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Haha, yes I'll give you that, he did pull it off. He doesn't in NSNA though I don't think.
I certainly did. It's down to this bondathon that I'm looking closer at the movies. Certainly not as bad as some make out. There's a lot to enjoy in this.
Then again I don't actually own a copy.
Strangely enough I read somewhere that had Connery not taken it on they would have turned to George Lazenby. Had that happened (for whatever reason) I think I would have embraced it more. Connery had made Thunderball, I didn't want that tarnished, but a Lazenby second film may well have whetted the old appetite. No idea why
Just love the way Louis - smooth as butter – Jordan says that line. Damn near gives me goosebumps.
Today is my birthday. And, as custom, I watched a Bond film. Usually it’s either The World Is Not Enough – my Gran took me to see it in 2000 as a birthday treat – or one of the Roger Moore’s escapades. Seen as it was Octopussy’s turn to be viewed....
The action is inventive and entertaining, locales stunning, the screenplay is involving and plot intriguing, and it has great cast; Maud Adams is a worthy match for Moore's 007; Louis Jourdan is subtly menacing; Steven Berkoff is overtly menacing and Kabir Bedi is menacing, full stop. Roger Moore is on great form here, full off his trademark charm and humour, tempered by some genuine acting - think Bond and Orlov on the train, and when Bond discovers Vijay, subtle and sombre. In these moments Sir Rog, really knocks it out of the park. (Although, Q was very close to meeting Kamal's men. Very lucky indeed. Q is too high up too be dealing with this agent work.)
Over all, Octopussy is an entertaining and fun film, with the theme of For Your Eyes Only retained (I especially like the listening device in the Faberge Egg, being interrupted by a common hair-dryer), the only things amiss with Octopussy is the "tennis match" during the Tuk-Tuk chase, and the infamous Tarzan yell.
As @NicNac said “Octopussy's repackaging is done in an entertaining and enjoyable manner. ”
By this time both the cast and the crew were firmly in place, just tweaking a proven formula.
Some thoughts -
- Bond acknowledges that he has been bested with a slight nod, after Magda joins Khan after their tryst.
- The final assault by Octopussy’s girls is an inventive way to do the “big climatic battle”. Surely it’s no more kitsch than having two armies facing off against each other, in boiler suits?
- I like Brown. The knowing smirk as he asks Bond to “chit” the Faberge Egg. His reaction to Bond’s “tip of the tentacle” gag.
- India has never looked better. Stunning on Blu Ray. Even the soft focus has been lessened on this format.
- The double take of Khan as Bond is fiddling with his engine.
- The gentlemanly conduct between Bond and Khan is always a delight.
- Although I don’t rate Wayborn as an actress, she is stunning. Particularly like her sari.
- Bond asks Vijay if he’s learnt anything of Khan. To which Vijay replies, “Well, my backhand has improved”. The reaction from Sir Rog always cracks me up.
- The Indian gal in the hotel. She shows Bond his room, flirting up a treat. I do her in a heartbeat.
- After @Birdleson pointed out Gwendoline’s camel toe, I can confirm it is a dozzy. Haven’t noticed it before. I shall never un-notice it from now.
- Binder has discovered lasers.
- The last few notes of “All Time High” at the close of the movie, are eerie and poignant.
- Moore is on fine form. More human, more gallant, with a slight world weary aspect, as befitting his advancing years, and less of a playboy superman. Although his charming, slightly affable persona is a mask – Moore can be a right bastard when called for.
- Sean Connery is the best Bond. His machismo and calm intensity can never be beaten. But Sir Rog is my favourite Bond.
- I have been watching Octopussy periodically for about 17 years. It has never once palled in my estimation. Which is the mark of a pretty excellent film. Octopussy is daft enough for it to be an undemanding watch, yet it’s rewatchablity factor is increased by it’s sheer fun factor and involving story.
