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Sean Connery



ONE of the most sought-after actors in Hollywood, Sean Connery has spun his unflappable charm and old- style star quality into one of the most enduringly and endearingly dashing screen presences in the history of celluloid. In 1962 Sean would play James Bond in Dr. No, the first feature in what would prove an indefatigable and immensely lucrative franchise in the decades to come. Producer Harry Saltzman awarded Connery the plum part of agent 007 on the basis of a single interview and after watching him walk down the street. (Incidentally, Connery has trained extensively in movement, and prepares for each role by working out how the character should move, which is perhaps why he is so dead-on in each of his widely differing roles. In Goldfinger (1964), From Russia, With Love (1964), Thunderball (1965), and You Only Live Twice (1967) Connery became so dangerously identified with the star-making role that his concurrent performances in non-Bond films, while uniformly creditable, were not enthusiastically endorsed by fans or critics. Grown weary of his confining employment as the martini-quaffing, lady-slaying alter ego, he agreed to perform his Bond duties one last time, in 1971's Diamonds Are Forever, only after demanding, and receiving, a then- unprecedented salary of $1.25 million plus a percentage and vowing that he would "never again" play the part. Sprung from the trap the series had become, Connery sought to break out of his Bond typecasting by accepting roles in such diverse pictures as the science-fiction flick Zardoz (1974), Sidney Lumet's stylish adaptation of the Agatha Christie whodunnit Murder on the Orient Express (1974), John Huston's satisfying Rudyard Kipling adventure adaptation The Man Who Would Be King (1975), the medieval romance Robin and Marian (1976), and Peter Hyams' High Noon-esque sci-fi film Outland (1981). But just when it seemed Connery had entirely forsaken the British Secret Service, he resurfaced as a much wiser and appealingly more mature Bond in the prophetically named 1983 adventure Never Say Never Again. Though the film, which was a loose remake of 1965's Thunderball, was rather pedestrian, Connery proved more popular than ever in the role. In fact, Connery just seemed to be getting better and better with age. In 1987's The Untouchables (his portrait of a tough-as-nails Prohibition-era Irish cop in the film garnered him a Best Supporting Actor Oscar) and 1989's Indiana Jones and the Last Crusade, in which he played delightfully against type as Harrison Ford's irascible, tweedy archaeologist pop. More conventional leading roles in the 1990 adaptation of John Le CarrT's The Russia House (as a British publisher who becomes embroiled in a high-stakes international intrigue with Michelle Pfeiffer), 1990's The Hunt for Red October (as a Russian sub commander), and 1993's Rising Sun (as an expert in all things Japanese) kept his superstar patina buffed to high polish. In the mid '90s, Connery divided his time between the middling medieval tales First Knight (1995) and Dragonheart (1996) and the more successful contemporary action dramas Just Cause (1995) and The Rock (1996). After a year's absence from theaters, he returned with a vengeance in the 1998 feature-film version of the '60s cult TV classic The Avengers, in which he appeared in an atypical capacity as the villain to Ralph Fiennes' natty agent Jonathan Steed and Uma Thurman's leather-clad amateur sleuth Emma Peel. In 1999, Connery starred in and produced Entrapment, a knotty love story-thriller, in which he played a cat burglar who teams up with a beautiful female thief (Catherine Zeta-Jones) for equal measures of bank- robbing and romance. As for upcoming projects, he has signed a first-look, multi-year deal with Sony Pictures Entertainment under which he will produce and perhaps star in several films through his Fountainbridge Films production company.


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