I have always held a real soft spot for Caroline Munro. For a film fan of a certain vintage, she is woven into the very fabric of our formative years. She is the definitive Scream Queen in Captain Kronos and Dracula A.D. 1972; she is the lethal Bond Girl Naomi in The Spy Who Loved Me; and she is the quintessential fantasy heroine (and one of my first crushes) from The Golden Voyage of Sinbad.

I still frequently revisit these films—especially the Harryhausen classics, given my love for his creature effects (a passion shared by Munro herself, who serves as a Trustee for his foundation). I recently missed a chance to meet her at the Hell Tor Festival in Exeter, despite living nearby, so I jumped at the chance to read her autobiography, Reality Behind the Fantasy. So, does the book live up to the icon?

If you are looking for a dry, day-by-day chronological account of a life, this might not be it. Instead, Munro’s book reads like a "Greatest Hits" album. It is a collection of the specific life experiences, chance encounters, and instincts that shaped her singular career path across the worlds of Bond, Hammer Horror, and Sci-Fi.

Munro is philosophical about her journey. She reflects on the "Sliding Doors" moment where she chose the role of Naomi in Bond over Ursa in Superman II. She notes:

"We all have moments in life where we look back and wonder what might have been... It’s a natural part of the human experience."

She concludes that following her instincts rather than a "grand plan" was the right way to go and one of the most touching aspects of the book is Munro’s candor about her early years. Despite an idyllic home life with a supportive mother and a father shaped by WW2, she struggled academically. She opens up about her battle with dyslexia, which wasn't fully understood at the time, leading to a lack of confidence in the classroom.

However, once she moved to Brighton Art College, things fell into place. The book paints a vivid picture of the era—riding her bicycle "Blue Bird," seeing The Beatles perform in Brighton before they were global superstars, and eventually stumbling into the "Face of the Year" competition that launched her modeling career.

The anecdotes from this era are gold dust for pop-culture fans. From a romance with Colin Blunstone (The Zombies) to declining a kiss from photographer David Bailey (telling him he was "too old"!) and a chance encounter with a magnetic, pre-fame David Bowie, Munro was right in the center of the cultural zeitgeist.

Naturally, the bulk of the book covers her legendary film career. Horror fans will appreciate the deep dive into her time at Hammer. She speaks with immense respect for Sir Christopher Lee and Peter Cushing, crediting them with helping her overcome imposter syndrome during the filming of Dracula A.D. 1972.

Her stories are often hilarious and self-deprecating. One highlight is her mortification at accidentally burping in front of Vincent Price after a pâté breakfast on the set of Dr. Phibes - only for the horror legend to laugh it off and join in.

She also touches on the guerrilla filmmaking styles of her later cult hits like Maniac and The Last Horror Film, sharing the gritty reality of filming in Times Square without permits. Whether it was getting stung by a bee during her first scene with Roger Moore or nearly crashing in a helicopter for a Lamb's Navy Rum advert, Munro portrays the industry as equal parts glamour and danger.

The book takes a serious turn as Munro discusses her personal life, including her marriages (first to Judd Hamilton, then to George) and her recent battle with breast cancer. She speaks highly of Maggie’s, a charity that supported her, adding a layer of vulnerability to the glamour.

She ends the book on a poignant note regarding her recent work on the convention circuit and with Talking Pictures TV. She realizes that acting isn't just about entertainment; it is about,

"helping people escape, heal, dream, and feel."

Overall, I really enjoyed my time with Reality Behind the Fantasy as it wasn’t a heavy academic study of film; it was more like a conversation. It felt honestly earnest and breezy and I felt that it captured the voice of a woman who has remained grounded despite being a fantasy icon for decades.

So, if you are a fan of Hammer, Harryhausen, or just the golden era of British film, this is well worth your time.

LINK- The Golden Voyage of Sinbad - Cult Film Review

LINK- The 7th Voyage of Sinbad- Cult Movie Review

LINK- Into the Unknown Exhibition Shines Bright at the Barbican

LINK- Ray Harryhausen: Titan of Cinema Virtual Exhibition Experience- Review

LINK- Children of the Stones: Cult TV Series Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- On And On And Colston ( Or, How We Kinda Sort of Learned to Talk About the Legacy of Colonialism and the British Empire)

LINK: Japan: My Journey to the East

LINK- Pure Invention- Book Review

The Golden Voyage of Sinbad is the second of the trilogy of Sinbad films that Dynamation stop-motion monster movie creator Ray Harryhausen made for Columbia, the others being The 7th Voyage of Sinbad (1958) and Sinbad and the Eye of the Tiger (1977). In the three movies created by Harryhausen and director Charles H. Schneer, it often sits comfortably in the middle or at the top but it's all relative and heavily based on nostalgia. Nonetheless, what it does have is a popular b-list cast of actors, amazing mythical monsters and a simple but engaging enough story.

The plot follows Sinbad as he comes into possession of part of a tablet which is dropped by a mysterious homunculus. He finds out that the tablet is a single part of three which shows a nautical chart to the mysterious land of Lemuria and a special treasure. Ably supported by the Grand Vizier Of Marabia, a slave girl (played by genre favourite Caroline Munro) and his loyal crew, Sinbad attempts to get to the Fountain of Destiny before the evil magician Koura (an effectively villainous pre-Dr Who Tom Baker) who wishes to extend his life and use the power for his own nefarious means.

I remember watching the film in my youth and falling in love with the Harryhausen monsters (as well as stunning Munro). The sweeping cinematography and Arabesque music lent it all a sense of the exotic and, I can say even after all this time, it is still thoroughly watchable.

Even though the production was made on a shoestring budget you wouldn't know it as the film has some stunning matte art for the backgrounds, seemingly inspired by the Angkor complex in Cambodia, giving it a sense of grandeur and space. The costumes are sumptuous and present the atmosphere of Arabian Nights. The dialogue is basic but does feature some great one-liners like, 'My heart is full of bravery but I have very cowardly legs.'

However, once again, it is the Harryhausen Dynamation process that raises the whole production as we see a possessed ship's figurehead come to life as well as mythical beasts like a centaur and griffin and the goddess Kali.

If you're looking for a quick matinee fix for a rainy afternoon over Easter, this is the movie for you.