Latest news with #RogerMoore
Daily Mail
11 hours ago
- Automotive
- Daily Mail
Roger Moore's favourite Bond car is currently being auctioned... and it's NOT an Aston Martin
There are plenty of iconic Bond cars. The Aston Martin DB5 from too many films in the franchise to list, the Lotus Esprit-turned submarine from The Spy Who Loved Me, and the Renault 11 taxi that has its roof lopped off in A View To A Kill. But none of these - or any other Aston Martin used in a 007 flick - was named by Roger Moore as most loved Bond car of all time. Instead, the one he said was his all-time favourite was the Citroen 2XV from the great chase scene in For Your Eyes Only (1981). And one of the motors used in the all-action sequence is currently available at auction after it was rescued from a Paris scrapyard. It is the only 2CV from the movie to ever be offered for sale at auction, despite being one of six cars trashed by the film crew to capture the seven-minute chase with Hector Gonzalez's men giving chase in a pair of Peugeot 504s through the outskirts of Madrid, Spain. The month-long online auction is already running at up to $120,000 (£89,000), though the Dallas-based company overseeing its sale is hoping for it to reach half a million dollars (around £370,000) by the time it ends on 17 July. It is the only 2CV from the movie to ever be offered for sale at auction, despite being one of six cars trashed by the film crew to capture the seven-minute chase scene The chase scene is remembered as one of the best Bond car sequences of all time. Moore jumps into the passenger seat of Melina Havelock's (Carole Bouquet) dinky Citroen to escape the fun fire of Gonzalez's heavies. To avoid a head-on collision with an oncoming coach in a small village, Havelock's evasive manoeuvre results in the 2CV rolling onto its roof. With the help of a few locals, 007 flips the little Citroen back onto its four wheels and takes to the wheel of the diminutive French city car before receiving a bump start. Out onto a snaking mountain road, the two Peugeots are in hot pursuit of the sun-colour Citroen, with one side-swiping Bond's 2CV into another barrel roll down the side of the pass, where it lands - partially crushed - on all fours before Bond puts it into reverse, driving backwards towards the next hairpin bend. After disposing of one of the pursing 504s, Bond goes off-road through olive groves, delivering the famous line: 'Love a drive in the country, don't you?', before leaping over the remaining Peugeot and its henchmen in the seemingly indestructible French motor. The scene shows the 2CV first rolling onto its roof in the village and then barrel rolling down the side of a mountain pass - but Bond still manages to keep driving. Six Citroens were used for the seven-minute sequence, with all of them sustaining heavy damage To capture the high-octane scene, all six specially converted 2CVs were battered. This particular car started out as the pristine vehicle used at the very beginning of the chase scene and - despite sustaining plenty of damage - was one of three that withstood the destruction. The production team customised three of the six cars for filming - though not all were the same. They were fitted with a more powerful Citroën GS 1,015cc engine not commercially available in a 2CV (which used a smaller 602cc powertrain), adapting and reinforcing the interior and giving them reproduction Spanish-style number plates with the vinyl lettering M-1026-A. A number plate made in England prior to filming was identifiable by small print on the plate which read 'TUCKERS BS AU 145'. Once filming was complete, the three modified 2CVs had very different journeys; one was sold to UK collector Nigel Wild; another was retained by Citroen for its private collection; and the third - this car - was sent to a vehicle recycling facility in Paris before it was recovered This car was used specifically for the driving shots with Moore and Bouquet, and so was not fitted with a roll cage as it would have been visible on camera. Years later when recalling the famous chase sequence, director John Glen said: 'I love that scene; it was the complete opposite of what one would expect, it's usually an Aston Martin, so I thought let's go the absolute opposite end of the spectrum with a