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Comments
Sorry but I just can't agree on GE. I've always loved it, which suprised me because when it was coming out I was sure I was going to hate it (because Dalton wasn't in it).
I think TWINE is one of Arnolds best scores. I think my favourite from him would probably be QOS or TND though.
I haven't seen DAD in a while but I don't think I agree with you here. I think DAD feels much more techno.
The title song can certainly fool you into thinking that, but my ear says otherwise. Don't watch the movie, listen to each soundtrack and pick out the number of pieces with techno and you will see my point.
I think TWINE is Arnold's most average effort to date, and I've been listening to all of them in advance of the original reviews. I'd go TND, QOS, CR, DAD, and TWINE from best to worst. Actual movie, I'd go CR, TND, QOS, TWINE, and DAD.
I'd pretty much go along with that, other than swapping QoS with TND, so it would read -
CR, QoS, TND, TWINE...
.....DAD. :D
Agreed 100% with your first statement. Some people don't appreciate that homage though. But then, those same people probably like catching pinkeye.
Arnold nails the CR romance and spy pieces in the Barry tradition. Magnificent work. "City Of Lovers" rates with anything, and I mean anything Barry has ever done. Barry thought so himself. Romantic, complex, and full of emotional content. Where he went wrong with CR, which I will discuss in greater detail in the originals thread, is in trying to take on something so ambitious as the 13 minute piece called "Miami International". I give him credit for the attempt, very few movie composers, if any, would have tried that.
And coincidentally the worst sequence in the film. Generic action that feels like padding.
Not my favourite Bond score but overall pretty impressive.
Great to hear you enjoyed it!! :-bd
About the soundtrack, it's no secret I was extremely excited when I knew Newman was doing it not because I don't like Arnold's work which is many times criticized but because I like Newman's work. The first tracks I heard left me very disappointed. After listening to the whole soundtrack my opinion changed and I liked it a lot. It fitted the film perfectly and yet can stand on its own. I ended up buying the soundtrack and I love listening to it but I think it misses the iconic nature of many of Newman's previous works.
Japan was yesterday? That will bring back our missing Lady, then.
I hope so, I missed her a lot :)
I had a similar experience. As a rule I tend not to listen to the soundtrack until after I see the film. I want to experience the cues fresh when I go in. There are so many moments throughout the series that hit you. When I first saw the film my opinion was one of indifference to the soundtrack, it didn't make the impact that some of the other elements did.
However, after seeing it several more times I bought the soundtrack, listened to it over and over and then saw the film a couple more times. I have to say, I do enjoy the majority of it and I think there are one or two stand out moments, for me anyway.
The moments that hit me first time around and have stuck are,
'New Digs' - a perfect example of score and narrative working in harmony. Dench delivers the 'Well you're bloody well not sleeping here' line - cut to the sweeping pan on Waterloo bridge, Bond is back, maybe not in one piece but the story and the score signal this as the moment, for me, where it's clear the movie is about to kick off - the resurrection begins if you like. It works every time for me and is a great stand alone to listen to.
'The Chimera' - Combined with the locale this oozed classic Bond for me. It compliments everything about the narrative - the cinematography and art direction both come together. It's overblown yet classy, it's classic but modern. I look forward to seeing this moment each time, it'll stay with me as all good Bond moments do.
'Tennyson/Enquiry' - I think most people are in agreement that this scene is a wonderful example of all the elements coalescing to produce something that is in a word, awesome. As with much of the work on the film, the score doesn't take over the scene, it complimentary and serves to add to the tension and the build. Cutting into 'Enquiry' I have to say, I did and still do get goosebumps when Bond arrives at the hearing and the chords kick in. A great moment.
I realise this is about the score so maybe I should pop it in a different thread.
Yes indeed, I have heard from our buddy 4Ever and she has now seen it. She will no doubt be back with us very shortly to discuss her experience.
To me, this is the weak link in Skyfall. I was quite pleased when I heard that Arnold wasn't coming back. Not that I think that his soundtracks are terrible, it's just that they aren't great and he's had more than enough times to "get it right". As so many other elements of the series have been such high quality in recent films I was surprised that Arnold was kept on.
So, what does "get it right" mean for me? The first thing is that I want a soundtrack based around the title song, re-using cues and melodies from it. This way the film's score has a distinct personality and stands alone as unique. Think of the scores from YOLT, GF, etc. I'd also like a secondary romantic theme if there isn't a way to have one based on the title song. Think of OHMSS and how it used We Have All the Time in the World, or how CR used City of Lovers.
I also want these melodies to be lush, well-orchestrated, and "hummable" - the kind of melodies that you remember and can hum to yourself after the film is over.
So two things that Arnold did that I didn't like was to a) have some very bland, un-memorable themes, but also to b) have soundtracks that were a collection of a large number of un-related cues that diffuses the "feel" of the film.
