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Comments
I can't agree here. It's a very half-arsed by-the-numbers chase sequence with some embarrassing moments. All the stuntmen look like they have been told to run or stand on cue too.
Personally I was very impressed with the car driving over the roof of a bus. Why don t you try it tomorrow?
Quite an underrated stunt. Overshadowed, perhaps by the obvious stunt driver and the excruciating cab driver.
Taking of the stunt. I will try it. If you got a car I can borrow, of course...
Oh, it s definitely not in that league. Moore had decent to great car chases in five of his films.
agree on that. It is quite good given the limited budget.
And we get a stupid "awww ma car" French comedy routine. Tired farce.
(Watch how he overacts when Moore pushes him back into the stand).
The thing is that it doesn't pretend to be something it can't be. It's short and easy.
It's like the film in general. It is not really remembered outside the Bond fan community, and some fans miss the more grandioso elements associated with a Bond blockbuster. But those who appreciate a simple, down to earth and flemingesque spy thriller with good action and nice locations, like it.
It is definitely my favorite film from the Moore era.
It most certainly is for me as well. Speaking of FYEO, I also think that Melina is one of the better Bond girls of the Moore era. Not that controversial maybe.
It was a fantastic stunt ,to bounce off the tram like that,and beautifully filmed as well.
Other than the taxi driver (i'm not even French, and I feel insulted), and the rear end being sliced off, it's a decent stunt. As is so often the problem with the Moore era, the need to chase a cheap gag, ends up ruining good stunts.
Exactly...and we all know the best stunt and the cheap gag in it .
The TMWTGG first time car loop the loop and that bloody whistle (John Barry's biggest and nearly only cock up,and he admitted it,as you know,Major).
I don't blame Barry. Hamilton and the producers had det the tone by then. It was only natural to follow up with a similar attitude. The slide whistle is perfectly in tone with the general atmosphere of the film...
I'm not blaming Barry,he said so himself.
I agree the TSWLM car chase is more iconic than the FYEO one, but I think I still slightly prefer the FYEO one (minus the part with them rolling down the hill). The humour is better integrated and feels more natural. I also enjoy seeing car stuntwork more than gadgetry in all honesty.
Totally natural as ,I could be wrong ,but Sir Roger's 'love a drive in the country don't you ?' was not scripted ,hence Carole's genuine surprised laugh.
My thoughts exactly. Not to mention that head nod he does isn't based off a reaction to something else, unlike in TSWLM. So it's more unexpected and far funnier.
It's also reasonable to believe that she didn't know that she was in that particular car for which she had stolen the blueprint until that moment.
My problem with FYEO is that they took away the OTT stuff but didn't really have a story worth justifying it. It's stripped back but the plot feels so low rent and the villain is the most forgettable of the series. And it has some darker scenes but it isn't gritty really imo, all the Moore movies have darker moments and FYEO isn't really an exception. I think it doesn't stick out from the rest of his movies the way some fans think, it's still a Roger Moore film, just not a very memorable one.
Why would they need to justify taking away the OTT stuff? I think FYO is one of Roger's best, and a very decent entry in the series. It has a beleaveable story, it actually has some spywork in it (nice for a change) and the main characters play well off of eachother. I especially like the way Roger plays in this film. Genuinly concearned about Melina and still trying to get her out of his way.
It's hard to put what I mean into words. Basically FYEO is a very stripped back film, but stripped back to what? The plot feels really low stakes, the villain is really forgettable, and the tone is all over the place which sort of undermines the whole gritty realism angle (it really doesn't feel any "grittier" than any other Moore film imo, not that that's a bad thing). If it was more colourful and OTT it'd at least be memorable, there'd be some window dressing there to make me forget about its flaws. Like AVTAK, it's weird and out there and has a bunch of colourful characters and because of that I have fun watching a geriatric Bond's stuntman make his way through a Goldfinger retread. I wish FYEO just had a bit more to latch onto outside of the action scenes. There's the Melina story I guess but I've never really seen the chemistry there that others do.
So for my controversial comment, I think that the lack of a discernible main villain in From Russia With Love hurts it a lot, and drops it out of the top 5, for me.
Spy is an excellent film but Bach undermines it for me. Her line deliveries often make me cringe involuntarily.
Well I do understand what you mean with the tone. A film where they zoom in on the revengeful eyes of a Greek lady who's lost her parents and 'like electra' will make the purpretator pay also has a car of villains land on top of olive trees, etc. etc.
It's a pity they did that I agee, it would've been a better film if they stuck to the grittier story.
I disagree on the plot feeling low key though. Losing the transmitter for the nuclear codes is hardly a small thing.
And as a fan of AVTAK I can only agree on that part ;-)