Andrew Spicer
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Star as producer
Fountainbridge Films, 1991–2003
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Chapter 6 continues the discussion of ageing stars and the cultural politics of the father-mentor, but its core concern is with stars’ agency. Although this has been an important focus throughout the study, this chapter analyses in detail how Connery tried to extend his economic and creative control role by becoming an executive producer and by founding a production company, Fountainbridge Films, in 1992. The structure and production strategy of Fountainbridge is examined in detail, as are the three films for which Connery was both producer and star: Just Cause (1995), Entrapment (1999) and Finding Forrester (2000). The chapter argues that they represent three ways in which Connery had come to conceive his star persona: the sagacious legal professor campaigning for justice; the still sexy action star able to execute a daring robbery; and the reclusive author at odds with the system yet reaching out to the new generation, respectively. Finding Forrester may be thought to be an allegory of the British star who never fitted into the Hollywood system and yet Connery’s next and what turned out to be his final feature film, The League of Extraordinary Gentlemen (2003), was an attempt to instigate a new franchise, showing that Connery never lost his desire to be a major star. The chapter also analyses in detail Connery’s compelling portrait of an ageing lover in the John le Carré adaptation The Russia House (1991) and his wily dissident John Patrick Mason, an anti-Bond figure, in The Rock (1996).

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Sean Connery

Acting, stardom and national identity


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