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I don't believe Craig has ever experienced this particular Bond tradition in his 12 years.
Hit the spot. I may pop in another Bond later if I have some free time.
Have to be the 1992 tapes, then. The complete set - from DN to LTK, have original poster artwork on the cover.
I think I saw a blog post once, with images of different scenes without the Lowery restorations compared with the Lowery restorations. Can't find it, unfortunately.
Please recall our forum policy about double, triple, ... posting. Even if this thread is about live comments, you can still use the edit button. One post per poster, so to speak, not one post per minute.
Thank you.
My apologizes. I was under the impression this thread was a 'comments as you watch" theme.
I didn't realize that has changed. Therefore I am guilty of posting many consecutive comments on this thread.
As it now stands, I have now posted my final post on this thread, as well as the non- Bond film comments thread. I will participate no more.
Thank you.
Just saying.
- post made at 1:37
- post made at 1:39
- post made at 1:39
- post made at 1:40
- post made at 1:43
Feels a bit like a Twitter conversation, wouldn't you agree? :) We have the "activity" option for that. I'm sure it could serve the purpose of this thread too.
Either way, we're not saying you cannot give live comments, but surely comments can be "collected" as it were for one post every 15 or 20 minutes, no?
@ToTheRight, please don't take it personally. No need to walk away from this thread. We're merely asking to be a tad more economical with the post count. :)
I personally wouldn't mind condensing my posts, but it may lose some of the spontaneity.
Not sure how to do a separate "live" post or how to use the "activity" option.
- Love the gunbarrel with the high strings. Sounds more exciting and less somber than in FRWL.
- For some reason I enjoy that exaggerated camera move to follow the fake seagull Bond throws to the water. It's like the film is bursting with energy.
- Love that version of the Bond theme. Ultra cool. The silky strings, the marimba moving up and down the chords, playing gradually louder... the harp hitting the notes an octave below the violins.
- I bet the nightclub music is by Barry.
- "Where was I? Oh, yes." :))
- There's a move in this fight I remember being vividly impressed by when I was a kid. Still get goosebumps from it to this day. It's when Bond grabs Capungo by the arm and throws him back, and he falls in the tub. There's something so visceral and raw about it. There's a real sense of danger to this fight, like somebody is going to get very badly hurt any second. And it happens, of course.
- Door slam. Cut to titles. Yeah! This film reeks of utter confidence in itself.
- Brownjohn's titles have plenty of interesting imagery. Oddjob's moustached face superimposed over the face of a woman. The rotating licence plate over the mouth of another lady. The golf ball moving along the arm. The explosion on the back. I also like how the little hairs of their bodies are captured in silhouette. And the wild colors when the theme song kicks into overdrive.
- Is it several women or just one? I've never noticed.
- "He loves only gold... OOOONLY GOOOOLD!!!!!!!1" And the trumpets go nuts... goosebumps. It's like when they were recording, they said "this is tremendously exciting!" "But not enough. MORE, MORE!"
- The hotel music is definitely by Barry as well. That use of major and minor chords is unmistakably his. The piece has a slightly somber feel if one really analyzes it. Heard fleetingly and not too loudly, one is less likely to notice.
- But that's Mr. Goldfinger's suite! Yes, you're very sweet. That's my James!
- I love all the little (and big) displays of Goldfinger's ego throughout the film. He can't bear the idea of being seen as a loser, so he has to cheat at cards, has to cheat at golf, has to be seen with Jill. He also has to kill the gangsters but not before explaining them his master plan, and have Mr. Solo crushed and then his gold removed from the crushed car. He is the one with the slight inferiority complex, not Bond.
- Love Goldfinger's face when he realizes he can't hear Jill over the earpiece.
- Felix, I'm sorry. Something's come up. :))
- That shot of Jill lying on the bed, looking at Bond with bedroom eyes... tempting indeed.
- The girl's dead. - Dink?! - No, Masterson, Jill Masterson. Try and keep up with my sex life, will you, Felix?!
- I like Bond's look here. Wool waiscoat, knitted tie.
- I wish we'd seen just a little more of Smithers's house. The set design in this film is terrific.
- True, I don't know much about Brandy, 007, but I'll fire your ass if you don't follow my instructions.
- Oddjob's first proper appearance. Immediately iconic. Great use of crotales to represent him musically. Harsh, metallic.
- The caddy is so amused by Bond's golf ball trickery. You can imagine it's the most exciting day he's had in a while. I'm happy we've had a golf scene in Bond.
- You're a really poor liar, Ms. Soames.
- So Bond figures out how Goldfinger's doing the smuggling, and plot thread A is over. Time to begin unfolding the bigger plan.
- A somber aspect of the film that isn't dwelt upon much is that Bond is somehow involved in the deaths of both sisters. Though he can't be said to be responsible for Tilly's death in any way. I like how Bond is thrown off by her death. He basically surrenders at that point.
- That harp ostinato that plays when Bond is being escorted to the factory in his car is truly hypnotic. The brass accents follow a pattern in terms of on which beats they fall, but I love how it can appear rather unpredictable at first. Beat 1 of the first bar, beat 2 of the second bar, beat 1 of the fourth bar, and repeat.
- Very exciting when the ejector seat is activated. The clueless henchman's yell gives it that extra touch of fun.
- The factory alleyways are so labyrinthine. A rather eerie place.
- I like how the laser is set up early on and then reappers at the end, proving to be a crucial part of Goldfinger's plan. Sounding like a broken record here, but the music is great. It starts just as Goldfinger snaps his fingers, and begins defusing the tension just as the laser is turned off. Perfect sync.