As Arnold went along he had some very nice tracks and he was good at having them sound "Bondy" but to me he needs someone sitting on him to focus his soundtracks more. The only soundtrack he did that was any good to me was CR, and that's a very low batting average.
However, Newman brought all of Arnold's weaknesses PLUS having tracks that didn't sound at all Bondy. Nothing memorable (except for Severine), very unfocused, no real use of the title song, but also very little that sounded like classic Bond. Don't get me wrong, there were several tracks that I liked, it's just that they seem more suited to Mission: Impossible Ghost Protocol than a Bond film.
So I never thought that I'd say this but if I had to choose between the two I'd want Arnold back. However, I would like to see someone else given a shot first - there are a LOT of great composers out there who would love to get tied in to the Bond franchise.
Skyfall itself: I LOVED it. I really thought I would like it tremendously, and I was prepared to not like parts, but honestly I thought it was a great Bond film. One of my favorites definitely. Why? For one, it never dragged for me, not at all. And much more importantly Craig was a more confident, strong (yet still vulnerable just not in the mushy way) and very compelling, sexy, and totally driven, patriotic agent. Also, it was so darn beautifully filmed! Great cinematography for sure. Deakins is a genius and I would love for him to get awards for Skyfall.
The story was compelling and better than the last, oh I don't know, 5 or 6 Bond movies. Well written. It went beyond just a good script, though that is rather crucial.
The cast: this set a new benchmark and felt like the creme de la creme. The acting was truly superb, consistently strong and appropriate. Points out again that casting great actors makes a huge difference, it really does. And hand them a decent script with a fine director and you've got the makings of a very, very good Bond film.
An excellent, iconic turn turn by Bardem. I didn't know much at all about his character before hand, which was great. Yes! At loooong last! A strong, nasty, vicious and twisted villain who was also different from the past ones - believable, a worthy opponent, and you couldn't take your eyes off him. At least I couldn't. Unless of course Daniel was in the same scene and then it was hard; by which, I mean it was great. :)
As for Judi Dench, I will run out of superlatives. She was outstanding. I have always enjoyed her M and this time it was a star turn for her and a fitting ending indeed. Sad as it was, she went out strong, committed, spirited, and dignified till the very end. And I loved her last line so much: "Well, I got one thing right," looking right into Bond's eyes as she was dying. She did indeed get it right in trusting him, putting him back into action even though he failed his re-entry fitness exams. God I am going to miss her! I liked Fiennes very much, which surprised me. I was expecting to feel lukewarm at best about him. If they had not written his part so well rounded, made it just a one dimensional government bureaucrat coming in to take over, I would not have cared for him. But they let him show more facets of his character, some humor, some good sense triumphing over administrative duties, and some genuine courage. Unexpectedly very good beginning for this new M. I am so pleased.
The Bond girls: Looking every inch a classic Bond girl, Berenice (however her name is spelled!) was terrific. Good acting, appropriate demeanor. Her fear was palpable and her beauty and allure shimmered on screen. One of the few things I would like to be different about Skyfall (all of my tweeks are minor) is that I wanted more of her character. I was surprised she had so little screen time. She was killed off far too early. Actually, when Silva shot her, I didn't think she had died - I was waiting in the upcoming back-in-London scenes for them to say she had recovered, etc. But no, she was gone. A pity. It could have been juicier with more of her. Not a lot more was needed, but more would have been welcomed. I think she (like the Greek actress at the very beginning in the PTS) had some scenes cut due to length. I would have preferred a few minutes longer of film, especially for her character. As for Naomie, I was extremely happy. I LOVED her Eve Moneypenny! (Eve Adam ha-ha.) I liked her chemistry with Craig a LOT although I bet there are naysayers out there. But for me, it was lovely casting. I thought they rather sizzled, definitely good vibes and chemistry, and she looked much prettier in the film than in the stills I had seen.
Q - I must say I did not know quite what to think of a younger, geeky looking Q. But I was able to keep an open mind and yes, I like Ben in this role very much. I think he brings a different spin on this character. I think he will have a different, fun give-and-take with Craig's Bond. I'm looking forward to this particular Q developing more. He cannot be just a computer geeky guy. He's Q after all. So we shall see, but I am not concerned. I did like Wishaw. No complaints there.
The music: Love the theme, I really do - Adele has a great, distinctive voice. But I think it was truly underutilized (I did catch it a bit later in the film but still ...) and the romantic/sex scenes were lacking a lovely lush romantic strain. At least for me. Surprised there was no closing credits song! Or rather not one with lyrics, just bashing power stomping music (fine for gearing up for another fight but I so wanted a great ending song to send us out on ...). There was the classic M. Norman Bond theme in Skyfall at times, I was happy to hear it. I'll try to pay more attention to the music in my next viewing (5 days away).
Yeah, the gun barrel needs to go to the beginning. I don't lose sleep over that one, though.
Finney was fine as Kincaid, believable, and gosh I first thought, oh he has gotten so old! Well he is old now, but he also absorbs into character so well. Not a main character, but important to help Judi's M through her last part of the film.