Royale’s Ranking -
1. From Russia With Love
2. On Her Majesty’s Secret Service
3. Dr. No
4. Goldfinger
5. Thunderball
6. The Spy Who Loved Me
7. Octopussy
8. For Your Eyes Only
9. You Only Live Twice
10. Moonraker
11. The Man With The Golden Gun
12. Diamonds Are Forever
13. Live and Let Die
Anyhow, the moment that Magda tips over the balcony and spins to the ground amidst a whirlwind of silk is really quite beautifully filmed. I have never rated John Glen for having an eye for subtlety but this moment has an ethereal quality that is pretty impressive.
The down side is Bond's hair sticking up like Larry Fine from The 3 Stooges. I know he has just got out of bed, but Bond should never look crumpled. ;)
You're off your form, Birdie. Curly was the greatest Stooge of them all. Shemp (perhaps surprisingly to some) was the FIRST Stooge...but the one & only original Curly Howard is the greatest of all the Stooges. Nyuck-nyuck-nyuck.
=))
And this for Larry... ~X(
I'm just the straightest of straight guys. Crack a joke, prank each other, give Thundy a wedgie; I will not elicit one giggle. Probably.
If you're anything like me you selectively take every available opportunity to go to sleep.
1.) DN
2.) OHMSS
3.) LALD
4.) TSWLM
5.) GF
6.) YOLT
7.) FYEO
8.) FRWL
9.) OP
10.) AVTAK
11.) TB
12.) DAF
13.) TMWTGG
14.) MR
AVTAK, General Thoughts:
"Alive and well, I see...and still bungling in the dark."
My disclaimer regarding this movie will always be that no matter where I rank it, I rewatch it several times a year and have a blast every single time. Moore may be just a bit past his prime in this, making for some obvious stunt work throughout, but it never detracts from the overall amount of entertainment I get from it, leaving Moore to deliver a cracking and enjoyable entry in the series before his time is up.
Robert Brown returns to take over as M, and the lovely Miss Moneypenny probably could've used a recast by this point, too; she was already showing her age in OP, and it's accented even further in this. Q is enjoyable as always, too, albeit a bit lacking thanks to the exclusion of a proper Q workshop sequence. However, he gets a few playful moments during the horse race scenes (which I really enjoy, including the humor present) and the finale.
Barry is on point, as always (I don't even mind the Beach Boys insertion during the PTS - I know most hate it since it's out of place, but it works for me), as is a large portion of the cast. I think Walken makes for an iconic villain that I've always liked, as is his group of unsavory henchmen/women. May Day is rather sinister, arguably more deadly than any of her counterparts in the film, and I love that she redeems herself before her fate is met.
Stacey Sutton has grown on me lately, but it's hard to shake just how annoying she is in certain sequences, particularly the City Hall moments or the escape from the mines during the finale. I could take or leave Pola Ivanova, she's never made an impact in my eyes and doesn't really wow or impress with what she's given. As for some of the other allies, Tibbett is always one of my favorites, and that's heightened further by the wonderful chemistry he and Moore share. A return of Gogol is always welcomed, as well. The only other allies left are the two I could be without - Aubergine doesn't do much for me in the little time he has, either, and I can't stand Chuck Lee, don't believe I ever have. By the time he exits the movie, it's more than welcomed.
So, overall: Moore's final installment may not be hitting my Top 10 list, but it's a surefire way for me to have a blast every single time I put it in the blu-ray player.
New Ranking
1. OHMSS
2. TSWLM
3. GF
4. FRWL
5. OP
6. DN
7. LALD
8. AVTAK
9. FYEO
10. MR
11. TB
12. YOLT
13. TMWTGG
14. DAF
Previous Ranking
1. The Spy Who Loved Me
2. On Her Majesty’s Secret Service
3. Casino Royale
4. From Russia With Love
5. Skyfall
6. Goldfinger
7. Octopussy
8. Spectre
9. Dr No
10. The Living Daylights
11. Goldeneye
12. Live And Let Die
13. Licence To Kill
14. A View To A Kill
15. For Your Eyes Only
16. Moonraker
17. Thunderball
18. Quantum Of Solace
19. Diamonds Are Forever
20. Tomorrow Never Dies
21. You Only Live Twice
22. The Man With The Golden Gun
23. Die Another Day
24. The World Is Not Enough
If it's ok, I'm going to put together my complete notes up now as I'm unsure when i will get the time otherwise due to work and other things. Life is very busy at the moment but I've got today where I can do a bit.
