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Indeed ! Additionally: Connery was not fresh or as interested as in other appearances. AND he looks so sweaty and greasy in much of the film - ???
Or maybe Craig turns to the camera and says, "Well, I guess it's time to die. And you know what timepiece is best for dying? Omega."
He should've done it with the cigar that Paloma got him for Felix. But, yes, the risk of a Hamlet flashback would've been high!
You're right about those elements in the early Connery films. The opening music to Goldfinger was positively shattering. FRWL did it instrumentally, and everyone has the story of Tom Jones passing out singing TB. There was something new and special that could not be sustained. I still look forward to the Bond films and would like to think there will yet be one capable of recreating that early magic.
Okay I got distracted by the description here.
Did you not feel that early magic with CR? I did, and also with TLD. So I'm hopeful that Bond #7 will have a successful first outing. They usually are.
My first Bond film in theaters was OP, and Dalton--especially his youth and vitality--was very refreshing in 1987.
I always considered that a chicken**** decision on the filmmakers to blare the theme after her death, as if the producers were scared of ending the film on such a down note.
To be honest, I prefer the 'Home' theme to be played in the end credits, at least to add some weight to Bond's death.
And does someone here have heard the unreleased track of Safin's theme, just curious, it could have worked in the end credits instead of playing 'We Have All The Time In The World', they should edit the ending theme of OHMSS today and replace that Bond theme with Louis Armstrong's WHATTITW song, they still could have done it with today's technology.
Actually CR and OHMSS rank as my two favorite Bond films. Vesper is the best Bond woman followed by Tracy. Focus on character is the key to both. And I do like both Dalton films. You Know My Name is one of my favorite Bond themes. It is definitely a throw back. I remain a Bond fan even if the films don't thrill as they initially did.
I sometimes wonder that even if Lazenby had returned the filmmakers would still shrug off Bond’s loss more or less the way DAF did.
One of the self declared fan I've talked to, told me that Lazenby had been interviewed in a podcast and he said that they supposed to do 'The Man With The Golden Gun' after OHMSS with him reprising his role as Bond, though I still need to check it out.
So if it's true, then it's not going to be DAF either and they've considered filming TMWTGG many times?
I don’t doubt Maibaum wanted to do a proper follow up, and that Mankiewicz was brought in to make it more like GF. Would be interesting to see any surviving drafts of what Maibaum did before his dismissal.
On second thought, I think you're right. Here's a combination of a couple old posts of mine that I'd forgotten about:
On Sept. 8, 1969 (while OHMSS was in post-production) Richard Maibaum began 13 weeks of script work on Diamonds Are Forever.
For DAF Maibaum produced two treatments that were direct follow-ups to OHMSS, featuring Bond in depression, the death of Irma Bunt in the pre-credits sequence, and locations in Southeast Asia. Early screenplay drafts included scenes onboard a Victorian locomotive (as in the novel) and a climactic battle with Blofeld in a hydroelectric plant.
Ilse Steppat's death on Dec. 22, 1969 meant Irma Bunt could no longer appear. In a memo addressed to Broccoli and Saltzman and dated Feb. 10, 1970, Maibaum wrote "I'd like for us to make some joint decisions...Do we use Blofeld as our mastermind again? If so, we can't avoid emphasizing the revenge aspect. The audience expects Bond to settle his account with him for murdering Tracy." Maibaum also wrote that since Bond and Tiffany had experienced great personal tragedies they could help each other recover.
Broccoli ultimately rejected Maibaum's approach, saying "we all felt the story a little too tame, too much like any spy thriller." Maibaum then produced a draft featuring Goldfinger's twin brother as the villain, climaxing with an exotic boat chase across Lake Mead. Guy Hamilton, who "found boats boring," scrapped the finale. The producers turned to Tom Mankiewicz, who'd been recommended by David Picker, President of United Artists.
Can you cite your sources, please? I believe you, but I want to know.
Thank you, one of James Bond’s biggest lost adventures.
But destroying what was left of the main character, taking everything away from him, before killing him off is something else completely. The ultimate downer.
The ending of OHMSS is far easier to shrug off than NTTD, because Bond lives to fight another day. Anyway, I know I'm wasting my time with you on this subject because you loved the ending to NTTD.
I simply object to this conceit that Eon shouldn’t take these kinds of chances just because it doesn’t conform to what came before.
Yes I think you’re right.
This is 100% the direction they will take. This is really the only territory that has not been mined. I can see them taking a similar approach to 'Dune' or the recent 'Spider-Man' films and do a coming-of-age story.
We would meet Bond in his 20's and see him go from the Royal Marines and become an MI6 agent. I don't see them adopting the approach from 'The Batman', mainly as CR already did something similar. There we met a Bond in his mid 30's going on his first mission (in my opinion, Bond is around 35 in that film). Which is more or less the conceit used to introduce Robert Pattinson's Batman.
For this reason, I think a 'Young Bond' story would be essential for a reboot. An actor in his twenties should be sought. I just hope they don't go down the route adopted by the recent 'Uncharted' movie. I don't want a frivolous popcorn blockbuster. Bond 26 needs to keep the pedigree of the Daniel Craig-era. 'Dune' should be the benchmark.
There certainly needs to be an element of the 'luxury Instagram lifestyle' in Bond 26. It should not overwhelm the film though. That aspirational lifestyle of globetrotting and escapism has flourished on social media. I think Eon are conscious of that - especially as they recently teamed up with Michael Kors for a campaign which hired a number of high profile models to promote the brand. They even enlisted one of the biggest models working today in Bella Hadid. If someone like Hadid were to have a brief cameo in Bond 26, that would help make the film appear sexier for younger auds. Photos and a video from her campaign are below:
They also got a number of models to pose on a boat to promote the partnership. I don't necessarily think Bond 26 should feel like you are scrolling through an influencer's account, but Bond's world has always had an element of glamour in it. Perhaps they can lean into those aspects with the next film, but it should not negate from the tense, darker moments. I immediately think of a show like 'Euphoria', which appeals to the Instagram/TikTok crowd but also is still emotionally intense. Bond 26 could certainly do something along those lines. Check out more from Micheal Kors' campaign for 007 below:
I think NTTD would have felt different had we not waited for it throughout a pandemic, and had it not had eerie pandemic echoes (at least it was nanobots and not a straight-up virus).
After two years of waiting, and worrying about the state of the real world, some understandably wanted a more uplifting film.
With Bond 26 they will presumably release the film closer to filming.