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The only issue being, he didn't see Grant coming. With FRWL as the first sequel in the series, Bond's final actions against No have lasting consequences that quickly bite him in the rear and teach him never to be the fool again.
But, I still think he’d have detected Grant sooner in his DN type of attitude.
I wouldn't say Bond is hot-headed in Dr. No, but he's certainly at some of his most dangerous in the film. Despite being presented with SPECTRE for the first time and not even knowing it, he really does a bang-up job of dismantling things near single-handedly. He sniffs out Dent, manipulates Taro and sets her up to fail, lays a trap Dent fails to spot and makes it to a dreaded island on a voyage that has killed everyone before him with few exceptions.
I think the moment Bond starts to get hot and ready to upset is at the dinner table, where you can sense in Sean's performance that he is seething to get at No for what happened to Quarrel and Strangways. That's the perceptible, first moment where Bond really unleashes and lets it known that No will die by his hand in a very daring fashion. But not before he gets roughed up and locked in a cell, of course.
We need films like FRWL every once in a while because I think it's a fascinating angle to take by making Bond a victim of his own obliviousness or so lost in his mission and other things that he slips up. There are some I know who only want the standard "save the day" ending with all the bells and whistles but naturally I prefer the more interesting and less seen endings or climaxes where Bond actually flirts with failure, where he loses so much in his winning that the victory can only be pyrrhic when all is said and done. The films that really take this idea to heart are OHMSS (no film has ended with a bigger loss), LTK (Bond wins, but loses a lot too), CR, QoS and SF, where Bond faces monumental loss to offset his final victory or where he just plain loses what he wanted most.
They're not endings you can pull out (or should) all the time, but I think it fits well with how Fleming wrote his books too. Bond is constantly failing, slipping, and tripping over his obliviousness and each book usually has a moment before the climax where Fleming takes him to his ultimate nadir in that story in consequence for the mistakes he's made as he tries to rise to the occasion. These elements help to make him more human, and that's where I think Bond works best. I don't care much for the overly cinematic interpretations where he's more a symbol than a man, as a lot of humanity is lost when he's played like a caricature of the character's own style and cool. That cool and style must stay, but a little vulnerability and humanity is vital in my eyes and that's part of what sets him apart from other action heroes when he's done right. Of the many things I enjoy about the Craig films, I've been happy to see that humanity return to Bond where he not only comes off as a real man, but where he slips up and learns through those mistakes along the way. Perfectly imperfect.
I think those are the main two points for me. He seemed to get hurt more, and he actually showed emotion. In his later films he was a lot more unfappable and calm. Which is cool in its own way, but in DN there's more of an edge to him and he really sells the danger he's in.
What I couldn't get out of my head when I noticed this was imagine this guy in OHMSS. I know by the time they got round to that film he was phoning it in, I wouldn't trade Lazenby for the Connery of YOLT, I wouldn't even trade him for the Connery of FRWL/GF/TB. But if he'd done it and the Connery of DN had turned up then I think that film would far and away be seen as the best one.
The big moment I feel Sean would've been interesting to see in OHMSS is the ending, simply because it would've been moving to see him part ways with M and Q with bittersweetness and throw his hat to Moneypenny as he had all those years to really sell that things were changing for him. Those moments would've meant more because he was the Bond we saw grow with those characters, and though George does a great job with it there's no ownership or history there like there would've inherently been with Sean. It would also be powerful to watch the womanizer Bond fall in love with a woman and feel ready to give it all up for her, only to lose her through tragedy. The big "what-if" would be Sean playing that final scene, reacting to Tracy's death. Just how would he have played it? I think it's the best moment of George's in the film performance wise, frankly, so that helps take the edge of what could've been on the dramatic side of things is Sean was in the hot seat.
