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Case in point:
But then DAD is good for BDSM nightclubs and WOTW is good for if you’re an emo girl who’s just been dumped by her boyfriend. So as Mendes says, something about those 4th films...
Even AFTER an offer of a delicatessen in stainless steel?!
@Creasy47, No because they offered me droning noise in a soundproof room. Who the hell wants that!?! =))
I said "alright keep your tin ears on." ;)
It's very quiet and subtle, but I'd never noticed it before now. Which is odd as that scene is one of my all time favourite Bond scenes.
Also in The Living Daylights during the airbase battle scene, we see Kamran Shah driving around in an orange digger causing havoc. He then uses it to destroy a gun emplacement destroying the digger in the process.
Shortly after we get a scene from Kara's perspective of the battle, and we clearly see the orange digger driving around still. Obviously an editing error. But again I don't recall noticing it before.
The very sweet moment of protection Pushkin gives his lover is quite endearing to him as a character, as the film is presenting him as a man with principles and honor right off the bat: he will accept whatever punishment he is getting, whether it's earned or not, but he doesn't want anyone he cares about hurt. The entire scene of Bond interrogating Pushkin is predicated on the latter bringing flowers to his mate, which already begins to show Pushkin in a vastly different light than Koskov has portrayed him. By doing so, TLD smartly plays with expectation and, if you are fooled by Koskov's scheme, you become surprised to find that Pushkin isn't a bad man at all and is really quite honorable and driven by a strict code.
I also love the moment between Pushkin and his lover later in the film, after he fakes his assassination. For the plan to work and for Koskov and Necros to think Pushkin really had died, Pushkin and Bond couldn't tell Pushkin's lover about it. Her horror in that scene is palpable as Pushkin is shot, and the minute that he is able to reveal himself as very much alive the man instantly comforts his mate and breathlessly apologizes for putting her through that ordeal. It's a shame we never see Pushkin after that, but he is a smartly crafted character and played brilliantly by Davies, continuing the trend of the Bond series imbuing the Cold War Russians with honest humanity and decency that very much underscores the message of detente those movies portray as a sort of sub-theme.
One orange digger ;-)
That Bond and Pushkin scene is one of my all time favourite scenes in the series! Didnt realise originally they debated over whether Bond was to kill Pushkins bodyguard when he burst in the door! Think it would have worked better if he did so, more in line with Daltons approach. But it doesn't hurt the scene that much. Bond ripping off Pushkins mistress dressing gown was an eye opener in more ways than one! ( I only realised many years later that the actress playing the mistress was from Mad Max 2!)
@Mathis1, I'm glad they didn't have Bond kill anyone in that scene, as I actually think that would've run counter to Dalton's approach. Some here seem to think his Bond is unstable, so close to the edge and nearly off it, but I never get that impression. He's a pretty stand-up guy, even when he must follow his orders. I mean, the whole reason he's even meeting Pushkin in the hotel is because he completely ignores M's orders to kill Pushkin. Bond knows Pushkin and doubts that he's scheming against them in such a vile way, so he does his due diligence and makes sure the man is guilty before taking any action, which is the mark of a true professional and, in a way, a compassionate man.
Bond's handling of Pushkin under the circumstances is honorable, and fits Dalton's portrayal well. He has an edge to a degree, as I think all the Bonds do, but shooting a man in cold blood wouldn't be one of his traits. There's a very human appeal to him and how Dalton plays him, and the shades of Fleming's Bond he brings out best, a certain avoidance of direct conflict, is one of them. I couldn't picture Fleming's Bond popping a bodyguard in that situation, nor could I imagine Dalton's doing so.
Really? That is a good observation.
"You're fading from my picture, @Murdock, but the end cannot be far away... so I'm gonna play The Moors."
I can think of something more sociable to do. ;)
God I hope not, Barry's 007 theme had actual thought and complexity put into it. Newman's Moors track is someone strumming the same note on an electric guitar nine times repeatedly while the string section occasionally sweeps in rising and lowering.
I certainly don't want to ever hear a variant of it again. Whenever I think of the finale that tune goes off in my head, and not in a good way.
If they get the score right for B25 it will go a long way to making me enjoy the film, even if there are other elements of it that I may not be happy with.
Of course the director will have a significant influence on who the composer ultimately is too, so we'll just have to wait to see who they pick to helm the next one and then we can speculate about what that will mean for the eventual composer.
@bondjames same here, That gunbarrel is a great hook for lovers of music.
And that is true, for better or worse. Hopefully the former.