Crossplot: A Double-Breasted Pinstripe Suit from The Saint

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Roger Moore’s 1969 film Crossplot is like a cross between an episode of The Saint and a James Bond film. Moore plays talent scout Gary Fenn, who is identical in appearance to The Saint character Simon Templar except he has a more fashionable haircut that’s combed forward with longer sideburns. The Cyril Castle suits—an iridescent blue and red dinner jacket, a navy pinstripe double-breasted suit and a charcoal multi-stripe suit—and shirts in the film were taken straight out of Moore’s wardrobe for the final season of The Saint, which had just ended production.

The same suit in the episode of The Saint "The Scales of Justice"

The same suit and shirt, but with a grey tie, in the episode of The Saint “The Scales of Justice”

The navy double-breasted pinstripe suit, which this article will focus on, first appeared in The Saint‘s sixth series episode “The Time to Die” and later in “The Scales of Justice”. The suit’s cloth has very closely-spaced white pinstripes on navy, which from a short distance mixes with and mutes the navy to give the suit a semi-solid charcoal blue effect rather than a classic navy pinstripe look. Suits with closely-spaced pinstripes were something Roger Moore wears throughout The Saint and later wears in Moonraker.

Crossplot-Navy-Pinstripe-Suit-2The suit jacket is four-button double-breasted with two to button. It is similar to the classic six button double-breasted jacket but lacks the two vestigial buttons at the chest. Like Cyril Castle’s usual double-breasted suits, this one has a narrow wrap—or overlap—for a slimming effect on Moore. It is cut with natural shoulders and a full chest. It has narrow peaked lapels, which aren’t quite as narrow as the notched lapels Moore wears on his single-breasted suits in Crossplot and The Saint. The narrow peaked lapels are a little more flattering than his ultra-narrow notched lapels. The suit jacket is rakishly detailed with single-button gauntlet—or turnback—cuffs, slanted hip pockets with narrow flaps, and double vents. The suit trousers have a darted front, cross pockets and a tapered narrow leg, and they are worn with a black belt.

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Moore’s cream shirt is made by Bond-series shirtmaker Frank Foster in the same style as all of the shirts that Moore wears in the final series of The Saint. The shirt’s spread collar is larger in proportion to the tie and lapel width. Fashion typically dictates that shirt collar point length and tie and lapel width should match, but it’s usually more flattering to wear a collar that matches the face rather than the jacket’s lapels. The shirt has two-button cocktail cuffs, a plain front and a darted back. The shirt length is short compared to the traditional length of a tucked shirt, but in Frank Foster’s typical manner the shirt’s hem is only slightly curved and has vents on the side.

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The secretary ties Moore’s tie in a four-in-hand knot around her own neck, loosens it and then places it around Moore’s neck. It is solid light blue, and unstylishly Moore wears a matching light blue silk handkerchief in his breast pocket. But it is placed in the pocket in an unstudied two-point fold. It look as if he just stuffed it in his breast pocket and the two points formed naturally, but that is most likely not the case. Moore wears black socks, and his shoes are black slip-ons.

Crossplot-Navy-Pinstripe-Suit-BoxersSince we get to see Roger Moore dress into the suit, we get a look at parts of his outfit under the suit we don’t ordinarily get to see. Though we never get to see what James Bond wears under his trousers, Roger Moore’s underwear in Crossplot may give us a clue. When he changes his trousers we see his boxer shorts. They are light blue—perhaps purposely matching his tie—and probably a fine cotton poplin, which is one of the most comfortable types of woven cloths to wear as boxers.

Crossplot-Navy-Pinstripe-Suit-ShowerUnfortunately, the suit is ruined and shrunk in Crossplot when Moore is pushed off a boat into the water. Because of he is a gentleman, he leaves his suit, shirt and tie on when taking a shower to warm up when in the company of a lady.

For an additional James Bond connection, Bernard Lee, who plays M in the first 11 Bond films, appears in Crossplot.