Most members know this is not a film I'm too excited about, to put it mildly. I approached it tonight with an open mind and attitude, motivated by some positive reviews by other members last week. I'll start with the good stuff: Everybody tries in this film, most notably Pierce Brosnan. I've been harsh on him for what I consider his overacting here (and I still think he really does overplay it from the get-go), but there's no doubting that he's giving it his all. He's not phoning it in. Neither are any of the other actors, including Denise Richards. Sophie Marceau is a standout as Elektra King and gives her character a complexity and depth that's compelling. The PTS goes on a bit but is one of the better action sequences in the film. I have my problems with the banker's office scene (what accent is that Swiss banker speaking with anyway? It's certainly not French or German) but it's inventive enough, and the boat chase along the Thames has no apparent CGI and is epic in scope.
It's definitely true that this film marks a notable change in approach, with P&W on debut writing duties. Their touch (well known these days) is clearly evident in retrospect. In my humble view however, therein lies the problem. Despite a neat overall premise/concept, the details and overall execution in the screenplay fails to impress. There's very little tension in the way sequences are conceived or filmed. This applies to both the action scenes (apart from the PTS and perhaps the submarine finale, nothing works for me) & the quieter more investigative moments. It's also just a bit too mushy for my tastes, with the emotional elements laid on a bit thick (all the way down to some 80's style soft focus camera work in places). The dialogue and one liners are quite cringeworthy in many places too (I remember thinking that all the way back in 1999 upon first viewing, and it came back to me today). I have other issues with the film, including a lack of chemistry between Renard and his lover Elektra (I realize he can't feel anything), a very weak M (Dench does her best but even she comes across a bit debilitated here imho), and overall poor supporting cast choices.
Tonally I think the film is a mixed bag, and that hurts it. In this respect I find it very similar to SP. They tried to combine the cheesy / camp humour with emotional heft like they tried with the latest one, & I just don't think these two elements work well together in a Bond film. At least not for me. I can see the actors doing their best to convey the emotions required from a scene, but then they have to switch to a campier/lighter tone at a short notice, and that impacts the credibility of both deliveries negatively. Best to go down one path or the other rather than attempt to clumsily straddle both.
In the end, this one will never be for me. We all have our favourites as well as films we aren't fans of. TWINE will unfortunately have to remain at the bottom of my rankings for the time being.
It is supposed to be a French accent, and that scene is the best in the whole film.
I have always thought of it it as her train of thoughts are derailed. Think the film is set up in a way that you might believe it or not.
It is one of my favourites and it is certainly the right time to watch it, now that there is snow everywhere in the South of Germany where I live.
The film has always been top10 for me, however, it went a bit down in my ranking within the last decade.
I think the car chase is really overlooked, especially when compared to the ski chases which usually gets all the praise. I think it is really one of the best car chase scenes in the franchise, especiall when you keep in mind that it was made in 1969. Overall, the action scenes are great, even though I find the fight scenes not as great as others. For me there are too many jump cuts which irritate me a bit.
The ending is superb and probably my favourite ending scene in the series, if only they had not taken the Bond theme which is completely out of place. Lazenby is really good in the fight scenes and the emotional scenes, especially the barn and the ending scene. I only find that his oneliners are all completely wasted. They should have left them out because none of them really works.
All other characters are well casted, too. OHMSS is cetrtainly a contender for the best cast of characters in a Bond film.
The score, locations and cinmatography are amazing. I even warmed to the overall plot, especially the villain plan. It is completely outlandish but I love the psychodelic elements.
Still I find that there are some inconsistancies, especially with regard to the love story between Bond and Tracy. I have never really found it as believable as others. There are just too many inconsistant moments: Bond shagging all the girls on Piz Gloria, Tracy being completely uninterested in Bond at first sight but then changing her view on him completely. She feels like a completely different person from one moment to the other who out of the sudden does not seem to have any psychological problems. I also find that the film has some pacing problems in its first half. Maybe it could have been shortened just a little bit.
But overall: Great Bond film.
Last time I watched OHMSS, I found the car chase quite frightening. It's partly the fact that it takes place in the dark, but there's a real sense of peril.
Thats Patrick Malahide who played Cheerful Charlie Chisolm from the TV series Minder. Always thought it was a bit of odd casting!