The cast - Roger Moore, i can't say a bad word about, even here and with some poor dialogue that sounds like it was added after the movie was complete. Yes, he looks way to old to play the part of a secret agent and it's proven by the need for so much use of a stuntman and in the fight scenes, where we all know his capabilities. I like his performance though and he seems to still be enjoying the role in his last 007 outing. Always gutted when I get to the end of Moore Bonds' when doing a Bondathon as I just love the guy.
Tanya Roberts as Stacey Sutton is dull as dishwater. Wooden, boring, bland. It's a shame that in his final movie,he was stuck with someone who didn't have the acting skills he, quite obviously, had. The only thing she did have going for her was that she was a looker. Oh, and her voice during the mine scene, especially shouting "James", I thought I was watching Wacky Races and Penelope Pitstop had made an appearance.
Luckily, the other main character, Max Zorin, played by Christopher Walken was on had to up the acting skills. He was pretty great as Zorin and is a highlight in the movie with a brilliant, maniacal performance. The scene where he guns down the workers in the mine is great, the laughing as he shoots them down. Excellently played.
Grace Jones, not my favorite actress of all time but, for the most part, she plays the part of May Day quite well and with a certain craziness thrown in. Her turn to the side of good at the end and, ultimate, sacrifice of her self to put paid to Zorin's plan is excellent. One thing that didn't seem to fit were the little screams she let out during the mine scene, seemed a little out of character.
Patrick Macnee is wonderful as the doomed Sir Godfrey Tibbett and the scene between himself and Moore are a joy to behold and always out a smile on my face. The chemistry between Moore and Macnee is there for all to see.
Scarpine, I'm guessing a secondary henchman, is pretty much forgettable thanks to Grace Jones as May Day.
Fiona Fullerton as Pola Ivanova, not sure what to think of her as it ended up as a comedy moment when realising Bond has switched cassettes. I just wonder how it may have been if she had been a main Bond girl, she was quite a looker in her day and, certainly (even in her part here), is a better actress than Roberts.
Another forgettable character was Aubergine. Again, pretty much a comedy character until his demise, which still brought a quip from 007.
Yes, Moneypenny is older here and it would have been easy to recast, but she'd been there since the start and only right that she saw out Moore's tenure. As is nususal, she is lovely and charming and no one could ever replace her.
The same can be said of Desmond Llewellyn as Q. His scene with the robot dog is a scene similar to other during the Moore years. Wonderful as always.
Finally, Robert Brown as M. I have to say I have warmed to him here. I think on watching OP, because we had been spoilt with Bernard Lee, it was difficult to see someone else in the role. However, here, his second shot at it and I like him much more. Good actor.
The Bond Elements - The gun barrel is, as always very good. The music that accompanies it has always sounded good so far. I would have like to have seen a new shot of Moore though, maybe, especially as he was older now. The Moore of the gun barrel looks so much younger than the Moore of the movie. A minor thing.
The pts, for the most part, is great. Some wonderful stunt work during the ski chase especially. It's let down by a few things though. Firstly, the "Not" The Beach Boys track; now this used to bother me a lot but, after the amount of times I've seen this movie, I'm just used to it now so doesn't bother me as much. The remote control helicopter does bother me a bit as it's so plainly obvious that it is a model, have seen models before that look so much better. Finally, the sub and Kimberley Jones. Sheesh, any excuse for a beautiful lady to appear; plus, the Union Jack thing has been done too much now. We had it TSWLM and that was great, but then in OP and now this wasn't needed.