The Golden Compass: Atomic Fleck Suit

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In the 2007 fantasy film The Golden Compass, Daniel Craig’s character Lord Asriel dresses in a 1940s-style brown atomic fleck tweed suit. Atomic fleck is similar to donegal tweed but has larger, more pronounced contrasting flecks and slubs. Craig’s tweed is a basketweave in brown and white with large white and yellow flecks. The flecks almost make the suit look like it is sparkling, which reflects the magical aspects of the movie. The flecks also symbolise the spots on Lord Asreil’s “dæmon”, the snow leopard. The “dæmon” is one’s soul that takes the form of an animal.

The-Golden-Compass-Atomic-Fleck-Tweed-Suit-4The button three suit jacket is cut with a draped chest and straight shoulders with roped sleeveheads. It has jetted pockets, three buttons on the cuffs and no vent. The suit trousers have single forward pleats, slanted side pockets and wide straight legs with turn-ups. The cut of the suit has a slight 1940s look partially due to a full-cut chest, slightly high button stance and wide trouser legs, but the heavy tweed cloth plays a bigger part in making the suit look old. The Golden Compass, however, does not take place during the 1940s or any other time in our world’s history. It’s a fantasy film that takes place in an alternate world.

The-Golden-Compass-Atomic-Fleck-Tweed-Suit-3The contrasting grey waistcoat is one of the most interesting parts of the outfit. The waistcoat’s cloth is a fancy jacquard wear of rose-like diamonds. Though fancy waistcoats are typically silk, this one is not. It is most likely flannel wool. The waistcoat has six buttons, and Daniel Craig leaves the bottom button open. The buttons are shanked pewter and half of the edge is scalloped. There are four welt pockets on the front, and the edge of the waistcoat is finished like a buttonhole and stitched with brown thread. The waistcoat’s back is made in a grey lining material. Whilst the waistcoat is a very elegant and well-cut piece, its cool grey somewhat clashes with the warmth of the rest of the outfit, and it’s a missed opportunity to add more colour to the outfit. A forest green or burgundy waistcoat would add colour and better complement the brown suit

The-Golden-Compass-Atomic-Fleck-Tweed-Suit-2Daniel Craig’s cream shirt has a spread collar, front placket and double cuffs. The collar, placket and cuffs are stitched 1/4 inch from the edge. Craig wears a finely knitted dark brown silk tie, tied in a four-in-hand knot. He also wears a white linen handkerchief casually folded in his breast pocket with two corners pointing up, which is infinitely more stylish than if he meticulously folded and ironed the handkerchief to have two defined points sticking out.

The-Golden-Compass-Atomic-Fleck-Tweed-Suit-ShoesWith the suit, Craig wears brown, 5-eyelet, cap-toe derbys. The vamp on these derbys extends to the back of the shoe, and the eyelets are on flaps that are sewn on top of the vamp in the “blucher” style. The shoes’ wide last and rounded toe gives them a casual look beyond the metal-reinforced eyelets and thick rubber soles. They are laced in an over-under method, where the laces alternate crossing over and under the eyelet flaps. This lacing method reduces friction and is easier to tighten than typical lacing methods.

Besides Daniel Craig, The Golden Compass also features James Bond series alumni Eva Green and Christopher Lee.

Sean Connery’s Unique Shirts in Goldfinger

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Anthony Sinclair’s release of a Goldfinger-inspired shirt with rounded double cuffs motivated me to take a closer look at the actual shirts that Sean Connery wears in Goldfinger. Terence Young, the director of the first two Bond films Dr. No and From Russia with Love, established the look of Bond’s wardrobe. Goldfinger, however, had a new director, Guy Hamilton, and some of the wardrobe choices were different. Knitted silk ties replaced grenadine ties, the tailored clothes were more country than city since most of them came from Connery’s previous film Woman of Straw, and the shirts were different. Turnbull & Asser most likely did not make the shirts for Goldfinger like they did for all of Sean Connery’s other Bond films. Shirtmaker Frank Foster is a possibility, though Dr. No is Connery’s only Bond film he says he made shirts for.

Click on the photo to enlarge. Notice the faint broken stripe on the cuff.

Click on the photo to enlarge and see the faint broken stripe on the cuff.

