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Apologies. Time to get into the Christmas cheer mode now.
Season Greetings to you all. <:-P
It's a fish that winks every few minutes as water courses through it.
Do we know what kind of fish it is?
Blofish-?
That s a hoot.
Oh yea, when the guy turns up in the boat with poor Sharkey, I think he reads his line wrong. He says . .
"Guess what, his name was Sharkey!"
Which suggests they were guessing his name prior to killing him. The line would be better read as "guess what, his name was Sharkey!". Know what I mean?
There are some nice touches. I love it when the Oriental guys follow Sanchez instead of Truman Lodge who is the tour guide.
I never got why Dario touched Bond's lips after tying his legs up by the crusher. What was that about?
"Turn the bloody machine off!!" always got a laugh in the cinema.
And you know what, I've seen this film loads of times but I've only just realised Dario's "you're dead" to Pam, was because he shot her in the back at the harbor club earlier in the film.
"You'll kiss my ass to kill you" reminds me of Red Grant's "kiss my boot".
I can see why people always say it looks like a TV movie. There's no sweeping panoramas or lingering atmospheric compositions. When you think of the Monica Bellucci scene in SPECTRE, there's nothing here remotely as stylish or artistic. Yet LTK is so much more involving than SPECTRE.
The music isn't great. When Bond get in the truck right at the end, the score is like some Disney fanfare. For my money, LTK is one of the weakest scores in the series, along with FYEO and Goldeneye. Which is a shame. I do like the Spanish guitar pieces in the Isthmus bits though.
The ending, where Bond shows Sanchez Felix's lighter (chortle!), I always thought needed some kind of facial recognition from Sanchez that he understood, just a second or two extra to give him time to know it was about revenge. I've thought this from the first time I saw it.
Good job Sanchez never found that lighter when he put Bond in some pajamas and put a brand new suit on a hanger for him, wasn't it? That would have cocked it up completely.
But yea, Dalton is brilliant. For my money he's number two after Connery in his first four movies. The eighties don't look great these days, and it's to LTK's credit that it hasn't aged that badly.
The end titles song is pretty horrible, though.
Anyone know the differences between the original UK cinematic release and the later DVD version? I think it's the most censored Bond flick. I've got the DVD on now, and I'm noticing quite a few longer scenes. . . (I was on the dole in the summer of 1989, and I watched the film at the flicks quite a few times).
1) The whips with the stinger is longer, and you hear the boyfriend scream outside, wgich you didn't in the cinema version.
2) Felix being eaten. Wow, this is quite graphic compared to the cinema cut. You even see Dario and Sanchez smiling as he's being chomped.
3) Is there an extra few second of Killifer and the shark?
4) Dario in the crusher.
5) Heller's dead end
6) Sanchez in flames
A few tracks sound like they're part of Kamen's work for Road House which came out the same year... and has a hero named Dalton. Eerie.
It was just a joke, dear. Please take your NTTD whines to the appropriate thread, winky smug face emoji.
Never made that connection before. Nice.
Didn't think of that either, makes more sense now!
That's a good point. Unlike Q, Bond would've done less damage in his pyjamas.
You could explain it that Sanchez got his servant to attend to Bond instead.
Although, it might've been a cool moment for the lighter to fall out of Bond's clothes and Sanchez picks it up but doesn't see the inscribed side, or goes to turn it over before being called upon.
I had never thought of that before either, but now it does sound like the most logical way to view the scene. I had always thought of it as Dario telling Pam "After I finish this guy, you're next."
I'm glad it's not just me. It's only taken thirty one years for the penny to drop.
Sincere apologies, my dear mtm. Please forgive me, happy smiley emoji.
But yes, I do think they tried to make her some kind of ghostly figure. Not sure it worked.
I have read the "ghost" or "angel" theory on here. Never once crossed my mind all the times I've seen LTK.
For some reason, it was more obvious in the cinema. The way the music kicks in, and the way she stands there in white, it's like they're trying to make her somehow mystical. I saw that effect it every time I saw it at the pictures, (as I've said, I was unemployed in summer '89, and spent many an afternoon watching LTK at the multiplex in Brierly Hill).
A similar thing happens when they trash the DB5 in Skyfall. Craig looks angry, the music is more forceful, and the hint is. .
He was pissed off before, but now you've blown his car up, he's really pissed!
But it's not that obvious, it's a little subtle. It's less subtle than the 'ghost Pam' bit, but I'm convinced they tried to show her as back from the grave from Dario's point of view. A spectre, as it were.
I must admit I’d always got that: it’s why she’s filmed a bit like she’s an Angel or something in that shot (I feel the music almost does a heavenly choir thing).
It is an unusually cohesive script for a Bond: most Bond scripts wouldn’t have remembered that Dario thought Pam was dead. And I love that Bond’s theft of the drug money is both an exciting action scene and sets up the whole next section of the film, as well as having many different ramifications throughout the rest of the film.
But I don’t think Glen directs it particularly well. With Kamen along the ride it’s hard not to compare it with the work of other directors he was working with at the time like Richard Donner or John McTiernan, and LTK feels pretty flat against their work - I think it could have done with some of that punchiness those guys would have brought. I’m also not sure he ever really directed Dalton well: he’s so much more charismatic in other, non-Bond pictures.
I found Glen's direction fairly flat in his first 3 films, but I think by TLD he got into his stride.
Yeah, he just kept refining his style... TLD & LTK were his crowning achievements IMO.
That's what a discussion board like this leads to. It invites one to focus on the minutia of things. And after a certain point, that can become counterproductive. Your mileage may vary, of course.
Personally, after NTTD, I have no strong desire to discuss any Bond film, or read opinions about them. Watching them --interacting with them in a sensory way, rather than thinking and writing about them in hindsight-- is much more appealing at the moment. The music scores are the main exception to that.