Casino Royale (1967)

35mm film, “filmed in Panavision” (anamorphic), Technicolor, 2.35:1
mono, English

A British science fiction comedy film directed by John Huston, Kenneth Hughes, Val Guest, Robert Parrish and Joseph McGrath.

Plot Summary

and several other 007's converge on Casino Royale to do battle with the villainous Dr Noah and the forces of SMERSH.


* = uncredited

Directed by: John Huston, Kenneth Hughes, Val Guest, Robert Parrish, Joseph McGrath
© MCMLXVII [1967] Famous Artists Productions Ltd.
Charles K. Feldman presents. Columbia Pictures Corporation [logo]
Produced by: Charles K. Feldman and Jerry Bresler
Associate Producer: John Dark
Production Managers: Douglas Peirce, John Merriman, Barrie Melrose
Screenplay: Wolf Mankowitz, John Law, Michael Sayers
Additional Screenplay: Billy Wilder *, Ben Hecht *, John Huston *, Val Guest *, Joseph Heller *, Terry Southern *, Peter Sellers *, Woody Allen *
Suggested by the novel “Casino Royale” by Ian Fleming
Second Unit Directors: Robert Talmadge, Anthony Squire
Additional Sequences: Val Guest
Assistant Director: Roy Baird, John Stoneman, Carl Mannin
Director of Photography: Jack Hildyard
Additional Photography: John Wilcox, Nicolas Roeg
Camera Operator: Alex Thomson *
Film Editor: Bill Lenny
Assistant Film Editor: Alan Strachan
Colour by Technicolor
Music Composed and Conducted by: Burt Bacharach
Main Title Theme… Played by: Herb Alpert and the Tijuana Brass
Song: “The Look of Love” music by Burt Bacharach, lyrics by Hal David, sung by Dusty Springfield
Sound: John W. Mitchell, Sash Fisher, Bob Jones, Dick Langford
Sound Editor: Chris Greenham
Dialogue Editor: James Shields
Westrex Recording System
Costume Designer: Julie Harris
Costumes for Ursula Andress and Joanna Pettet by: Bermans, London
Wardrobe Supervisor: Betty Adamson
From Paris:
*Furs for Ursula Andress: Chombert
*Guard Girl Dresses: Paco Rabanne
*Casino Dresses: Guy Laroche
Chief Make-up Artist: Neville Smallwood
Make-up for Ursula Andress: John O'Gorman
Chief Hairdresser: Joan Smallwood
Special Effects: Cliff Richardson, Roy Whybrow
Special Matte Work: Les Bowie
Titles and Montages Effects: Richard Williams
Titles Animation/Montage Effects: Errol Le Cain *, Richard Williams *, Roy Jackson *, Stephan Zavrel *, Sergio Simonetti *, Helga Galler *
Titles Special Camera Effects: Bill Rhodes *, Rex Neville *
Production Designer: Michael Stringer
Art Directors: John Howell, Ivor Beddoes, Lionel Couch
Assistant Art Director: Norman Dorme, Tony Rimmington
Construction Manager: Bill MacLaren
Set Dresser: Terence Morgan
Technical Advisor: David Berglas
Choreographer: Tutte Lemkow
Made at Shepperton Studios – England and Pinewood and MGM Studios – England
Locations: London, England, UK *; Scotland, UK *
Casting: Maude Spector
Stunts: Keith Peacock *