Instead of just solid white, light blue and cream shirts like Connery wears in his other Bond films, Connery wears mostly striped shirts in Goldfinger. The dress shirts with both the off-white and black dinner jackets have a fancy white-on-white satin stripe pattern. With his suits, Connery’s shirts are all white with a faint broken grey stripe. The stripe almost disappears in most shots, but it’s visible in close-ups. And yes, the shirt with the famous light grey glen check suit is not solid white. It too has the faint broken stripe. The shirt that Sean Connery wears with his brown hacking jacket has the same broken stripe, but on ecru instead of on white.

The shirts in Goldfinger have a classic English spread collar with approximately a 2 3/4″ point length and 3/8″ of tie space. The spread is around 5″ wide. The collar is made with a stiff sewn interfacing but isn’t worn with collar stays.

Goldfinger-Shirt-Rounded-Double-CuffGoldfinger is Sean Connery’s only Bond film that he does not wear cocktail cuffs in. Instead, he wears double cuffs (French cuffs) throughout the film. The double cuffs on the shirt he wears with his suits and hacking jacket have a rounded corner whilst the double cuffs on the shirts he wears with black tie have a large mitred corner, cut about halfway to the fold of the roughly 2 3/4″ deep cuff. Both the rounded corner and the mitred corner have the benefit of sliding more smoothly though the jacket sleeve than a square double cuff, which can snag on the inside of a jacket sleeve. Different style double cuff corners may possibly indicate different shirtmakers, though the cuffs appear to both be the same size and the link holes are in the same position. The link holes on all the double cuffs are around a 1/4″ off centre towards the fold, making them about 1 1/4″ from the fold. The cuffs are attached to the sleeve with shirring.

Notice the mitred corner on the double cuff

Notice the mitred corner on the double cuff of Sean Connery’s dress shirt in Goldfinger‘s pre-title sequence

The plackets on the shirts in Goldfinger are slightly different than the plackets on the shirts in Connery’s other Bond films. See the image at the top. The placket is a little wider and stitched further from the edge than on the Turnbull & Asser placket. It isn’t identical, however, to the plackets that Roger Moore wears on his Frank Foster shirts in his James Bond films, which are stitched very close to the centre. The placket on the Goldfinger shirts is identical to the placket that Roger Moore wears on his shirts in the two-part episode of The Saint titled “Vendetta for the Saint”, and that shirt was most likely made by Frank Foster.

Goldfinger-Dress-ShirtThere’s more to the Goldfinger shirts than meets the eye. It’s too bad that only the dress shirt with the off-white dinner jacket in the pre-title sequence is the only shirt in the film we see without a jacket or waistcoat over it. The shirt has a much trimmer and cleaner fit through the body and the sleeves than the Turnbull & Asser shirts Sean Connery previously wore in Dr. No and From Russia with Love. Whilst the shirts in From Russia with Love have darts to shape the shirt through the waist, this shirt has a cleaner fit without darts.

The Naked Face: A Needlecord Suit

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In the 1984 film The Naked Face, Roger Moore plays psychiatrist Judd Stevens who dresses in seasonal autumn clothing in the Anglo-American tradition. I previously wrote about Moore’s blue and beige barleycorn tweed jacket in The Naked Face, and most of the clothes in the film follow in a similar vein. Of all the tailored clothing in the film, only a light brown needlecord suit appears to be made by Moore’s regular tailor at the time, Douglas Hayward. Hayward made Moore’s beautiful tailored clothing for For Your Eyes Only, Octopussy and A View to a Kill. This suit is more casual than what Hayward made for the Bond films, and, though the cut is the same as what Moore wore as Bond at the time, it’s probably not a suit Bond would wear. Needlecord, also known as pinwale, is a fine wale cotton corduroy that is perfect for autumn in Chicago, where the film takes place.

The-Naked-Face-Needlecord-Suit-4Like Roger Moore’s Douglas Hayward suits in his last three James Bond films, this suit jacket is cut with a clean chest and natural shoulders with gently roped sleeveheads. The button-two jacket also has the same low button stance and is identically detailed to most of Moore’s Bond suit jackets with flapped pockets, three buttons on the cuffs and double vents. The suit trousers are also like Moore’s trousers in his Bond films at the time: they have a straight leg and frogmouth pockets and are worn with a belt. Apart from the jacket’s low button stance, the suit looks timeless.