Deux Chevaux.' When interviewed on BBC's Top Gear, Roger Moore proclaimed it to be his favourite Bond car and later wrote in his memoir: 'It was huge fun to drive down through olive groves in.' For Your Eyes Only was officially released on 26 June 1981 and was the 14th film in the Bond franchise While the scenes are set in Spain, the filming took place on the island of Corfu in September 1980. French precision stunt driver Rémy Julienne and his team handled the action shots using the other identical cars. Once filming was complete, the three modified cars had very different lives; one was sold to UK collector Nigel Wild; another retained by Citroen for its private collection; and the third - this car - was sent to a vehicle recycling facility in Paris. It was recovered by Philippe Wambergue, a collector and racer of Citroen cars, and acquired by the current owner in 2004. To ensure this was one of the genuine Bond cars, the owner had Nigel Wild inspect this 2CV at Citromobile - a Citroen car exhibition in The Netherlands - where the owner of one of the other Bond-driven vehicles confirmed its authenticity. As this 2CV was rescued from a scrapyard, it has been fitted with replacement but faithful period yellow doors and boot lid, yellow roof, and seats. Areas of yellow paint are peeling, and it shows signs of production wear to both the bodywork and interior. Heritage Auctions describes it as a 'prop car for display purposes only' and not a roadworthy vehicle. The winning bidder will be presented with a certificate of authenticity for the motor too. 'The wonderful thing about this car is that it is imbued with the daredevil spirit of Bond,' said Alastair McCrea, Heritage's director of entertainment & pop culture for the UK and Europe. 'The car chase is one of the most creative and imaginative action sequences of any Bond film, and it is easy to understand why Roger Moore favoured this car over some of the flashier models. 'Because the other surviving models from the film are in permanent homes, this will be the only opportunity to acquire one of the 2CVs that actually appeared on screen, and this is the one that had Roger Moore in it.' Heritage Auctions describes it as a 'prop car for display purposes only' and not a roadworthy vehicle. The winning bidder will be presented with a certificate of authenticity for the motor too Earlier this year, Citroen's global chief executive Thierry Koskas told This is Money that the 2CV could be reborn as a 21st century electric car. In an interview with us, he said it will have the key virtues which made the original 2CV such a favourite first time around: simplicity, daring, comfort through clever suspension designed to deal with rough roads, practicality, value for money and – important in the modern era – strong green credentials. Customers can expect to see a model on the market within two years - from 2027 - and other famous Citroen nameplates could also make a sensational return to the market, he indicated. 'We want some of our iconic models to further lift the Citroen brand,' he said. 'We have a fantastic heritage – including models like the DS and the 2CV.'
Telegraph
15-05-2025
- Entertainment
- Telegraph
‘Roger did not get the joke': Why A View to a Kill is Bond at his ridiculous best
There's a rule about the Roger Moore Bond films: the more ridiculous and less believable it is that Rodge himself is performing the stunts – whether he's skiing off a 7,000ft mountain in The Spy Who Loved Me or clambering across a train in Octopussy – the more entertaining he is. That's never truer than in A View to a Kill, Moore's final outing as 007, which premiered 40 years ago. Rodge – a less-than-spritely 57 by this point – escapes KGB agents by snowboarding through the mountains of Siberia (cut to a cover of The Beach Boys ' California Girls) and dangles from the swinging ladder of a high-speed fire engine. In the end, he fights Christopher Walken at 750 ft on the Golden Gate Bridge. Moore's age is a common criticism of A View to a Kill, which – it's fair to say – is not the most critically adored Bond film. Moore himself named A View to a Kill as his least favourite due to violence. And when I ask director John Glen where A View to a Kill sits within his five films as director, he responds, 'Roger