Peter Sellers (Evelyn Tremble (James Bond – 007))
Ursula Andress (Vesper Lynd (007))
David Niven (Sir James Bond)
Orson Welles (Le Chiffre)
Joanna Pettet (Mata Bond)
Daliah Lavi (the detainer (007))
Woody Allen (Jimmy Bond (Dr Noah))
Deborah Kerr (Agent Mimi (alias Lady Fiona))
William Holden (Ransome)
Charles Boyer (Le Grand)
John Huston (McTarry (M))
Kurt Kasznar (Smernov)
George Raft (himself)
Jean Paul Belmondo (French Legionnaire)
Terence Cooper (Cooper (James Bond – 007))
Barbara Bouchet (Moneypenny)
Angela Scoular (Buttercup)
Gabrielle Lucidi (Eliza)
Tracey Crisp (Heather)
Elaine Taylor (Peg)
Jackie Bisset (Miss Goodthighs)
Alexandra Bastedo (Meg)
Anna Quayle (Frau Hoffner)
Derek Nimmo (Hadley)
Ronnie Corbett (Polo)
Colin Gordon (Casino director)
Bernard Cribbins (taxi driver)
Tracy Reed (Fang leader)
John Bluthal (casino doorman & MI5 man)
Geoffrey Bayldon (“Q”)
John Wells (“Q's” assistant [Fordyce])
Duncan Macrae (Inspector Mathis)
Graham Stark (cashier)
Chic Murray (Chic)
Jonathan Routh (John)
Richard Wattis (British army officer)
Vladek Sheybal (Le Chiffre's representative)
Percy Herbert (1st piper)
Penny Riley (control girl)
Jeanne Roland (captain of the guards)
Burt Kwouk [Chinese army officer] *
John Le Mesurier [chauffeur] *
Peter O'Toole [piper] *
Stirling Moss [driver] *
Mona Washbourne [tea lady] *
Frances Cosslett [Michele] *
Valentine Dyall [voice of Dr Noah] *
Alexander Dore *
Arthur Mullard *
Barrie Melrose *
Yvonne Marsh *
Veronica Gardner *
Roberta Jones [woman] *
David Prowse [Frankenstein's creature] *
Caroline Munro [extra] *

Alternative Titles

James Bond 007 Casino Royale – Italian title

See also
Austin Powers – International Man of Mystery (1997)



Somewhere in Rural England: a group of representatives from various national security agencies converges on the retirement home of James Bond. The grounds are patrolled by a massive pride of lions which menace M and his counterparts from the CIA, the KGB and the French Secret Service as they proceed to the house.

A stuttering Bond is happy in his retirement, pampered by a household of ancient retainers and spending his days drinking tea and playing Debussy. He is scornful of the ‘new' 007, “a sexual acrobat who leaves a trail of beautiful dead women like blown roses behind him.” His visitors explain to a reluctant Bond that his help is needed to track down a mysterious killer who is wiping out the world's secret agents but Bond refuses to give up his idyllic new life and return to the fold. Bond has been too badly hurt after being forced to betray the only woman he ever loved – not even a sealed letter from the Queen can change his mind. To force Bond into returning, M has his palatial home destroyed by a small army surrounding his estate. Unfortunately, the attack also kills M… SMERSH hears of Bond's return and plans to discredit the agent by tarnishing his upright reputation. When Bond travels to Scotland, to Castle McTarry, to return M's toupee to his grieving widow the Lady Fiona, he is unaware that Fiona has been replaced by SMERSH agent Mimi and that the beautiful women who claim to be M's daughters are also enemy spies.

SMERSH puts into motion its plan to corrupt the real Bond's celibate and terribly-English image by having the women try to seduce him. Despite their best efforts, this Bond is the very antithesis of his replacement and manages to resist all temptations placed in his way, even failing to succumb when sharing a bath with Buttercup, “daddy's little thermometer.” Mimi herself tries to crack the agent's resolve and fails, forcing a night-dress clad Bond to take on a group of burly Highlanders in a bizarre game involving giant stone balls. When the would-be opposition prove less than useless, Bond wins almost by default and Mimi falls for our man, letting her facade slip and revealing her true French-accented speaking voice.

Fearing that Mimi may be losing her grip on the plot, her glamorous assistants side against her and warn headquarters. The lock her in her room and she is unable to warn her beloved Bond that the rest of the women are conspiring to kill him while he's out hunting grouse. She escapes and rushes to warn him as the rest of the SMERSH agents launch a series of guided missiles at him. By the time she finds him, he has managed to see off two attacks and she removes the magnetic button on his cape which the missiles in the shape of robot grouse are homing in on.

Mimi spills the beans on the plot and a game of catch ensues as Bond and the SMERSH agents throw the magnetic button at each other, causing the final missile to fly back and forth between them. Bond wins out in the end, causing the missile to blow up the VW Camper housing SMERSH's mobile control room. In the ensuing explosion, Mimi is injured and dies declaring her undying love. But it turns out she's not dying at all, just planning to incarcerate herself in a nearby convent… Bond has now learned that she is receiving her instructions from a Berlin based organisation known as International Mother's Help.

On his way out of Scotland, Bond is attacked (unseen) by another female agent but makes it back to London unharmed. There, he meets Moneypenny's sexy daughter, her replacement at M's office. Bond realises that his stammer has gone and prepares to take over M's position. One of M's staff, Hadley, explains the problem faced by the department – most of their agents are already dead and of those who are left, the neurotic Jimmy Bond (Bond's American nephew) is about to be executed by a firing squad in South America.

