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Comments
indeed.
if you look at the Bond canon, there's been oscillation between silly fun and emotionally resonant films the whole way through. it's the bond pendulum.
I think Mendes / Craig recognized the need to swing back to the light for Spectre but if there was ever a double act wholly unsuited to executing that shift, it's these guys.
so what we actually got was a strangely inert piece so tautly suspended between varying tonal destinations it ended up going nowhere.
combine that emptiness with the worst third act of all the Bonds (even worse than DAF) and I'm amazed the film survived in semi-reasonable shape.
You hit the nail on the head right there.
Exhibit A - TMWTGG.
Apart from the oft documented script flaws SP does have a lot of class.
TMWTGG is terribly leaden and uninspired and with possibly an even duller final act (is Bond's miracle shooting in SP any more inane than the climax of the film hanging on what Goodnight bumps into with her arse?).
Apart from Christopher Lee, the spiral jump (sans slide whistle) and probably the score I don't think there's really anything in TMWTGG that is better than SP.
@QuantumOrganization
I take it you reject the likes of FRWL, OHMSS and FYEO too then.
Also, DAD took us to Korea and Cuba. Must rank pretty high on your list then...
@Mendes4Lyfe
You turn the film off after the train fight? Why bother watching then? I've never understood this notion of watching a film half arsed.
This is just silly. I can accept that some here find SP one of the lesser Craig Bonds, possibly one of the lesser Bonds in total. But if the last part of SP is intolerable, I can only imagine some need psychiatric assistance after watching the average film released theatrically today.
I'm getting a little tired of these exaggerated responses to SP. Sure, it's no CR and it's not a flawless Bond film. Few Bond films are. But to pretend like this is the worst thing we've seen since the dawn of cinema, so bad we can't even stand watching the final act, takes away any credibility from the opinion. Film snobbery isn't the right thing to bring to a Bond film discussion.
They should of stuck to Craig being his Bond, deadly and efficient rather than trying to turn him into a Moore/Brosnan hybrid.
No one is going to sell me that car chase was impressive or that the plane pursuit was thrilling, save the PTS and the White meet up and the film is just plain dull.
To me it's part of the second Golden Age for Bond and the train is still on the tracks.
I regard that as being easily pleased and yes when you have been a fan of something for over 40 years you do tend to be more critical of it.
It's not getting a pass just because it's Bond and it ticks a few boxes, just accepting it by association.
The entertainment value is just so thin for me after that point. I don't hate it, but the film just trails off and never really recovers (although I'm partial to the ending scene, I admit). I'm not saying it to be shocking, or like I turn it off in disgust - I merely don't see much point in watching further.
I do something similar with SF also, FYI. Once the Casino scene ends, I usually skip straight to the finale in Scotland.
However, as pure surface level Bond entertainment it's down at the absolute bottom with TWINE for me. A dull disaster.
I realize that many went on about Mendes's themes and what not during the many SF discussions that permeated this forum prior to SP's release. The thing is I never really noticed any of that when viewing that film, or if I did it wasn't important because there was so much more for me to enjoy & hold onto in SF. The earlier film has a certain liveliness & vibrancy to it (visually and character wise) which pulls me in every time. SP is almost the opposite, and I am beginning to think that this was intentional on Mendes's part, in which case the man is a genius to have created a yin and yang experience with the two films.
The portrait gallery in the abandoned MI6 building was possibly the laziest, most cringeworthy sequence I've seen in any Bond movie. I actually retreated into my seat when I first saw it.
It's like none of the writers got their way, for whatever reason, and this shambles was the scorched earth result.
All these years waiting for Blofeld to become available as a character and they blew it. Spectacularly.
We may never know what actually happened behind the scenes but it's a reasonable bet that it was more a factor in DC's post-film fatigue than any physical injury.
@bondjames, if Mendes did, consciously, create a yin and yang, I think it was out of necessity (a deadline looming and a script that was wholly tossed out). They say Necessity is the Mother of Invention...
I should edit @bondjames that SM should be rewarded points that he wrapped bullshit up into a nice-looking bow (and yes, DC should be given points too-- for elevating the material)
As I've also mentioned before, I've viewed this film more than any other Bond film to try and find something to like in it. I've realized that it's like watching a car crash. There's something horrific and yet wierdly enticing about the whole thing. I think you called it a 'beautiful disaster' or something along those lines and I agree. I credit that to Mendes, because if not for his thematic accents, I would definitely rank this film at the very bottom of the pile (yes, below TWINE). I think he saves it with the moody surreal visuals and the themes.
When I heard the name of "24" was to be SPECTRE (yes, I watched the press conference live), the images of an updated THUNDERBALL went through my imagination...
Then when I saw the first trailer, I thought OHMSS-- for obvious reasons... But yes, it ended up being a beautiful disaster... and nothing close to a classic... although images and scenes were certainly classic... But as a whole... an awful mess.
But I want to suggest at the time of its release SPECTRE lacked one thing well-loved films like THUNDERBALL and ON HER MAJESTY'S SECRET SERVICE and THE SPY WHO LOVED ME and THE LIVING DAYLIGHTS and GOLDENEYE and CASINO ROYALE (not to mention DIAMONDS ARE FOREVER, MOONRAKER, DIE ANOTHER DAY, and SKYFALL) all have.
Familiarity.
Or TLD?... I love my Bond to throw a curve ball (at the time, 13 years old, almost 14, I adored TLD), and was knocked senseless with CR; I admire (and now respect) QoS...
SP was beautiful.
Well cast.
Some of the most sexy scenes I've witnessed in the franchise (lookin' at DC-007 and Sciarra widow)
... but... as a whole... it fails... it doesn't connect... M is weaker... "C" is just such an obvious "c" and takes away from that B-Plot (interesting, but executed terribly); Madeliene is wonderful on paper, and looks great, but, in action, unbelievable and never sells... Things like Hinx's "hook", with the nails, are never brought up again... all round half finished and half-assed...
... and yes, I still think this piece of beautiful shit has, and will have, value down the road..
The ironic thing is that with all the retreading of familiar locations and images and lack of inventive action sequences, Spectre was perhaps the most familiar Bond film upon arrival.
Bond films 1-20 aren't judged the same way new releases are and didn't have the overwhelming media and social media venues available to essentially agonize over pre-production, production, and release.
It's a brave new world. I see passionate complaints about clichés in Bond films. As if.
All 4 of those are in my Top 6; just throw in CR and OHMSS to finish off my favorites. Whether or not Craig returns, I don't think CR or SF will be topped anytime in the next few years. They're having issues just getting a film out at all right now.