As with most Bond movies we are treated to some lovely locations and this is no different. Paris always looks lovely but the Chateau De Chantilly looks amazing, so grand. Thrown in the Golden Gate Bridge and San Fransisco, Ascot Racecourse and Iceland and we have a much traveled adventure.
There are plenty of gadgets on show here but they aren't the most memorable; the sub I'm not a fan of, the ring camera, the sunglasses etc., all do their job ok but aren't ones that I'd talk about with others much. I do like Q's robot dog though at the end.
The action in this is up, down and back up again. The start with the pts is superb as mentioned and features, mostly, some great action. The fight scenes are where there are let downs, as well as the obvious stunt doubles. The fight scene in the packing room is a shocker and just played for comedy value (same as a few things in this movie I guess). The car/parachute chase scene in Paris is ok but let down by wedding boatat the end of it and obvious stuntman. The action picks up though towards the end in the mine and wonderful Golden Gate Bridge finale.
More of the same on the humour front here. Plenty of one-liners and quips during the movie as there usually is. The best bit of humour is, for me, the scene with Bond and Tibbett when they arrive at the Chateau and are shown to the room. A wonderful scene, that always makes me laugh.
The plot is as credible as any other Bond movie we've seen and no issues with it. Zorin's scheme of wanting to destroy Silicon Valley is definitely of the 80's. All boils down to greed for me and has a similar to feel to GF.
Production - The direction is ok, but some scenes, mainly action ones aren't brilliant. Also, when the movies reaches America, it's like it turns into an 80's American television series; it has that fee about it. The scene that is worst for that is the one at Stacey's house, where I wasn't sure if I was watching Knight Rider or Bond, haha. He did end up in a nice, black, leather jacket though did Bond. To be honest, I have no issue with it at all and I love those 80's series'.
A much better opening title design than what we had with OP. Very fitting with the 80's, an improvement.
The script is fine enough and there is some nice dialogue, however, some of that dialogue isn't delivered very well, mainly from Roberts. The quips are ok without being in your face. I think the Tibbett/Bind dynamic is very well written and a great part of this movie.
The film is filmed well enough, the shots over the Golden Gate Bridge in particular are stunning to look at.
Another highlight of this movie is the music. I love the use of the OHMSS theme during a few of the scenes, such as the pts. Wonderful pieces of music. The title track is decent from Duran Duran and it fits in very well with the opening titles. I love the use of it during the score too.
If it wasn't for the obvious stunt doubles then the editing would be fine but, unfortunately, they are just way too obvious.
The costume design is ok here, apart from the tracksuit a 58 year old Moore was put in along with Macnee. Other than that it's all suits etc and Moore looks as dapper as ever. May Day does get to wear some outfits with a bit more design and that are very much of the 1980's.
The sets are not as grand as we've seen before, the mine though being the pick of the the bunch, looks very decent. Also like the mock up of the Golden Gate Bridge we see at the finale.
All in all, i do have some misgivings about the movie but it is always one that I will have a lot of affection for as it does contain some very good moments. The Bond/Tibbett chemistry is wonderful and akin to that of Bond/Kerim Bey.
The killing of Tibbett always brings a lump to my throat.
Gutted that this is the end of the Moore era for this Bondathon, he's my favourite 007.
Bond cooking a quiche, with things he's found in the fridge - very The A-Team.
Finally - It's a good job Dolph Lundgren isn't really an agent, going by the speed he took out his gun, it's so slow.
Anyway, that's all on this from me, hope it's all ok.
Cheers
Then again I always look forward to a Bond film
PTS: When watching these, I'm looking for something that's exciting and fun, something that'll immediately get me interested in the events that'll unfold over the next two hours, and this one more than delivers. It's a seemingly straight-forward mission for Bond, as he infiltrates a base in Siberia to retrieve a microchip off the late 003. However, the story later on in the film lets us know that this was indeed an operation overseen by the inevitably-evil Max Zorin and the KGB, and there's much more to what's going on here.
