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Well it's because it's the best in the franchise. However, only true Bond fans would recognize the rehash. It was fitting given the circumstances. However, no music at all would be just as fine.
I guess you could say that Nobody Does It Better has appeared in more than one Bond film, along with Live and Let Die and Goldfinger :)
Absolutely with you and @0BradyM0Bondfanatic7 ... In fact when I heard the leaked OST , I fist pumped when I heard the OHMSS callbacks and WHATTITW...
And I have zero issues with the way Madeleine closes out the film, since the entirety of NTTD felt like an adult fairy tale to me; a fairly tale and dream-like execution where I was witness to the way one man lived, fought, loved and died.
I guess it's an understatement to say I'm a big fan of NTTD.
Exactly.
Keep in mind, I'm one who enjoys the OHMSS themes everywhere they appear in SP and NTTD.
Where Bond films did those themes appear?
Plus it pops up in the QoS theme song.
I think there's a big difference between a theme appearing in a trailer and it appearing in a film. Context is key. What works for one won't work for the other.
Does it? Crazy.
That's fair. Again I enjoyed it in both instances.
Yeah if you skip to 3.05 you can hear White play a brief phrase from it on the guitar.
Exactly. A trailer is an advertisement designed to pump up the audience, with music that we know might not necessarily be in the actual film. It's a different issue when the film itself straight up recycles music from one of the most beloved and respected films in the series and thereby piggybacks on the emotions and prestige that OHMSS garnered from us.
And it's a disservice to NTTD itself. If Bond and Madeline's love affair is so great, doesn't it deserve it's own theme? Why go for second-hand tunes, especially when you've hired Hans Zimmer? Perhaps because NTTD so badly wants announce that it's Craig's OHMSS. Hence the self-conscious legacy-mongering, and the attempt to elevate a dull screen-writer's contrivance like Madeline to Tracy's level (though never her vitality). But "we have all the time in the world" is idiomatic and dramatically ironic in a way Madeline's stilted last line isn't. And after all the unmemorable dialogue in NTTD's climax the last line comes off as even more pretentious and pompous. Endings from earlier Bonds might have been generic, corny, or in bad taste, but they were never so self-important and self-congratulatory.
Q (and Bond) play "Nobody Does It Better" on the keypad before entering the room the Identicraft is in FYEO.
+ 1, with a vengeance.
The big "wail" in The GoldenEye Overture is a wildly remixed sample of the opening brass of Goldfinger, too.
I'm pretty sure the gunbarrel in GE samples the GF gunbarrel too, has that ever been said?
Also I've always thought that the car chase track in Spectre actually samples the same fanfare very briefly, I think when Bond puts his car into a slide.
Aha! Yes it has, in this marvellous thread on here:
https://www.mi6community.com/discussion/18881/a-detailed-guide-to-the-music-of-the-gunbarrel-sequences
And you can even hear a comparison here:
I've never quite noticed before, but GE is the only gunbarrel where there's an extra orchestral stab when Bond actually fires. It's actually one of my favourite gunbarrel themes! :D It's got real mood
Why wait ?
I think part of why the OHMSS re-use is a problem but the countless reused cues from the past aren't is because right now NTTD is still very recent and will be divisive for a long time until people accept the decision to kill Bond. Because I do think most of the criticism coming against it, or why it always seems up for a smacking across various discussion topics, is because of that creative decision more than anything else. It taints the movie for some, and there's just no enjoying it beyond that, which I think is a shame.
I still don't understand the sensitivity to Bond's death, but it's something I've accepted at this point. As a Craig fan, whose Bond fandom has been nourished and beyond spoiled since the day I watched CR on repeat every chance I could, I came away from the whole film, not just the ending, with immense satisfaction.
None of us like to see Bond die, he's our hero, but I hope one day parts of the fanbase that have taken such a strong dislike to it one day become more open to what that film and the era as a whole was going for. I will continue to contend that so much of Craig's era, and NTTD in particular, was a way to bring a lot of Fleming's Bond back into the film version. Because Fleming wrote his character as a tragic figure, and Craig's Bond is certainly the most tragic incarnation we've had yet. He goes through the same cycle of love and loss, the struggle with where and how he belongs, the weight of the ugly jobs and his past that add up to make him a very troubled yet dutiful man. I've said many times that if Fleming didn't die so young, he could've also seen his way toward ending the original Bond's life on the page, and he certainly laid the groundwork for it. Bond has numerous close calls, and in FRWL he's just left laying there, and could've been killed off right then and there if Fleming wished. Fleming always played up the danger of the 00 job, and Bond himself never believed he'd survive till retirement age, yet still people don't like the idea of Bond meeting his end even though so much of the original source is dedicated to exploring that very possibility.