Bond decides that he needs to find a new weapon to combat SMERSH's use of female agents against susceptible male agents – an “anti-female spy device.” Moneypenny is assigned to finding the right man and, after spending the night with agent Cooper, decides that he is the man for the job. Bond decides that from now on, all British agents, “even the girls”, should be known as James Bond 007 in an attempt to confuse the enemy.

Cooper-Bond begins his training, being seduced by a large number of women and managing to resist their advances. But he is nearly undone by “the new secret weapon”, The Detainer, another of Bond's agents.

Bond himself visits Vesper Lynd, a super-capitalist and some time spy and blackmails her (thanks to a large, outstanding tax bill) into helping him. In her secret underground headquarters, he enlists her help in training baccarat expert Evelyn Tremble as a spy. Vesper visits Tremble's club and makes contact, seduces him, and invites him back to her apartment where she has a special chute in her kitchen for disposing of dead bodies! There, she again seduces Tremble and questions him about his book which purports to reveal an infallible method for winning at the cards table. He maintains that his system is foolproof. While Tremble dresses up in fancy dress and has his photograph taken, Vesper asks him if he's heard of another gambler Le Chiffre, which he has. Vesper offers him the chance to take on Le Chiffre with her money, the winnings to be split 50-50.

But Tremble reacts badly to the proposition, believing that Vesper is joking. But when she shows him a case full of money, he changes his mind. To ensure that Le Chiffre doesn't recognise him, Tremble is to be renamed James Bond and is sent off to attend the James Bond Training School hidden within the Harrods department store!

Tremble is shown around by Q and his assistant Fordyce and is equipped with an array of gadgets, including a pen which releases poison gas, a watch which converts into a two way television and radio receiver and a gadget-packed armoured vest.

Bond decides that he needs the help of Mata Bond, his daughter by the legendary spy Mata Hari and travels to visit her in her fabulous temple in India where she performs an elaborate exotic dance for him. Despite Mata's resentment at her father's cavalier treatment of her (he left her in an orphanage at an early age), she agrees to help Bond. He sends her to infiltrate International Mother's Help at their headquarters in what used to be her mother's espionage school.

After two weeks of training in the UK, Mata takes a taxi (from London to West Berlin!) and fails to pay the exorbitant bill to a belligerent driver. Then she infiltrates International Mother's Help, passing herself off as a potential new student. She meets Frau Hoffner and Polo, former associates of her mother and is given a guided tour of the Mata Hari Dancing Academy, the world's greatest school for spies.

She learns from Polo that a representative of Le Chiffre's is due there that night and that the gambler himself is trying to raise funds to pay off his gambling debts to SMERSH. He hopes to secure the necessary funds by selling on compromising pictures of the world's leading military officers at an auction.

Mata attends the auction and is surprised to find the taxi driver skulking around – he turns out to be a representative of the foreign office and he urges her not to allow Le Chiffre to raise the money. She manages to disrupt the auction and flushes the photographs down the toilet. She short circuits Polo's ludicrously clumsy heart pacemaker and manages to escape, pursued by forces of the British, American, Russian and Chinese armies and aided by the undercover taxi driver.

Meanwhile, Le Chiffre learns of the disaster and decides that he needs to play baccarat again to raise the required money. His influence is so great that he is able to assassinate his representative by blowing up the telephone kiosk he has randomly chosen to make his call from.

Evelyn Tremble arrives in France where he immediately assaults a customs official. He is met by a representative of the French Secret Service. While receiving his briefing, his car is washed by a gaggle of adoring female agents. Bond, meanwhile, calls Vesper and wonders if Tremble might be a double agent, concerned by his bizarre behaviour at the airport.

Tremble himself checks into his hotel and is met in his room by a scantily clad Miss Goodthighs who seduces him and slips a drug into his champagne… He passes out and has a bizarre fantasy of making love with Vesper. Goodthighs and an unidentified blonde while cards rain down around him. When he comes round, Vesper is waiting for him and she admonishes him for his failure, telling him she “took care” of Goodthighs. She gets Tremble into the shower and orders him to prepare for his important game against Le Chiffre.

