney is a writer and the author of the award-winning Murray Whelan series of crime novels. His 'Encounters', illustrated by Chris Grosz, have been published in a collection, Australian Encounters.

Chris Grosz is a book illustrator, painter and political cartoonist. He has illustrated newspapers and magazines such as the Age, the Bulletin and Time.

Cover: March 2012

March 2012

From the front page

Pub test: the republic

First things first, say punters in Matt Thistlethwaite’s electorate

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‘Westwood: Punk, Icon, Activist’, an incomplete portrait

This nostalgic documentary about the eminent designer raises more questions than it answers

Still from The Old Man and the Gun

‘The Old Man and the Gun’ and the outlaw Robert Redford

David Lowery’s new film pays too much tribute to the Sundance Kid

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The magnificently messy ‘House of Cards’

The show that made Netflix a major player comes to a satisfying and ludicrous end


In This Issue

Quarterly Essay 45, 'Us and Them: On the Importance of Animals', by Anna Krien, Black Inc., 125pp; $19.95

Us and Them: On the Importance of Animals

Lachlan Murdoch prepares to see his father, London, July 2011. © Paul Hackett/Reuters

The Reluctant Son

Lachlan Murdoch and News Corp

'The Clock' by Christian Marclay, Museum of Contemporary Art, Sydney, 29 March to 3 June 2012

'The Clock' by Christian Marclay

Billionaire activists: Clive Palmer, Andrew Forrest and Gina Rinehart. © Philip Norrish/Newspix; Greg Wood/AAP; Tony McDonough/AAP

The 0.01 Per Cent: The Rising Influence of Vested Interests in Australia


More in Encounters

Words: Shane Maloney | Illustration: Chris Grosz

Rupert Murdoch & Kamahl

Mark Oliphant & J Robert Oppenheimer

John Monash & King George V

John Howard & Uri Geller


Read on

Image from ‘Westwood: Punk, Icon, Activist’

‘Westwood: Punk, Icon, Activist’, an incomplete portrait

This nostalgic documentary about the eminent designer raises more questions than it answers

Image from ‘House of Cards’

The magnificently messy ‘House of Cards’

The show that made Netflix a major player comes to a satisfying and ludicrous end

Image of Scott Morrison and the ScoMo Express

The ScoMo Express backfires

The PM’s farcical bus tour cements spin over substance as his brand

Image from ‘Suspiria’

Twisted sisters: Luca Guadagnino’s ‘Suspiria’

Sentimentality ruins the magic of this otherwise unsettling and actively cruel film


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