The score here by Barry is incredible, with 'He's Dangerous' probably making Top 10 Barry tracks, in my eyes - it works just as incredibly here as it does during the finale - and while a majority of fans probably have an issue with the inclusion of 'California Girls', I've always found it to be a more lighthearted bit in a relatively action-driven PTS, and I have no problems with it. Moore is on point here and the action delivers, giving us a varied taste of skiing, snowboarding, snowmobiling, "water-snowboarding" (would shorten it to "waterboarding," but I don't think that's right), and more, all leading up to Bond taking out a helicopter with a flare gun. How cool and quick-on-your-feet is that decision? I also love how the chopper spirals into the ice wall and explodes in a fiery ball whose size is akin to a small bomb going off. With his foes scattered and in ruins, Bond makes his escape in an ingenious and helpful chunk of ice (engineered by Q, no doubt) that is being driven by our first Bond girl of the film, the beautiful Kimberley Jones. Unfortunately, she departs the scenes almost as quickly as she enters them, and we're onto the title sequence.
Title Song/Sequence: Personally, Duran Duran kicking in after the PTS immediately gets me pumped for what's to come next. Always been a fan of 80's music, and this song is no exception - very fitting for the times, very fitting for the movie. As for the title sequence itself, I used to love it, but unfortunately, over the last dozen viewings, I've found it more and more tame and dull - the bright body point adorning the bodies of all the women throughout is a unique touch and certainly looks well (and very 80's), but past that, it's just a whole lot of women flashing guns and dancing in a similar way; nothing special. I do like the bit with the ski stunts, though, particularly the two silhouettes performing a tough flip trick in unison.
Finale: If the PTS is meant to kick off my interest for what's to come over the rest of the running time (which it does, and it delivers), then the finale is surely supposed to wrap up the entirety of the film's events with one really cool, final action sequence that has Bond facing off against the main villain, and holy shit, does it more than deliver here. Personally, I like to think that the finale starts with Bond and Stacey arriving at the mines, and it ends with, of course, the closing credits. So, the bit of investigative work we get to see is pretty fun - Bond and Stacey intermingle with the rest of the crews of Zorin's and Conley's, searching for any answers or clues to help them out. As usual, they find out just a bit too late, being pursued deeper into the mines as Zorin and Scarpine use explosives to rupture the rocks and cut down all the men they brought with them to help cover their tracks before fleeing to the Zorin airship.
As you know, everyone dies, May Day works with the good guys to redeem/sacrifice herself and stop the bomb, Stacey gets kidnapped (because there's nothing sneakier than a giant airship riding up right behind you, unbeknownst to you) and Bond gives pursuit by dangling off one of the mooring ropes, getting his own unique tour of the breathtaking sights and sounds of San Francisco in the process. Finally, they pass over the Golden Gate Bridge, leaving Bond to tie the rest of them up via the mooring rope he was hanging off of, and now we have a bit of a stumbling fight as Zorin inevitably makes his way out to do battle with Bond. Bond isn't having luck at first, as Zorin frantically uses an axe to get him off the side, before Bond gains the upper hand and Zorin gleefully chuckles to his death thanks to a whining call by Dr. Mortner, who soon thereafter perishes in a dynamite explosion, thanks to another last-second decision by Bond.
Fun and thrilling across the board for me - as soon as the action starts, it's a race against the clock for Bond (and Stacey, even though she's all but pointless in this finale, save for a moment or two) to stop Zorin and his men. Our last few moments of the man in question are as exciting and dark as the rest of his take is - Walken plays the role in a very psychotic and cold manner, which is perfectly demonstrated in his lackadaisical approach to sacrificing May Day and the others while gunning down all of his/Conley's men with submachine guns. It seems all Zorin cares about in the end is "Hans Glaub" and the destruction of Silicon Valley - though I suppose it wouldn't make for a great Bond film if we were given a bad guy to love throughout.