was knocking on a bit. We all knew, including Roger, that it was his last Bond.' But A View to a Kill is a perfect swansong for the japery of the Roger Moore era. All the distinct pleasures of Moore's tenure are present and correct and magnified by the fact that Bond is – in Moore's own words – 'a bit long in the tooth'. There's thrilling stunt work by stunt men who are definitely not Roger Moore; knowing gags that raise an eyebrow to the audience; the queasy canoodling of any young woman within his vicinity; and the relentless innuendo ('I'll fill you in later, Moneypenny… I'm an early riser myself…I got off eventually', etc). It's all right there in the pre-title sequence. After the Beach Boys snowboard escape – a brilliantly inventive chase – Bond sneaks into an iceberg-shaped submarine, immediately patronises the delectable helmswoman ('Be a good girl would you and put her in automatic') then bumps the controls so she falls onto his bed. But 57 or not, Bond is still Bond, and when the titles kick in – a day-glo sequence set to the walloping synths of the Duran Duran theme – it's absolutely electric, charged by an excitement that's unique to Bond films. A View to a Kill also has two of the great Eighties Bond baddies: Walken's Max Zorin, a maniac industrialist who was born of a Nazi genetics experiment (naturally); and Grace Jones as Bond girl-cum-henchwoman, May Day. In the film, May Day parachutes off the Eiffel Tower – the film's signature stunt, performed by BJ Worth – while behind the scenes Grace Jones got on Rodge's wick. 'I've always said if you've nothing nice to say about someone, then you should say nothing,' wrote Moore in reference to Jones. 'So I'll say nothing.' Roger Moore had hinted that every Bond film would be his last for several years before A View to a Kill. It was all a bit of a game to increase his pay cheque next time around – to add a few more double-Os, perhaps. But writing in his memoir, Moore reflected that he really was taking stock of his career and thinking about winding down when producer Albert 'Cubby' Broccoli asked him to play Bond again. Moore was game. 'I was pretty fit and still able to remember lines,' he wrote. The script – by Richard Maibaum and co-producer Michael G Wilson – had little to do with the Ian Fleming short story, From a View to a Kill, other than the title and Paris setting. In the film, Zorin plans to kickstart an earthquake that will wipe out Silicon Valley, allowing him to take control of the booming microchip business. Yes, Moore's flared tuxedo may have been a touch behind the times, but Zorin was of the technological moment. Forty years on, Zorin now looks like the original tech bro, prefiguring all those jokes about how tech billionaires such as Elon Musk are almost real-life Bond villains, with their plans to travel to space and conquer Mars. 'Maybe he saw my films!' says John Glen, laughing. Zorin's plans were foiled before production began, though. The famed 007 stage at Pinewood Studios, which was set to hold Zorin's network on mines, burned down in June 1984, while being used for Ridley Scott's Legend, and had to be rebuilt. As for Zorin himself, David Bowie was offered the role but declined – 'I didn't want to spend five months watching my double fall off mountains,' Bowie said – and Sting had meetings. Christopher Walken, however, was a different class. He was already an Oscar winner by this time, having won a Best Supporting Actor statue in 1979 for The Deer Hunter. 'They sent me a script, it seemed like a good job,' Walken later recalled. 'I knew there were lots of reasons to do it. How many times does an actor get to be in a Bond film? That would just be fun to do that.' With his off-world stare and trademark lilt ('You am- USE me, Mr Bond'), Walken is an elite level Bond villain. A by-product of being genetically engineered by Nazis, we are told, is also being psychotic. He drops uncooperative business associates out of his airship and laughs to himself as he machine-guns an army of his own workers. Moore later pointed to that moment as the reason A View to a Kill was his least favourite Bond. 'Too violent,' Roger said in 1996. 'There was no slow-motion, blood-spewing Sam Peckinpah action, but with the machine-guns and thousands of people getting blown away, the violence was too gratuitous.' Walken certainly seems to relish in the violence of the massacre. 