I personally find how Craig went out rather fitting, not just because it feels in touch with something I could see Fleming doing, but because how he died sums up everything about the man that we love. We love Bond because he doesn't stop until the job is done, and never quits fighting until the day is saved. In the face of death itself, he stands tall and risks it all, instead of running or cowering in fear. He is always putting others before himself, as that is his duty, and his duty is his very guiding star. If Bond had to die, how NTTD killed him is exactly how I'd be willing to accept it, because he very bravely faces his fate and knows he has left the world in a far better place than it was before him, and that he fought till the very last second to do what he was obligated to do. The movie doesn't subvert expectations, or dishonor him...it gives him a death he deserves, that will never fail to leave me feeling inspired by the man and how he lived his life. A hero, till the very end.
Those cues from the past were subtle hints, this on on the other hand was obviously stolen as It's literally played in every scene of the film, like it's trying to be OHMSS because of the themes/scores playing in the background.
Also, FYEO is legendary. Gets better every time I watch it; the only scene that drags a bit is the underwater stuff when they're retrieving the ATAC. Hard I suppose to make underwater stuff not look like a fight scene in slow motion, but they did well enough making it tense. My GF and I had a good laugh about the "Identitron" or whatever the hell, and Topol is an absolute legend as always.
To keep it mildly on topic, they did a good job with the ending by making it funny but not groany-eye-rolly, IMO. I give FYEO three Michelin stars; make a trip specifically to see it.
It wasn't "stolen." It's a licensed song created for the series and used in the series. The movie is using it in a new context, just as the original song was created out of inspiration from the original novel. An adaptation of an adaptation, if you will.
Funny how we don't say the Bond films, particularly the early ones, stole from Fleming, if this is the perspective we're going to have with content made for the series and used in the series. It's like walking out your door dressed for work and having your neighbor tell you you're stealing the clothes from your own closet. What you own, you own, and you can't steal from yourself.
In using the song, NTTD was underscoring one of the main focuses of the film, which is time, and making the most of it. Bond lives his life knowing every second could be his last, and for once in his life he wanted time to slow down so he could enjoy the newfound happiness he had with Madeleine. The sentiment of the film, that you should use every second and that Bond and Madeleine didn't have enough time, makes the song perfect for the movie as, just like it was used in OHMSS, there is a sad irony to its usage as a love theme for two characters that can never be together. It's a dream-like lie, because we don't actually have all the time in the world, but what we do have we need to make the most of. These aren't ideas OHMSS had alone, they are part of Bond's character, belief system and mythos. So I view it less as NTTD trying to be OHMSS, and simply referencing one of the core ideals of Bond's character and the inherent tragedy of his love life.
I also like the new meaning the song has, which is less ironic and not at all something OHMSS did before. Madeleine and Mathilde now have "all the time in the world," in the grand scheme of things, because Bond gave his life to ensure they did. They can live their lives in peace, knowing that nobody will come for them, be it Blofeld, SPECTRE, or Safin, as Bond helped to wipe the slate clean and give them a peaceful life, albeit without him in it.
Fleming intended TMWTGG to be the very last Bond novel, as he told his closest associates, and it had a far from tragic ending. Fleming even revised it to make clear that one woman would never be enough for Bond. And though Fleming had multiple opportunities to end Bond over the years, he didn't. The cliffhanger ending of FRWL was not in the original typescript, and when readers sent in concerned letters Fleming quickly reassured them that Bond was recovering. There's also the certainty that if Fleming did write a proper death scene for Bond, it certainly would have been different from what 21st century filmmakers came up with. Fleming's tragic endings tended to have more a sting. My objection to NTTD's climax was less that Bond was killed than with how sentimental and bland his death was.
Couldn't the film have done that by coming up with a love song of its own instead of recycling an old one? I don't see why we should give the filmmakers a pass for being lazy and cynical. They know that the emotions and associations we had with OHMSS are tied up with that song, the most emotionally charged one in any Bond film, and by recycling it they're tying those feelings and associations to NTTD, while proclaiming their ambition to make this Craig's OHMSS. There's something offensive in how NTTD trades on the cachet of the older classic to make it itself look (and sound) good, rather than standing on its own. No one minds when the Bond films fleetingly quote or reference old songs within new ones. But ripping an entire song from a film it's inextricably tied to and throwing it into another film to satisfy the latter's pretensions? Unacceptable, here and in any future Bond film.