It's noticeable that Roger Moore is now so comfortable in the role of James Bond that he has sunk almost totally into self parody. At times he falls just short of winking at the camera.
When required though Moore is ever the professional and adds dramatic nuance to his performance.
There is definitely though a sense of this being his final outing, and Moore knows it as much as anyone.
As great as he was in his first three films and sporadically ever since he simply plays the aging playboy Bond in this one up to the hilt. ( "Oh I say!" he declares when a skimpily dressed Stacey Sutton brings him breakfast. He is referring to the food, but it comes across like lothario Leslie Phillips spotting Shirley Eaton in Carry On Nurse.)
Elsewhere the Bond crew of M, Q, Moneypenny, Minister of Defence and Godfrey Tibbet accompany Bond to the races and it looks like a Senior Citizens day out. A well versed cast of regulars all looking a little worn.
Tanya Roberts, star of many soft porn movies plays Stacey Sutton. A beautiful girl, but she struggles to come across as sweet and innocent. No one I can recall however looks quite so good in a pair of overalls. Her capacity to fall into holes is a thing of legend.
Grace Jones is good as MayDay, Zorin's companion. She is convincing as a killer, but also when she turns against Zorin and helps Bond to clear the bomb from the mine. Her sorrow at Jenny's death is palpable and at that point I was sorry to see her die, but her look towards Zorin before the bomb explodes is perfect.
Aubergine is an interesting character. He briefly appears and comes across as a cut price Hercule Poirot full of fancy statements and sweeping proclamations, only to die within five minutes and be dismissed by Bond with a cheap gag.
Dr Motner is the old fellow who created Zorin and feels like his non-biological father. He is as mad as Zorin and I admit I quite like him as a pardoy of all those B movie mad Professors.
Best of all is Christopher Walkan as Zorin. Cleverly constructed performance, Walken has truly breathed life into the unpredictable character of Zorin. Occasionally actors turn up to do Bond films, take the money and walk away. Walkan has thankfully treated it as a serious acting job.
Not the greatest cast we have seen in a Bond film, but there are one or two here worthy of respect. They however can't stop this one feeling a little like an end of era event. A few musty old characters in need of replacement or re-invigoration. Funnily enough this is exactly what happens next.
Totally agree about the "JAMES!" shouts. Too many and, in the mine (and I mentioned this myself), she's very Penelope Pitstop like and I half expected the Ant Hill Mob to race in and save the day, never mind Bond.
Still, I have a lot of affection for AVTAK, and I think it's because it is Roger Moore's last one. Fun enough for me.
We have a PTS that looks terrific. It's set in Siberia with startlingly crisp photography, great stunts and a pay off that becomes relevant to the film as a whole.
Yet it still has a feel of box ticking about it with a bit of ski-ing, an exploding helicopter, a gag or two, and a sexy aid all ready to be unzipped by Commander Bond when he returns to the sub.
And Roger Moore does his best smarmy old lech performance to end the sequence.
I like the location work - Siberia as mentioned, Paris and San Francisco. Plenty of tourist hotspots are promoted.
The action is a mixed bag alright. We have some good stuff like the tense and involving sequence where Bond investigates the San Francisco pumping station (at the same time as Pola Ivanova), the climax on the Golden Gate Bridge, some of the amazing stunt driving in the Paris car chase and the peerless stunt work in the PTS. The City Hall fire is quite well done.
We also get some bad stuff. The fight in the lab under Pegasus' stable is as well choreographed as a Bob Hope and Bing Crosby film fight. And while we are at it, for comedy buffs new and old...
Has anyone noticed that the rigged horse race scene is right out of The Marx Brothers climax to A Day At The Races where Harpo is in a rigged horse race?
And that the fire engine sequence borrows liberally from Abbott & Costello's In Society, with Lou Costello hanging from the ladder?
Just a thought.