Later, Le Chiffre is holding court at the Casino Royale where he is not only breaking the bank with his baccarat skills but is putting on flashy displays of hypnotism and levitation learned from “an ancient vegetarian in the mountain vastnesses of Tibet.” Tremble and Vesper arrive at the Casino and deposit 50 million francs for their head-to-head with Le Chiffre. From a side office, Tremble and Vesper watch Le Chiffre on multiple CCTV screens and Tremble uses infra red glasses to reveal that Le Chiffre, armed with similar glasses, is using specially marked cards.

Tremble joins the game at Le Chiffre's table and Vesper is able to steal the gambler's glasses. Le Chiffre shows off some more of his magic tricks while being taunted by Tremble. Eventually, they get into a game of baccarat and. although Tremble loses the first two rounds, he finally bets the full 50 million francs on a final hand and ruins Le Chiffre.

On the way out of the Casino, Vesper is bundled into a car by “two unsavoury gentlemen” and Bond, doing a lightning-fast costume change, sets off in hot pursuit in his Lotus Formula 3 racing car. Then, without warning, Bond comes round in Le Chiffre's home where he is psychologically tortured, exposed to hallucinogenic beauty contests, haunted by a phantom Scottish pipe band and is apparently gunned down by Vesper wielding a machine gun equipped set of bagpipes. Le Chiffre himself is assassinated by a pair of SMERSH assassins when he fails to repay his debts.

Meanwhile, back in the UK, Mata has arrived back in London but her father refuses to let her come with him on business and she goes sightseeing instead. In Trafalgar Square she is abducted by a horse-riding member of the Household Cavalry and taken aboard a SMERSH flying saucer which whisks her away. Bond sets the Air Force after the saucer but they lose it.

Almost immediately, Bond is visited by a nun making a collection who turns out to be Mimi. She slips him a note telling Bond that Mata is being taken to the Casino Royale. And sure enough, the saucer has landed in France and disgorges a smaller pod which takes Mata into a network of coastal caves beneath the casino which houses SMERSH's headquarters.

Bond and Moneypenny arrive at the casino and are immediately set upon by a gang of SMERSH thugs. Bond fights them off but is soon captured and taken into the headquarters of SMERSH head man Dr Noah where they again managed to escape. Noah has already captured most of Bond's agents and has them imprisoned in his base. Bond and Moneypenny flee through the psychedelic corridors of the underground complex before finally meeting Dr Noah himself. Noah, his face concealed is shadows, shows off one of his robots, a perfect likeness of Bond. When Bond destroys the robot, Noah reveals himself to be the diminutive Jimmy Bond who is temporarily struck dumb in his famous uncle's presence.

Jimmy Bond reveals his nefarious plan: to release his bacillus which will make all women beautiful and kill off all men over four foot six. Jimmy's neuroses and sexual hang-ups have finally driven him completely insane. He has Bond and Moneypenny taken aware then goes to taunt one of his other prisoners, The Detainer who belittles Jimmy over his lack of stature and sexual prowess. Jimmy tries desperately to show off in front of her, but he fails to win her admiration.

Noah shows off his mini nuclear weapon disguised as a pill and reveals that he plans to have all world leaders assassinated on April Fools Day (his birthday) and replaced by his robot doubles. The Detainer, realising the potential of the pill bomb, flatters Jimmy into releasing her. Elsewhere, Bond, Moneypenny, Mata and Cooper are trying to escape while the complex slowly fills with vaporised LSD.

Jimmy gives The Detainer a tour of his facility and reveals that his plan to replace world leaders has already begun. She slips the pill into Jimmy's drink and he swallows it. Bond and his friends escape from their psychedelic cell and are attacked on the way out by a small army of gun toting female agents. Rendezvousing with The Detainer, and with the help of the Frankenstein Monster, Bond and co. manage to escape from the underground complex and return to the Casino Royale above.

Bond is captured by Vesper – who seems to be a double agent – and then the casino descends into chaos as horse-riding cowboys storm the building, followed shortly thereafter by parachute jumping American Indians (with 007 painted on their foreheads!). A massive brawl breaks out, involving all of the above along with the French and the Keystone Cops!