'I just let him go,' says Glen about Walken's machine-gun performance. Elsewhere, Zorin kills Patrick Macnee's MI6 agent Sir Godfrey Tibbett, putting an end to what was essentially a dream team pairing of James Bond and John Steed (whom Macnee played in ITV's The Avengers) and forcing Moore's most serious moment in the film. The story begins with 007 attending a horse auction at Zorin's estate. Zorin is both a racehorse breeder and cheat – the horses are doped by his Nazi scientist creator. Bond wanders around spying on Zorin with massive polarising sunglasses – the most glaringly conspicuous bit of gadgetry in Q's arsenal – and chats up much younger women. 'I was hoping we'd spend the evening together,' he tells sexy geologist Stacey Sutton (Tanya Roberts) 60 seconds after meeting her. Bond meets his match in the bedroom, however, when he slips between the sheets with Grace Jones's May Day, who looks like she could ravage Moore to a pulp. During filming. Jones surprised him in bed with a menacingly large dildo. Moore did not appreciate it. 'We played a few tricks, as we always did on the Bond films,' says John Glen. 'She was in on it... It's the first time I'd ever known him not to take the joke. He got a bit upset about it, I must say. Normally it was him playing a joke on everyone else.' Though Grace Jones wrote glowingly about Moore in her autobiography, calling him a 'softie', Moore was less complimentary. He described in his memoir how she played loud heavy metal in her dressing room, which ruled out an afternoon nap. 'I did ask Grace to turn it down several times, to no avail,' Moore wrote. 'One day I snapped. I marched into her room, pulled the plug out and then went back to my room, picked up a chair and flung it at the wall. The dent is still there.' The scenes at Zorin's estate were filmed at Château de Chantilly, north of Paris. Glen recalls that Walken had a tendency to get bored between set-ups and wander off. 'There was a lot of waiting around,' he says. 'Christopher would go off for a walk in the hundreds of acres of woods and we'd have to send search parties. In the end I delegated one assistant director to watch him all the time so we could keep tabs by radio. It became a game. Christopher would watch this assistant and the moment the assistant took his eyes off him, he was gone!' Production also visited Paris to shoot major action sequences, including May Day's BASE jump from the Eiffel Tower. Parachuting off the Eiffel Tower was suggested by stuntman BJ Worth during Moonraker, and had appeared in a draft of the Moonraker script. With the stunt greenlit for A View to a Kill, Worth and skydiving pal Don Caltvedt performed 22 jumps from a hot air balloon. They had to get the precise timing to safely open the parachute from 900 ft and clear the outward slope of the tower. They worked out that they needed to pull their chutes after three seconds, which they timed with the changing pitch of the wind in their ears. But getting permissions in Paris was complicated. As well as the Eiffel Tower BASE jump, they needed approval for veteran stunt driver Rémy Julienne to drive a cut-in-half Renault 11 around a one-way system (going the wrong way, of course) along the Seine. The filmmakers had to schmooze numerous local authorities for the necessary permissions. But plans were almost compromised when in April 1984, ahead of filming, a London couple sneaked past security measures at the tower and jumped with parachutes hidden in backpacks. Paris authorities were concerned that the couple got the idea after hearing about the upcoming 007 stunt, and almost withdrew the film's permissions. Fortunately, BJ Worth was allowed to make the jump, which he did from a driving board-like platform. (Glen recalls his reaction to first seeing the platform during practices: 'I said, 'You can't use that! This is a world-renowned landmark! You can't change the silhouette of it!') Incredibly, Worth fell asleep on the scaffolding at the top of the tower while he waited 15 minutes for a camera reload. His adrenaline had been pumping so hard in the build-up that he shut down as soon as there was a delay. The jump was a success and Cubby Broccoli declined to risk filming a second attempt. However, backup jumper Don Caltvedt was miffed that he didn't get his turn, so crept up the tower early in the morning with a friend and craftily jumped without anyone knowing – or so he thought. The crew was already setting up for the next day's shooting and Caltvedt plummeted past Glen and his team. Worth fired him on the spot, and the Paris authorities almost pulled permissions once again 'I was very upset about that,' remembers Glen. 