- Bond humilliated Goldfinger, made him look weak. In retaliation, Goldfinger is going to deprive him of his masculinity in the most painful way. I love how he almost doesn't buy Bond's rubbish about 008, Grand Slam and whatever other nonsense he tries to tell him.
- I love the banjo music. And the string mini-melody after it.
- Bond must go to the United States every once in a while. It's a familiar place, and a little break from exotic locations. Nothing wrong with that.
- Bond's in his cell, "teasing the Korean." The harp follows Bond's winks and gestures. Just one sustained chord through the whole piece. The Goldfinger soundtrack is very economical in that sense, and also in the fact it relies so much just on the title theme and the Bond theme... almost exclusively, in fact.
- "EXCEPT CRIME!!!1" With that degree of conviction, one can imagine Goldfinger having sat alone at night thinking about this matter a great deal. Cool stuff.
- I like the brief cutaway to Kisch sitting down on the floor near Bond, enjoying his puzzlement at Goldfinger's plan.
- Are we meant to think Pussy had no idea the gas was deadly? I guess so.
- Great music, Dawn Raid at Fort Knox. Basically three chords that dominate throughout. The part with the strings playing staccato C minor chords is cut short in the album. In the film it goes on for much longer. Same with the repetitive closing bars in the OHMSS theme. Shame they were edited out.
- You made a mistake, my friends, by having the troops fall to the floor so cartoonishly. They could've coughed or something.
- When the break-in begins, there's a long, refreshing stretch without dialogue. Then a polite, but cold and ominous "goodbye, Mr. Bond" from Mr. Goldfinger.
- The music sets up the arrival of the bomb. When it's finally activated, it goes quiet and that repetitive noise begins. Nothing like a repetitive sound to create suspense.
- Fantastic shot with Bond going down the lift and the camera opening up to reveal the enormous vault.
- So Goldfinger is ambushed by the troops, and in no time he is in his military uniform, tricking them and gunning them down. He may be an egomaniac, a liar, a cheater and a crook, but he's not stupid! Fantastic character. And since he is forced to lose his usual gold-colored clothes, he brandishes a golden revolver, to make up for it.
- I love this. Kisch vs. Oddjob. Nothing like circumstances pitting the bad guys against each other to add spice to a scene. And Oddjob, already creepy throughout the film, becomes even more so here, with his sickening and mysterious loyalty to Goldfinger.
- Poor fellow crushed by the vault door. Did he die, I wonder?
- Oddjob relishes Bond's futile attempts at hurting him. He may be mute but his actions, facial expressions and body language tell us (or rather hint at) plenty about him.
- What's that piece of wood Bond tries to hit him with? What's it for? Looks a bit like a paddle, but that's obviously not it.
- And then the tables are turned for a moment. Oddjob's face changes when Bond grabs the hat.
- Oddjob's dead, and the music returns. One small crisis has been averted, now it's time to deal with the bigger one.
- Watching this, I couldn't help but think of the bomb in Naked Gun 2 1/2. Drebin fails to defuse it until he realizes it's plugged into the wall socket.
- Anyway, it's pretty exciting when Bond finally opens the damn thing and all you see is this giant mess with cables and rotating things. What the hell is he going to do?
- Goldfinger appears in the plane. Cut to: the military pilots, tied up and gagged. Pretty funny in its own way. Some slick editing in this film. Shame that Hunt wasn't on board for Thunderball. It could've used a bit of trimming as most of us would agree.
- "Are you having lunch at the white house, too?" :))
- Goldfinger gets sucked out of the plane. Gert Fröbe and Michael Collins delivered a great performance.
- Once again, I like this cross-cutting. The plane's about to crash, and we cut to Felix and the others discovering the military pilots.
- Colonel Russhon. Thank you. For feeding ice cream to Connery.
This film feels so damn modern. It's been 54 friggin' years and it feels cool, distinctive and contemporary. And as I said, it reeks of self-confidence. As if the filmmakers knew they were making something great. Which they were.
A great deal of the film's effectiveness has to do with Connery and Fröbe (and Collins). Their interplay is the essence of the film.
During this watch, I tried hard to free my mind of what I know about the film. Tried to approach it as if watching it for the first time. It worked to a degree. Made its surprises seem fresh.
I wish I had a time machine to go back to 1964 and see for myself what people were saying about the film back then. What the cultural zeitgeist was like.
I tell you I love all these films the more I watch them!
The actor who plays the road worker is so intense and focused! He sees three men dying in a burning car but is probably thinking about what he'll have for dinner.
The shot of the swamp at dusk in which they finally see the dragon is rather beautiful. And the "dragon" actually looks fairly intimidating.
The dinner scene is very well acted and written. Bond pushing the doctor's buttons.
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I'm up for a group viewing, by the way. I'm done with the Connery era but I was planning on watching three Moore films, one Dalton and two Craigs. If our interests coincide we could "join forces."
Sean, Laze, Rog, Timmy, Pierce or Daniel?
Good call. Let's go with Roger. He is still a couple viewings behind Sean in the Bond Meter Thread.
Anyone else up for some Roger tonight?
If my memory serves correct, he wasn’t an actor. He was working that machine on the road while they were filming and Young was like hey this will look good in the film, you want to be in the film?
It’s like a crane or something in the script and not whatever it is in the final film
AVTAK @6:30 it is!
Sounds great!