The pill swallowed by Jimmy finally explodes and the casino is destroyed in a massive explosion. Bond and his agents are seen in an orange tinted heaven wearing angels wings and playing harps as the evil Jimmy descends into Hell…


Daily Cinema no.9356 (17 April 1967) p.3
Anything you say about this mammoth lucky dip movie is superfluous. This cast, this subject, plus Panavision, Technicolor and music by Bart [sic] Bacharach, it's a fantastically selling proposition. It just can't miss. Artistically, comically, cinematically, it's a crazy mix-up of styles – op, pop, kook, kink and “carry on”. […] Nothing makes sense; nor, I suppose, is it meant to. Stars wander in and out and miraculously in again: the true pro is the one who doesn't look as bewildered as practical filmgoers may feel. […] Though the director's list is almost as illustrious as the cast list, the only bit of bizarre film fun is provided by whoever created the middle episode, set in a grotesque Berlin hideaway that might have housed Dr. Caligari. Having cost a fortune, it'll probably make another. Need I say more? – from a review by M.H.

Variety 19 April 1967 p.6
Charles K. Feldonan and Jerry Bresler set themselves a tricky task with their expensive, wacky comedy extravaganza, Casino Royale, an attempt to spoof the pants off the James Bond [sic]. But the long run of spy films has already cashed in on almost every available wild gimmick, what with Matt Helm, UNCLE, Flint and the Bond films themselves, and it's difficult successfully to parody a parody. So the three-ring circus aspect Is predominant and it will pay off. Casino Royale is a conglomeration of frenzied situations, “in” gags and special effects, lacking discipline and cohesion. Some of the situations are very funny, but many are too strained. […] The action includes a crazy alcoholic orgy in a Scottish castle (presided over by Deborah Kerr, an agent who becomes a nun), lashings of scantily clad lasses, a visit to a “spy school” in Berlin, , torture, Sellers posing in a variety of fancy dresses, Welles doing conjuring tricks and a fantastic punch-up at the Casino Royale as a finale which involves the French police, the Foreign Legion, a glimpse of the Keystone Cops and the assistance of United States Cavalry and a tribe of Injuns parachuting into the Casino. That should be enough to indicate that the picture has been devised as a three-ring circus entertainment rather than a film and it will be up to every cinemagoer to decide which bits of the comedy non-sequiturs provoke him to giggle, a chuckle, a belly laff or a glum resistance to all the overstriving. It is virtually impossible to sort out which of the five directors, John Huston, Joe McGrath, Val Guest, Robert Parrish and Ken Hughes, has been responsible for which sequences, and Bill Lenny's editing has necessarily had to be confined more or less to spacing out various parts, rather than shaping a uniform whole. […] While Sean Connery and the original James Bond associates will not lose much sleep over this joshing of their goldmine pictures, Casino Royale may easily find a profitable audience among those who see in it the ultimate in hectic screen spy gimmickry. – from a review by Rich

Kinematograph Weekly no.3106 (22 April 1967) p.15
Crazy comedy adventure, a mad send-up of all the special-agent films there ever were. […] This is mad, slick nonsense, presented on the grand scale and continuously funny except for a few quieter and expendable scenes. […] Nothing has been spared in the way of sets, gadgets or, indeed, stars, to make this the glossiest epic yet of mickey-taking nonsense. […] The script, which contains a lot of very funny lines and a well-ordered control of chaos, is the work of three well known writers; and it was put on film by five directors with the aid of three top cameramen. […] [T]he whole film is saturated with a sharply impish sense of the ridiculous that is, however, occasionally played for more than it is worth. The trouble about having so many stars is that that some of them have hardly time enough to be more than recognised. – from a review by Graham Clarke

Film Daily vol.130 no.83 (1 May 1967) p.8
The secret agent film is lifted to a level of sophistication and expanded into a vast, restless circus of adventure in Casino Royal. […] The story rolls along with wild, untamed spirit. It's pop-art and it's op-art. Those looking for a conventional story will be disappointed. Things happen in way-out fashion. […] There is a continuous flow of gags, visual and vocal. Most are good, some strained. – from a review by Mandel Herbstman