'It was incredibly irresponsible to jeopardise our shoot in Paris. To do jumps on the Eiffel Tower we had to get top permissions and had to assure them that we wouldn't do anything to embarrass them.' There were no such problems with permissions when the production moved to San Francisco for the second half of the film. The San Francisco mayor, Dianne Feinstein, was happy to host Bond and was especially enamoured by Roger Moore. 'It was lucky and fortunate enough that she was one of the rare people that preferred me as Bond instead of Sean [Connery],' Moore later said on a making of documentary. 'And so, we got all sorts of permits.' 'Her first question was, 'How much are you going to spend in the city?'' says Glen. 'We said, 'About four million'. She said, 'Do anything you like!' When we told her we wanted to burn down City Hall she said, 'If it's OK by the fire chief, it's OK by me.'' Rather than actually burning down San Francisco City Hall, Glen and his crew lined the roof with gas burners. (Torching the building is one of several Zorin plans to bump off Bond rather than just shooting him on the spot. See also: challenging 007 to a horse race rigged with traps, and locking him in a car and pushing it into a lake). In the following action sequence, Bond and Stacey Sutton steal a fire engine and race through San Francisco. Stacey steers as Bond clings to the ladder. It took almost three weeks to complete, with shots of a stuntman hanging off the ladder and dodging oncoming traffic, spliced with close-ups of Moore. Critics and fans have poked fun at A View to a Kill for several shots of stunt doubles who are quite obviously not Roger Moore – but that's all part of the fun of it. Glen laughs about the fact he switched Moore for stunt double Martin Grace at every opportunity. 'Roger wasn't particularly athletic,' says Glen. 'He couldn't really run very well. We'd always stick Martin Grace in where we could to double for him!' It certainly wasn't Moore at the top of the Golden Gate Bridge for the climactic punch-up between Bond and Zorin, after Zorin's airship gets stuck on the north tower. Though Moore did climb up one of the replica bridge sections built at Pinewood. 'I wasn't paid enough to climb the real one,' he later said. Much of the fight is taken from shooting on the Pinewood replicas, but the shots that are taken from the top of the Golden Gate Bridge are stomach-lurchingly impressive – Martin Grace doubles for Moore on the massive sloping cables. 'We were limited with what we could do because we were right above all the traffic,' says Glen. 'But we did a bit of stuntmen fighting with safety wires on them.' Zorin, unhinged until the end, laughs as he falls to his death from the bridge. Walken was laughing for real. 'I was hanging there and I was about to fall off the bridge on to some mattresses,' he said. 'It struck me as funny, that's all.' A View to a Kill premiered in San Francisco on May 22, 1985, the last of Roger Moore's seven films as 007. Though not Moore's finest outing, A View to a Kill still demonstrates the magic of his tenure – his screen persona. That's why even at 57, he gets away with it. You don't need to believe that Roger Moore can kill a man with his bare hands or snowboard away from the KGB. The film would also facilitate a necessary change for the Bond series. After A View to a Kill, the Bond team set out to find a more serious actor and ultimately cast Timothy Dalton for 1987's more Fleming-esque The Living Daylights, which Glen also directed. 'We had to make a radical change,' says Glen. 'Roger's Bonds were light-hearted. Timothy Dalton's Bond was more akin to Sean Connery. We were going back to the darker, laconic type of Bond. We had to go back to the original Fleming concept… We'd had our fun with Roger.'