The action: GREAT, some of the best, again shot so lovely, so exciting, and I can't fault it at all. This movie moved well, so well edited and paced.
Humor: just the right amount, at the right time. Not cheesy or too much. I really liked Mende's balance with the humor. He had a fine touch with this film.
Locations: LOVED that it was so much in England, Scotland. That is different for a Bond film, yet so fitting. Defence of the realm indeed. (oh look, I spelled defence the British way ... it all rubs off on me after years and years of soaking up Bond). All other locations were exotic and fit into the plot. So high marks for that, yes.
Director: Overall, one of the finest. I was quite positively impressed with Skyfall. I want Mendes to do one more, I really do.
*** So I am a very happy girl regarding Skyfall. I'll be joining in more discussions later, especially this coming weekend when I have time. It's so GREAT to be back. ***
Nice read. Like you I was dubious when I heard Q was an computer geek; I thought it would be like Die Hard 4. Luckily my fears were mistaken.
One thing I was considering and I'm curious to get thoughts, is to suggest that the relative subtlety and anonymity of the score contributed to the films general success, particularly among non Bond fans. To explain, something that tends to define Bond is a bombastic score that heavily accentuates rather than accompanies action and drama. I myself am a fan of this but it's something you don't always find in other thrillers. I wondered whether it's low key nature added to the feeling that it was a 'different' Bond film. Everyone I'm speaking to at the moment keeps telling me how they're loving it because it's not like a traditional Bond film.
NB. I'm aware there are some big moments such as Chimera, but as a whole I think it's more subtle, allowing for the moments where the Bond themed is used to really make an impact. In some films the theme is used so often that it loses it's sting.
Likewise, and I find myself feeling that way as well. I'm sure I don't speak for everyone, but I think people are growing tired of the traditional Bond film. It's refreshing to see the franchise reintroduce some of those traditional elements while spreading its wings and staying fresh.
Individual mileage and preferences vary, of course. :)
I agree with you. After QoS I really felt EON was one movie away from cracking it and rediscovering the old magic that was lost after LTK. Then SF came out... Still, you have to expect the odd wobble. In fact, I think it's just how things are now. With the production team constantly changing there is no continuity, so you never really know what you're going to get.
That's a good point. See, the problem with tradition is, that it can be weighed down by nostalgia and blind sentiment, completely sacrificing any room for growth and development. What I love about SF is, it's a movie that isn't trapped by having to be a "James Bond" movie.
Today, I saw a bingo advert on tv that parodies Blofeld and his cat and the narrator voicing the cat harps on about the same old-same old as she hears the guy parodying Blofeld talking about how the funds need to be transferred otherwise there will be consequences and the such like. This is just one of many examples that shows how a James Bond movie has infiltrated the fabric of every aspect of media and something new, something fresh needs to be done and fortunately, that's what we've been getting since 2006.
Look at Nolan's batman films. As far as I'm concerned they might as well be Bond films because they pretty much are. The parallels are glaringly obvious but Nolan as a film maker was smart enough to make his batman films as films first and not let the movies be dictated by the traditions and hallmarks of what people expect from a comic book movie. Nolan had the good sense to elevate the material and why? Because Batman is a character that can be and has been legitimately interpreted as serious material. After all, Batman is a product of Detective Comics and Nolan literally tapped into the meaning of the Batman's publishing origins. Look at the 90s animated batman series, it is by far the best interpretation of batman there has ever been imo. It's dark, gritty, noirish and most importantly exceptionally suitable.
Bond needs and deserved the same treatment because Fleming's works were indeed the sort of material that film makers today would love to get their hands on and adapt. It started off that way with the early Connery movies but imo, once Fleming died that's when Harry and Cubby decided to go a little loopy, which btw started with GF. Anyway, to cut a long story short, for a long time we had the equivalent of the 60s batman tv show as Bond films and when you have films like that running for so long, it becomes the norm and that's what was expected. There's a reason why Dalton's movies weren't well received as much as they could and should have and that's because, by that time people had low expectations as to what Bond movies should offer. Bond movies were expected to be shallow, box-ticking fluff and by the time Brosnan came along, his era delivered those elements in spades. People came to a accept and expect Bond movies to not be taken seriously and many people still feel like that.
Don't get me wrong, that's not to say the Bond moves can't be fun and exciting, I believe they should and are but the times we live in today call for Bond movies to be taken more seriously, especially seeing as there are so many movies out there that are doing similar things if not the same thing. Bond needs to stand out, do something different, do something credible at least instead of dragging out the same old tired gear it's been doing and fortunately the producers have done this and it's clearly paying off in ways they probably couldn't have imagined.
SF has changed things or at least it should and it is the start on trying to see another 50 years by letting things evolve whilst still remaining familiar. We know who James Bond is. We know what he does. The only job now is to keep things interesting and exciting instead of relying predominantly on cliches, being "just another James Bond film".