Monthly Film Bulletin June 1967 p.87
Ian Fleming, obviously, has been left far behind: only about fifteen minutes of the film have any noticeable relationship with the original novel. Instead, we are given what was clearly intended to be one of those wild, wacky extravaganzas in which the audience is expected to have a great time because everybody making the film did. It seldom works out that way, and it certainly doesn't here. Extravagance follows extravagance with no rhyme or reason (when farce, given the absurdity of its proposition, should be the most rigidly logical of genres); there is no plot interest to help the film out; and the five directors and heaven knows how many writers (the list of writers who came and went includes Ben Hecht, Billy Wilder, Joseph Heller and Terry Southern) work away busily in all directions without ever achieving any sort of coherence, or even planned incoherence, of style and approach. […] It is difficult to imagine where the vast sums reputedly spent on the film can have gone; on to the cutting-room floor, no doubt, since the film, originally announced to run over three hours with an interval, turns up without an interval and scissored, as Variety might say, to a nifty 131 minutes. One or two things to note on the credit side: a catchy score by Burt Bacharach; some rather funny Caligari-like sets in the Berlin sequence; some pretty slow-motion in Peter Sellers' seduction by Ursula Andress (though oddly enough the scene, meant to be glamorously erotic, generates no erotic feeling at all); a couple of good gags. But not so much to make it all worthwhile. As for the directors, no indication is given of who directed what: Huston, we know, directed the opening sequence, Robert Parrish seemingly did the baccarat game, and presumably Joe McGrath's “way-out comedy sequences” included Sellers' briefing by “Q”. But otherwise no one is admitting to anything, which is probably the wisest course of action. – from a review by J.R.T.



  • Bright Lights Film Journal No.28 (April 2000) – article (Casino Royale at 33: The postmodern epic in spite of itself by Robert Dassanowsky)
  • Castle of Frankenstein no.7 p.48
  • Castle of Frankenstein no.12 p.6
  • The Daily Cinema no.9356 (17 April 1967) p.3 – review (by M.H.)
  • Film Daily vol.130 no.83 (1 May 1967) p.8 – review (by Mandel Herbstman)
  • Films and Filming vol.13 no.4 (January 1967) p.61 – review
  • Films in Review June/July 1988 pp.336 – 349 – illustrated article (Casino Royale revisited by Robert Dassanowsky)
  • Kine Weekly no.3106 (22 April 1967) p.15 – credits, review (by Graham Clarke)
  • London Life 23 April 1966 p.8 – note
  • London Life 30 April 1966 p.27 – note
  • London Life 7 May 1966 p.22 – note
  • London Life 17 December 1966 pp.22-14 – interview
  • Monthly Film Bulletin June 1967 p.87 – credits, review by J.R.T.
  • Shock Cinema no.7 (1995) p.3 – review (by Jim Ridley)
  • TV Times 22-28 June 1985 p.33 – credits, TV data
  • Variety 19 April 1967 p.6 – review (by Rich)


  • The A-Z of Science Fiction and Fantasy Films by Howard Maxford p.56 – short review, credits
  • Aurum Film Encyclopedia: Science Fiction by Phil Hardy (ed) p.261
  • The Bond Files: The Unofficial Guide to the World's Greatest Secret Agent by Andy Lane and Paul Simpson pp.360-366 – article
  • Caroline Munro, First Lady of Fantasy: A Complete Annotated Record of Film and Television Appearances by Robert Michael “Bobb” Cotter pp.7-12 – credits, synopsis, review
  • The Columbia Checklist: The Feature Films, Cartoons, Serials and Short Subjects of Columbia Pictures, 1922-1988 by Len D. Martin p.51
  • Columbia Pictures Horror, Science Fiction and Fantasy Films, 1928-1982 by Michael R. Pitts pp.31-32
  • Elliot's Guide to Films on Video by John Elliot p.131 – short review, credits, video data
  • The Espionage Filmography: United States Releases, 1898 through 1999 by Paul Mavis pp.52-53
  • Feature Films, 1960-1969: A Filmography of English-language and Major Foreign-language United States Releases by Harris M. Lentz III p.61
  • The Historical Dictionary of British Spy Fiction by Alan Burton pp.84-87 – note
  • Hoffman's Guide to SF, Horror and Fantasy Movies 1991-1992 p.65 – review, credits
  • The International Spy Guide 001 by Richard Rhys Davies p.157 – illustrated credits, note
  • Kine & TV Year Book 1968 p.123
  • Kiss Kiss Bang! Bang!: The Unofficial James Bond Film Companion by Alan Barnes and Marcus Hearn pp.56-69 – article, review, credits
  • Movies of the 60s by Jürgen Müller pp.474-481 – illustrated review (by SR [Stephan Reisner])
  • Nuclear Movies: A Filmography by Mick Broderick p.73
  • by Walt Lee p.57 – credits
  • The World of Fantasy Films by Richard Myers p.175