The Independent
07-05-2025
- Entertainment
- The Independent
Wartime entertainer, 98, recalls how young Roger Moore hitchhiked to see her
A 98-year-old wartime entertainer has recalled how her Army driver, the future James Bond actor Roger Moore, used to hitchhike across Germany to visit her during the Second World War. Hazel Kaye, who turns 99 in September, met Moore while entertaining troops working for the Entertainments National Service Association (ENSA). Ms Kaye said the then 18-year-old was 'a bit of my boyfriend' and that she has 'good memories' of him. Speaking of the moment she was introduced to Moore, she said: 'The manager came up to me and he said 'We've got a new driver for you, Hazel' and I said 'Oh, have you?' 'He said, 'Yes, he's stage-struck, he's in the Army, but he's stage-struck.' 'He said, 'He's going to travel with you', I said, 'That's lovely'. And I said 'What's his name?' and he said 'Roger Moore.' 'I had him with me as my driver for about six months. He used to come with me and get ideas from me. Anyway, he stayed with me for quite some time. 'He was a bit of my boyfriend, really, but not for too long. 'Then he went with a friend of mine, Dorothy Squires, and he married her.' 'He hitchhiked across Germany to see me several times,' Ms Kaye added. 'I've got good memories of him, very much so.' Born in 1926, Ms Kaye grew up in Watford. Her parents were both singers, something which inspired her to take up performing too. She said: 'My mother and father were singers, and they used to do the clubs, so I used to go with them. 'I loved it, so I decided it was for me too.' Ms Kaye joined the ENSA when she was 16, and quickly transferred to the Canadian equivalent, The Maple Leafs. 'They were very nice,' she said. 'They loved me because I was the only English girl in the company. So it was lovely. I enjoyed it.' Describing life as a wartime entertainer, Ms Kaye said: 'I did songs from the shows, like My Fair Lady, all the shows that were popular at the time. 'There was just myself, a comic and three dancers. That was all there was in the show. 'We travelled about in a bus, and we had the piano in the back of the bus. 'And when the fighting finished, we thought the Army should have a rest so we were waiting to get in to give them a show on the bus. 'We used to let the top down and do a show while they were waiting for a cup of tea or something.' Ms Kaye would follow the Canadian troops around in a bus, something which she said was 'quite frightening at times' witnessing moments such as the Battle of Arnhem. It meant she was following behind Canadian troops based in Germany as they helped the British troops liberate Bergen-Belsen concentration camp in 1945. Ms Kaye recalled the moment she arrived near the gates of the concentration camp. 'We knew we were getting near Belsen because of the awful smell,' she said. 'We'd just done a show, and the driver came up to us and he said, 'Oh, we're getting near a concentration camp called Belsen. Do you want to get out?' 'I didn't go in, because when the men came out, they didn't look very nice. They were absolutely yellow. 'So they didn't let the ladies in, only to the entrance to see the ladies on the floor who wanted clothes, something to wear, because they had just nothing on, really, just rags. 'It wasn't very nice. It was very sad, very sad. I'll never forget it, and I'll never forget the smell. I'll always remember that. Always remember that.' Sharing her story publicly for the first time ahead of the 80th anniversary of VE Day, Ms Kaye said she was in Reykjavik, Iceland, on VE Day in 1945. 'I didn't see London at the end of the war, because I was waiting for the boat to come back to England. So I had to wait. So I didn't see all the English excitement,' she said. 'I didn't know it (the war) had finished because we were in Iceland, which was a strange country to us. We really didn't know how excited everybody was. 'I don't remember any celebrations. I was just dying to get back and waiting for a boat to take me back. 'I eventually got back to England on a boat and a train, and my family were waiting for me at Watford Junction to meet me. 'They hadn't seen me for a long, long time because I'd been touring around. So that was the only celebration I really had.' Ms Kaye continued performing after the war, joining George Formby on a tour in Blackpool. It was during an audition in Harrow, north-west London, that she met her then-husband, fellow performer Davy Kaye. The pair had two children together. Continuing to perform up until very recently, she recalled an evening spent with The Beatles at the Royal Variety Show in 1963. She said: 'They put me on their table and they were lovely to me because they must have thought I was a star. Well, I was only selling programmes. 'Well, they were just becoming stars. And they were very nice to me, they bucked in with me and we had a lovely meal together. 'Had I known how famous they were going to be! I mean they were just coming up.'
