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C Entries
  Edward L. Cahn
  Sir Michael Caine
  James Cameron
  Lewis John Carlino
  Richard Carlson
  John Carradine
  Helena Bonham Carter
  Leo G. Carroll
  Maurice Cass
  Lon Chaney
  Lon Chaney, Jr.
  John Cho
  Arthur C. Clarke
  Phyllis Coates
  Joan Collins
  Sir Sean Connery
  Roger Corman
  Buster Crabbe
  Richard Crane
  Tom Cruise
  Peter Cushing
(Thomas Connery 1930– ). Scottish actor.

Acted in: Tarzan's Greatest Adventure (John GUILLERMIN 1959); Darby O'Gill and the Little People (Robert STEVENSON 1959); Doctor No (Terence Young 1962); From Russia with Love (Young 1964); Goldfinger (Guy Hamilton 1964); Thunderball (Young 1965); You Only Live Twice (Lewis Gilbert 1967); Diamonds Are Forever (Hamilton 1971); The Red Tent (Mikhail K. Kalatozov 1971); Zardoz (John BOORMAN 1974); Robin and Marian (Richard LESTER 1976); Meteor (Ronald Neame 1979); Time Bandits (Terry GILLIAM 1981); Outland (Peter HYAMS 1981); Wrong Is Right (Richard Brooks 1982); Never Say Never Again (Irvin KERSHNER 1983); Sword of the Valiant (Stephen Weeks 1984); Highlander (Russel Mulcahy 1986); Indiana Jones and the Last Crusade (Steven SPIELBERG 1989); Highlander II: The Quickening (Mulcahy 1989); The Hunt for Red October (John MCTIERNAN 1990); Robin Hood: Prince of Thieves (Kevin Reynolds 1991); Medicine Man (McTiernan 1992); First Knight (Jerry Zucker 1995); Dragonheart (Rob Cohen 1996); The Avengers (Jeremiah S. Chechik 1998); Finding Forrester (Gus Van Sant 2000).
Sir Sean Connery has established himself as an actor who gets the job done. Unlike all the other actors who have played James Bond, Connery would have been willing and able to work for you as an actual secret agent. Oh, he wouldn't have been happy about it, and he would have probably glowered at you in exasperation as you explained his assignment; but after sighing, he would have gone out and done the job as quickly and efficiently as he possibly could, so he could hurry back to your office for the next assignment. Whatever other talents he may have possessed, it was surely Connery's visible work ethic, in an era not noted for this trait, that made him increasingly attractive to both movie producers and movie audiences even as he approached retirement age. Producers knew that Connery would always show up every day on the set prepared to perform, and audiences knew that, no matter how dismal the material was, Connery would always do his best to pull it off.

Like other young men, Connery had to learn the importance of diligence; thus, there are no signs of smoldering intensity in his youthful performances as a villain in Tarzan's Greatest Adventure and as the male ingenue in Darby O'Gill and the Little People, and he initially appeared comfortable in the fantasy world of James Bond. But Connery and the films moved in different directions: while Connery grew more intrigued by the cold, efficient killer in Bond, the films placed more and more emphasis on womanizing, bad puns, and spectacular special effects. He paradoxically abandoned the role just when a script emerged that was tailored to his desire to darken the character, so that what might have been the most interesting Bond Film, On Her Majesty's Secret Service (1969), became, thanks to George Lazenby, the worst. For some rare relaxation, he twice returned to the role in Diamonds Are Forever and Never Say Never Again, adding little to his reputation but demonstrating again that he was the definitive James Bond.

After leaving the Bond films, Connery gradually developed his screen persona as a hard-working, responsible man who grows impatient with silliness (well displayed, for example, in his otherwise uninvolving Amazonian adventure, Medicine Man). It is therefore strange to find him starring in three of the silliest science fiction films ever made: Zardoz, where he seems to vainly struggle, on and off the screen, to make sense out of Boorman's script; Meteor, where intercut scenes of a gigantic rock in space approaching the Earth fail to enhance Ronald Neame's inept efforts to generate suspense on Earth; and Outland, where the despair in Connery's eyes stems not from his character's inability to find desperately needed help but from his own inability to make a science fiction remake of High Noon credible.

As if determined to avoid making the same mistake four times, Connery has since focused his energies primarily on realistic films, some of them medieval epics or spy thrillers on the fringes of fantasy or science fiction. However, he has accepted small but strategic roles in several fantasy and science fiction films, lending his considerable dignity to the occasion while leaving the major burden of the plot to other actors. Highlander, for example, surely would never have generated a sequel and a television series had Connery not been on hand to give the film and its sequel an aura of substance. One should also mention his effective cameo as Agamemnon in Time Bandits and his role as Harrison FORD's father in Indiana Jones and the Last Crusade, an energetic and engaging performance suggesting that, if he had been approached a little earlier, Sir Sean Connery could have also been the definitive Indiana Jones.

As Connery enters his seventies, one wonders how long he can continue to play action heroes and romantic leads; yet in light of his previous accomplishments, it seems dangerous to underestimate his endurance. Undoubtedly, as long as he is offered roles, he will continue to accept them, and audiences will continue to appreciate them; even obvious missteps like his participation in hapless flops like First Knight and The Avengers have not diminished his popularity. Why it took the British government so long to bestow a knighthood upon this hard-working and deserving actor will forever remain a mystery.

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