The-Naked-Face-Needlecord-Suit-2All of Moore’s shirts in The Naked Face are made by his regular shirtmaker Frank Foster, who made shirts for Moore in all of his Bond films. Moore wears this suit with two different shirts: a blue and white hairline stripe shirt with a spread collar—which is very similar to the shirt he wears with his navy suit in Octopussy—and an ecru shirt with a button-down spread collar. The button-down collar is much wider than the typical American button-down collar, but it still has a gentle roll. This is possibly what Roger Moore’s button-down collars in A View to a Kill would look like if worn buttoned with a tie. Both shirts have a placket with Foster’s identifying stitching close to the centre and extra-rounded single-button cuffs. Though the buttons aren’t clearly seen on these two shirts’ cuffs, another blue and white hairline stripe shirt in the film has a large cuff button like on Foster’s “Lapidus” tab cuffs. It’s possible that these two shirts also have the same large button on the cuffs.

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Notice the poorly-ironed shirt collar. On collars with a sewn interfacing, they can easily bunch up at the stitching. Judd Stevens is well-dressed, but he isn’t faultless like James Bond

With this suit Moore wears a grey-purple knitted wool tie with flat ends. Wool ties go especially nice with corduroy since they complement the rustic, autumnal look, and they have more contrast with corduroy than they do with the other traditional pairings like flannel and tweed. Knitted wool ties are slightly less formal than knitted silk ties, which makes them a great match for such a casual suit like corduroy. The tie’s colour, grey with a hint of purple, is rather dull compared to the rest of the outfit and slightly washes out Moore’s warm complexion. Moore ties it in a four-in-hand knot, and the knot ends up quite wide due to the tie’s bulk.

Moore’s slip-on shoes and belt are dark brown, and the belt’s brass buckle goes well with the light brown colour of the suit. Moore wears dark brown leather gloves with the suit.

The-Naked-Face-Camel-OvercoatOver the suit, Moore wears a single-breasted camelhair overcoat. The full-length overcoat hits just below the knee, which keeps Moore decently warm in the cold and windy Chicago. Like the suit, it has natural shoulders with roped sleeveheads. The overcoat has set-in sleeves, three buttons down the front, swelled edges, straight flapped hip pockets, a welted breast pocket, three buttons on the cuffs and a single vent. He wears the collar turned up for extra warmth. He also keeps warm in a light brown wool flat cap, something James Bond would never wear. They’re associated with older working class men, a category Bond is never associated with. With the cap and large glasses on, Moore looks nothing like James Bond. Over the suit and under the overcoat, Moore drapes a a checked Burberry—or Burberry-style—scarf around his neck. The scarf’s base colour is pale green, the scarf’s check has navy and sky blue stripes lengthwise with black and cream stripes crosswise, and the scarf has a navy lengthwise overcheck and a rust-coloured crosswise overcheck.

Though Roger Moore’s needlecord suit in The Naked Face may not be something James Bond would wear, it’s an elegant suit for informal cool-weather wear. The outfit has a timeless look that would look just as great during this autumn season as it did thirty years ago.

The “Legend” Jumper by Slazenger Heritage Gold

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Commemorating the 50th anniversary of Goldfinger‘s release on 17 September 1964, Slazenger collaborated with Anthony Sinclair to reissue the Slazenger jumper that Sean Connery wears when playing golf in Goldfinger. The new wine red V-neck jumper revived the original gold panther logo that graces the left breast of Connery’s jumper. However, the new jumper has been updated in a number of ways, so it’s not an exact copy. It is woven in a superfine two-fold Merino wool, whilst Connery’s jumper is likely acrylic—as Slazenger often made and still makes their jumpers—in a chunkier knit. The ribbing on the cuffs and hem is much finer than on Connery’s jumper. The short V-neck opening may be the most noticeable difference on the new jumper, as the V isn’t nearly as deep. David Mason of Anthony Sinclair told me about his decision to update the Slazenger jumper in its reissue:

It’s just not my philosophy to create exact copies. Things must evolve. I often ask myself, “What would Anthony be doing if he was still with us now?”. The Slazenger sweater is a good case in point. The objective was to design a product that is instantly recognisable and clearly related to the original, yet very modern, wearable and totally up to date.