Yahoo
07-05-2025
- Entertainment
- Yahoo
Wartime entertainer, 98, recalls how young Roger Moore hitchhiked to see her
Wartime entertainer, 98, recalls how young Roger Moore hitchhiked to see her A 98-year-old wartime entertainer has recalled how her Army driver, the future James Bond actor Roger Moore, used to hitchhike across Germany to visit her during the Second World War. Hazel Kaye, who turns 99 in September, met Moore while entertaining troops working for the Entertainments National Service Association (ENSA). Ms Kaye said the then 18-year-old was 'a bit of my boyfriend' and that she has 'good memories' of him. Second World War veteran Hazel Kaye was attached to the Entertainments National Service Association and the Canadian equivalent, The Maple Leafs (Andrew Matthews/PA) Speaking of the moment she was introduced to Moore, she said: 'The manager came up to me and he said 'We've got a new driver for you, Hazel' and I said 'Oh, have you?' 'He said, 'Yes, he's stage-struck, he's in the Army, but he's stage-struck.' ADVERTISEMENT 'He said, 'He's going to travel with you', I said, 'That's lovely'. And I said 'What's his name?' and he said 'Roger Moore.' 'I had him with me as my driver for about six months. He used to come with me and get ideas from me. Anyway, he stayed with me for quite some time. 'He was a bit of my boyfriend, really, but not for too long. 'Then he went with a friend of mine, Dorothy Squires, and he married her.' 'He hitchhiked across Germany to see me several times,' Ms Kaye added. Singer Dorothy Squires with actor Roger Moore soon after their marriage in 1953 (PA) 'I've got good memories of him, very much so.' Born in 1926, Ms Kaye grew up in Watford. Her parents were both singers, something which inspired her to take up performing too. She said: 'My mother and father were singers, and they used to do the clubs, so I used to go with them. 'I loved it, so I decided it was for me too.' Ms Kaye joined the ENSA when she was 16, and quickly transferred to the Canadian equivalent, The Maple Leafs. ADVERTISEMENT 'They were very nice,' she said. 'They loved me because I was the only English girl in the company. So it was lovely. I enjoyed it.' Second World War veteran Hazel Kaye was attached to the Entertainments National Service Association (Andrew Matthews/PA) Describing life as a wartime entertainer, Ms Kaye said: 'I did songs from the shows, like My Fair Lady, all the shows that were popular at the time. 'There was just myself, a comic and three dancers. That was all there was in the show. 'We travelled about in a bus, and we had the piano in the back of the bus. 'And when the fighting finished, we thought the Army should have a rest so we were waiting to get in to give them a show on the bus. 'We used to let the top down and do a show while they were waiting for a cup of tea or something.' Ms Kaye would follow the Canadian troops around in a bus, something which she said was 'quite frightening at times' witnessing moments such as the Battle of Arnhem. ADVERTISEMENT It meant she was following behind Canadian troops based in Germany as they helped the British troops liberate Bergen-Belsen concentration camp in 1945. Ms Kaye recalled the moment she arrived near the gates of the concentration camp. 'We knew we were getting near Belsen because of the awful smell,' she said. 'We'd just done a show, and the driver came up to us and he said, 'Oh, we're getting near a concentration camp called Belsen. Do you want to get out?' 'I didn't go in, because when the men came out, they didn't look very nice. They were absolutely yellow. 'So they didn't let the ladies in, only to the entrance to see the ladies on the floor who wanted clothes, something to wear, because they had just nothing on, really, just rags. 'It wasn't very nice. It was very sad, very sad. I'll never forget it, and I'll never forget the smell. I'll always remember that. Always remember that.' ADVERTISEMENT Sharing her story publicly for the first time ahead of the 80th anniversary of VE Day, Ms Kaye said she was in Reykjavik, Iceland, on VE Day in 1945. 'I didn't see London at the end of the war, because I was waiting for the boat to come back to England. So I had to wait. So I didn't see all the English excitement,' she said. 'I didn't know it (the war) had finished because we were in Iceland, which was a strange country to us. We really didn't know how excited everybody was. Second World War veteran Hazel Kaye recalled meeting The Beatles (Andrew Matthews/PA) 'I don't remember any celebrations. I was just dying to get back and waiting for a boat to take me back. 'I eventually got back to England on a boat and a train, and my family were waiting for me at Watford Junction to meet me. 'They hadn't seen me for a long, long time because I'd been touring around. So that was the only celebration I really had.' Ms Kaye continued performing after the war, joining George Formby on a tour in Blackpool. It was during an audition in Harrow, north-west London, that she met her then-husband, fellow performer Davy Kaye. The pair had two children together. Continuing to perform up until very recently, she recalled an evening spent with The Beatles at the Royal Variety Show in 1963. She said: 'They put me on their table and they were lovely to me because they must have thought I was a star. Well, I was only selling programmes. 'Well, they were just becoming stars. And they were very nice to me, they bucked in with me and we had a lovely meal together. 'Had I known how famous they were going to be! I mean they were just coming up.'