Anyway back to A View To A Kill the humour on the whole doesn't work, Roger Moore who can usually deliver a killer line simply plays it on auto-pilot.
There are many gags, most of which I have managed with some effort to erase from my conscience.
As for the plot, it does smack a little of Goldfinger, right down to the meeting in the blimp, including an unnamed associate, oh lets call him Mr Solo for want of a better name, who is buried at sea as opposed to in a metal box.
Zorin's plan is fine, but I do like his back story. The Minister of Defence, who can't believe Zorin is involved in the plot because he's a 'respected French Industrialist' (with an American accent mind you) and a 'staunch anti-Communist' , has clearly forgotten similar disbelief at the suggestion that Hugo Drax could possibly be involved in the moonraker disappearance. Trust no one Minister, that's what I say.
Bond uses some natural intuition in this film. He survives underwater with air from the car tyres, he jams the propellers to the pumping station with his back pack, he escapes from City hall by using his wits etc.
And when Bond investigates the lab with Tebbitt it takes him about 10 seconds to work out the whole horse doping scenario, right down to the transmitter in the jockey's whip. I tell you, Sherlock Holmes wouldn't have worked that lot out any quicker.
John Glen is a mite too comfortable in his director seat now. He clearly loves working with his crew and had said in an interview that he thought Roger was 'good for two or three more'. Misguided and completely wrong.
While I honestly don't think Roger looked any older than he did in Octopussy the necessary stunt work in this one (which was handled sublimely) was badly shot in the sense that the doubles were far too obvious. Even in scenes like the simple fight in Stacey's home the stunt double was glaringly obvious.
New blood was needed and Timothy Dalton who I don't like on the whole would do his own stunts wherever possible, and as such the level of dramatic impetus increased ten fold in The Living Daylights.
In the title designs the glowing red images returned from Octopussy. What those are about is anyone's guess. Nice dancing girls, but the smutty visual puns were becoming tiresome.
The film was shot quite well by Alan Hume and it all looked reasonably epic.
The music is good. I love moments like Barry's flurry of sweepingly romantic music to introduce us to the vibrancy of Paris.
Also when Tibbett goes to the car wash (it was only supposed to be a ruse Tibbett- Bond said 'contact M'. The silly sod actually goes to the car wash) there is some dramatic music similar to the raid on Fort Knox from Goldfinger. I'm no Bond music expert but it does sound similar and for a few moments I'm transported back to happier times.
I'm less of a fan of the title track. When orchestrated for romantic effect it's lovely, but during Duran Duran's title track we have Simon Le Bon straining to reach the high notes which leaves me shuddering.
In the Eiffel Tower dining scene we get the lady with her butterfly act ("Maybe we should add it to our collection?" jokes Aubergine. No idea what the f*** he means exactly but still). I imagine these restaurant meals would be extremely expensive, so I would expect a better act than plastic butterflies on a fishing rod, thank you very much.
It does lead however to the film's stand out stunt as MayDay leaps from the tower.
The sets are impressive. Some excellent interior sets to re-create San Francisco City Hall (I assume they are accurate), the French chateau, the Golden gate Bridge etc. Lots of brownie points for that.
A couple of final points. In the Moneypenny scene Bond once more carries a hat he never wears. There as a prop for Bond to throw at the hat stand it has long since become gimmicky and unnecessary. Move on chaps it's the 80s. Men don't wear trilbies any more.
The addition of so many 'oofs' 'woooohs' and 'gmmfs' from Roger Moore when he is being beaten up or hanging from a fire engine are so overdone here it truly has become annoying.
And finally my favourite character from A View To A Kill who never gets a mention. |I remove my hat (not a trilby of course) to Mr O'Rourke the Irish crab fisherman who has a scene with Bond at the bay. Not only does his information turn Bond's investigation around, but he sounds so much like the salty old seadog in The Simpsons that he makes me smile every time he gets his moment in the spotlight.
There you go - O'Rourke gets his moment.