Slazenger-Legend-Jumper-BoxThis is certainly a more wearable jumper today than an exact replica of Connery’s would be. It’s not a baggy jumper like Connery’s is. Even though the fit has been updated to be shorter and cleaner, it still has a classic fit. If you’re undecided on whether to get a certain size, I recommend sizing down if you like your jumpers to fit closely. For instance, my chest measures 38 inches, so I should wear a medium per the sizing guide (38-40). However, I found that a small (35-37) has a cleaner fit on me and is not too tight. The medium would better fit a size 40, which is at the top end of the recommended medium size range.

The jumper comes packaged beautifully in a heavy black cardboard box with a magnetic closure containing a “quality certificate” and a very large descriptive tag about the history of the jumper in Goldfinger and Slazenger Heritage.

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Anthony Sinclair has also just recently released a white twill double cuff shirt, and the cuffs have rounded corners like on Sean Connery’s shirts in Goldfinger. The shirt comes with either a semi-cutaway or a cutaway collar in either a regular or slim fit. The Anthony Sinclair shirt is “evolved” in its style from the original shirts in Goldfinger that may have been made by Frank Foster. Anthony Sinclair also just released a number of new blue grenadine tie colours, for a total of seven different blue grenadine ties ranging from ice to midnight.

Visit AnthonySinclair.com for more information on the Slazenger jumper and the other new offerings.

Kamal Khan’s Navy Suit

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Kamal Khan (Louis Jourdan) is introduced in Octopussy at Sotheby’s wearing an elegant navy suit. The suit is made by the same tailor who made the dinner suit and grey jacket that he wears later in the film. The suit jacket has straight shoulders with roped sleeveheads, a clean chest and gentle waist suppression. The suit jacket is made in a very minimalist style, with a single-button front, single-button cuffs, jetted pockets and no vent. The jacket’s slightly narrow notch lapels have a long, gentle roll to the single button. The suit trousers are cut with a wide leg and likely have pleats.

Kamal-Khan-Navy-Suit-3The white shirt is probably made by Roger Moore’s and the James Bond series’ shirtmaker Frank Foster, and it has a moderate spread collar, large rounded single-button cuffs and a front placket. The satin silk tie is solid navy in almost exactly the same colour as his suit. Khan ties it in a narrow four-in-hand knot in some shots (pictured above) and a square half-windsor knot in other shots (pictured below). Though I ordinarily prefer the four-in-hand knot, this tie looks better in the half-windsor knot because the tie’s interlining appears to be very lightweight. The elegant solid navy suit with a matching navy tie and white shirt recalls the clothes that Sean Connery and George Lazenby wore as James Bond in the 1960s. Khan also wears a white pocket handkerchief like Connery wore, though instead of folding it he puffs it with only a little peaking out of the breast pocket. Khan’s socks and shoes are black.

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Layer Cake: The Kilgour Navy Suit

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In Daniel Craig’s “screen test” for James Bond, the 2005 film Layer Cake, he wears a ready-to-wear navy suit from Kilgour. The suit was designed by Kilgour’s creative director Carlo Brandelli in his signature style. Brandelli, a London-born fashion designer, interior designer and artist, joined Kilgour in 2004, left in 2009 and returned again in 2013. The style of the suit recalls traditional Savile Row but at the same time updates it with a distinctive sleek, modern look. The suit jacket has single-button front with the button at the waist, and the jacket’s quarters gently cut away below the button. It is cut with a clean chest, a nipped waist and lightly-padded shoulders with roped sleeveheads. The jacket is detailed with a single vent, slanted flap pockets and four buttons on the cuffs. The jacket’s buttons are made of black horn.