Daily Mirror
04-05-2025
- Entertainment
- Daily Mirror
How to watch all 25 James Bond movies as they arrive in one place for limited time
The entire James Bond Collection comprising 25 Eon-produced films will be available to stream for a limited time. James Bond enthusiasts will be excited to hear that MGM+ is set to release the entire James Bond Collection, featuring all 25 Eon films, for streaming soon. The film series will be accessible for a limited period on MGM+ in 32 countries. UK viewers can access the MGM+ streaming service as an add-on via Amazon Prime Video. The service is already a hit among Outlander fans who watch the show through this platform. While there are actually 27 James Bond films in total, including 1967's Casino Royale and 1983's Never Say Never Again produced by other companies, the official collection from Eon, the James Bond production company, consists of 25 films. This announcement follows Amazon MGM Studios' complete takeover of the Bond franchise, with long-standing producers Barbara Broccoli and Michael G Wilson stepping down, reports Surrey Live. How many actors have played James Bond? A total of seven actors have portrayed James Bond, with Sean Connery being the first to take on the iconic 007 role in 1962. After Connery, David Niven, George Lazenby, Roger Moore, Timothy Dalton, and Pierce Brosnan assumed the role. Daniel Craig was the most recent actor to play the part, with the next Bond yet to be revealed. All 25 James Bond films in order Dr. No - Sean Connery From Russia with Love - Sean Connery Goldfinger - Sean Connery Thunderball - Sean Connery You Only Live Twice - Sean Connery On Her Majesty's Secret Service - George Lazenby Diamonds Are Forever - Sean Connery Live and Let Die - Roger Moore The Man with the Golden Gun - Roger Moore The Spy Who Loved Me - Roger Moore Moonraker - Roger Moore For Your Eyes Only - Roger Moore Octopussy - Roger Moore A View to Kill - Roger Moore The Living Daylights - Timothy Dalton Licence to Kill - Timothy Dalton GoldenEye - Pierce Brosnan Tomorrow Never Dies - Pierce Brosnan The World Is Not Enough - Pierce Brosnan Die Another Day - Pierce Brosnan Casino Royale - Daniel Craig Quantum of Solace - Daniel Craig Skyfall - Daniel Craig Spectre - Daniel Craig No Time to Die - Daniel Craig When is The James Bond Collection coming to MGM+? The James Bond Collection will be available for streaming from June 1, 2025. Viewers can indulge in all 25 iconic James Bond films, spanning from Sean Connery's Dr No. to Daniel Craig's No Time to Die. The collection joins MGM+'s growing roster of exclusive series and blockbuster movie franchises, including eagerly awaited upcoming series like Outlander: Blood of My Blood and The Institute, as well as MGM catalogue classics such as Rocky, Legally Blonde, Teen Wolf and Stargate. How can UK viewers access MGM+? In the UK, MGM+ can be accessed as an additional subscription via Prime Video at a cost of £5.99 per month. MGM+ boasts a lineup of exclusive original series, blockbuster movies, classic film franchises and legacy hit series, all available on demand.