L&LD definitely flirts with the supernatural and courts with the existence of it in Bond's world. I see Solitaire's situation as less of a confirmation of the supernatural, however, simply because the film allows you make up your mind for why she's lost her "sight." What really confirms to me the presence of the supernatural without much doubt is Baron Samedi, who we somehow see at the close of the film after he most assuredly would've died. That for me sealed the deal that L&LD was presenting the presence of another realm in the film, with Samedi as the true lord and master of death.
That may seem strange for Bond, since no other film has gone as far as L&LD to present such a presence of the supernatural, but Fleming actually presents the same sort of possibility in the book too. At one point in the story Bond is so certain of Solitaire's sight that he doesn't doubt her abilities and is completely trusting in them and the book gives us a lot of evidence to believe Solitaire too.
My least favourite Craig Bond film, but still willing to give it another chance. Most positive viewing i've had of it, but still finding it a struggle! Hate that opening music cue to introduce Bond, cant understand why gunbarrel wasnt used! PTS has best action, particularly when the digger is involved, titles are ok though theme song doesnt do much for me! I find the next 30 mins or so quite drab and originally remember thinking when will this Bond movie get going!! Am not as fond of cinematographer Roger Deakins as some on here. The Shanghai sequence is visually great, the rest of his lensing is quite bland! The fight with Patrice is too overly choreographed, rendering it unexciting. Regarding Moneypenny and Qs return, i found Harris trying too hard and Whishaw not trying hard enough! Craig looks great in the tux and scene with Severine is well written (Love Bonds cheers to his impending attackers!) the fight itself is terrible and Bond is swinging that case around too easily for it to be full of money!
The best sequence in the whole film is Silvas intro and the murder of Severine. Fleming would of approved of this bizarre set piece and Bonds turning the tables on his captors is the only moment i felt i was watching a Bond movie! What follows after this is back to drab. Silvas escape, the train sequence, the train crash and the shootout at the enquiry are all dull. None of it is remotely gripping or exciting. Then we cut to Scotland, great appearance by Albert Finney but i really hate the booby trap nonsense, more so with M breaking lightbulbs and pulling down drapes. It just doesnt seem right. In fact I am not overly enamoured with Dench in this film. I found her relationship in CR and QOS with Bond more appealing. The final siege was ok but nothing special. Love Bonds run across the moors and kicking the villain without a pause. The final showdown with Silva was a big letdown! Speaking of Silva, i really liked Bardems portrayal, but i find the storyline as stupid as the stepbrother angle in SP! As for Craig, he' s still good here, but i think he was better in QoS! Oh and i do like the final scene in the new Ms office.
Skyfall is slowly growing on me, but i just dont find it as entertaining as his other 3! Will watch SP over Christmas to see if its gone up or down in my rankings.
Mendes should have been told to shut up and put the gunbarrel in by the producers.
It certain scenes, Bond seems to have raided in father’s wardrobe, with the fit of some of his suits. “Look daddy I’m a businessman!”
Royale’s Ranking, Bondathon October 2017
1. Casino Royale
2. Dr. No
3. Skyfall
4. Goldfinger
5. Tomorrow Never Dies
6. The World Is Not Enough
7. GoldenEye
8. Diamonds Are Forever
9. Live and Let Die
10. Die Another Day
11. The Man With The Golden Gun
Next up, Thunderball – Bahamas baby!
Not clever enough for Mendes I'm afraid. It's painfully obvious he wanted the first few scenes in unidentified darkened rooms and then BANG! We're suddenly in Istanbul!
An establishing shot is far too common for him!
Ah, I take it you prefer the skyfall and spectre “ let’s squeeze Craig’s ass into a suit and hope it doesn’t tear” fit
Thats fair enough, if the shot works but it really doesnt. Its a clumsy dumb opening. Be by all means arty (to a limit mind!!) but he could have come up with something better. This was after all his first shot of his first stab at a Bond movie. He blew it imho. I like the rest of the pts but recent times i watched SF i have considered skipping this botched opening!
Yeah, he wanted the film to begin in a mysterious way. A establishing shot would've gone against that. Having said that, he could've started the film with the gunbarrel and then transitioned to the darkened rooms without that shot of Bond.