Layer-Cake-Kilgour-Navy-Suit-4The suit trousers have a medium rise so they sit only about two inches below the jacket’s button. The rise is high enough to prevent the shirt from showing the jacket’s single button. The trousers have a darted front, straight leg, slanted side pockets and “DAKS top” side adjusters with three mother of pearl buttons.

Layer-Cake-Kilgour-Navy-Suit-3Daniel Craig’s shirt is pale blue and has a moderate spread collar, double cuffs and a front placket.  Though the collar and cuffs are stitched 1/4-inch from the edge, the rather narrow placket is stitched 3/8″ from the edge. The placket is just like what Thomas Pink makes, and this shirt and the others in the film could possibly be from there. If this shirt isn’t from Thomas Pink, it is certainly English in origin. The navy tie has a raised woven honeycomb texture, which looks like the “Astaire” tie that Thomas Pink used to sell. Craig’s shoes are black leather high-vamp slip-ons with an elastic strip across the instep under the tongue.

The entire colour scheme of the outfit is very Bond-like, and all the blue brings out the best in Daniel Craig’s warm, spring complexion and blue eyes. Though the clothes are ready-to-wear, they fit well except for when the jacket’s collar stands away from the neck. Daniel Craig looks great in the English style and proves in Layer Cake that he can look very much the part of James Bond.

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The James Bond clothes and pose

In 2011, I wrote about the cream suit Daniel Craig wears in the final scene of Layer Cake.

Assignment K: A Double-Breasted Suit by Douglas Hayward

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Stephen Boyd stars as Philip Scott in the 1968 spy thriller Assignment K, and throughout the film he wears suits by Douglas Hayward. Douglas Hayward tailored Roger Moore’s suits for For Your Eyes Only, Octopussy and A View to a Kill, and he also made suits for Michael Caine, Terence Stamp, Steve McQueen and many other stars. One of the four suits that Boyd wears in Assignment K is a medium grey worsted flannel double-breasted suit. Worsted flannel is can be lighter in weight than the traditional woollen flannel, but being flannel it still has a fuzzy nap. The serge weave is visible under the nap on a worsted flannel, whilst no weave is visible on a woollen flannel. Worsted flannel has a sleeker look than woollen flannel does, but the nap keeps him warm in West Germany’s winter.

Assignment-K-Double-Breasted-Suit-2Boyd’s double-breasted suit jacket has the traditional arrangement of six buttons with two to button, and it is tailored with natural shoulders, a clean chest and suppressed waist. The jacket’s peaked lapels are made in the Tautz style, which means they have a horizontal gorge. They look slightly less formal than standard peaked lapels that point up towards the shoulder. The jacket also has double vents, three buttons on the cuffs, flapped pockets and a royal blue lining. The suit trousers’ legs taper to the knee and are straight from the knee to the plain hem. Not much of the the trousers’ legs are seen, but if they match Boyd’s other suit trousers in the film they have frogmouth pockets and are worn with a belt. The front does not have pleats, but it is probably darted.

Assignment-K-Charcoal-OvercoatBoyd’s sky blue shirt is likely made by Frank Foster. It has a wide spread collar, square double cuffs attached to the sleeves with shirring, rear side pleats, rear darts and a placket stitched close to the centre. Boyd wears two different ties with this suit: the first is solid silver and the second is solid black. Boyd’s shoes are black. Over the suit, Boyd wears a charcoal melton wool overcoat, which he wears over every suit in the film. The coat is three-quarter length to just above the knee. It has three buttons down the front, three buttons on the cuffs, slanted flap pockets and a rear vent. Like the suit jacket, the overcoat has natural shoulders. With the overcoat, Boyd wears dark grey suede gloves.

Assignment-K-Double-Breasted-Suit-3Assignment K has a few connections to James Bond besides both using tailor Douglas Hayward. The director of this film Val Guest, directed parts of the Casino Royale spoof a year earlier. Assignment K also features the actor Jan Werich, who was originally cast as Ernst Stavro Blofeld in You Only Live Twice. Producer Albert Broccoli and director Lewis Gilbert of You Only Live Twice decided that Werich was not right for the villainous role and replaced him with Donald Pleasence.