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I've seen 35mm prints screened in the cinema a few times over the decades. Some prints better than others, and as beautiful as the Blu-ray looks, the old laser disc versions looked closer to the film prints as far as color timing.
Excellent spot. I will look out for that next watch.
Ah, yes I thought maybe you had streamed them. I think it was Hulu that had made the 4K versions available.
I'd love to see a 35mm print of an older Bond, as well. That's a big thing to check off the list. Although apparently the 4K DCPs that are screening here and there look very good. I have yet to own a laser disc version of any of the films, but I had found out somewhere that the same scans were used on the SE DVDs, which I do own and love for their colors.
Yeah they forgot to take their meds and escaped shady acres.
I had a blast as usual. Roger Moore's approach is very different to early Connery, who I watched the night before, and it's quite apparent when seeing the earlier films of both actors in quick succession. He doesn't have that raw machismo of the first Bond, nor the physicality or physique. In compensation, he brings oodles of charm and sophistication, combined with a certain cruelty in instances here which is believable. I find him credible as Her Majesty's finest, but he is not quite the same agent as Connery's. He's a different take on it.
Yesterday I gave thought to how that may not have gone down well in 1973 with some who were used to Connery's (and Lazenby's) approach. It's understandable. Perhaps the same will occur when Bond #007 takes over from Craig. Given EON's modus operandi to date, the chances are they may go for someone who brings a lighter and more sophisticated touch, which in my view has been seriously missing during the Craig era. The Babs regime is its own entity so who knows, but if they want to shake it up for the next decade, I wouldn't be surprised if they go in this direction once more to avoid negative comparisons with Craig. I would personally welcome it.
Anyway, great film, with probably the most memorable villain roster, a beautiful Bond girl, and a wonderful score. I like how they use New York too. Most of the shots are 'on the ground' (as opposed to skyline) and give a natural vibe to the city circa 1970s, particularly Harlem. In a way, it set the tone for Roger's tenure beautifully, as there are many elements here which would find their way into nearly all of his films. It's quite unique as a Bond entry, and highly memorable. I'll be moving it up my ranking when I next do one.
Well said.
I forgot to add earlier that for the first time I realized that Rog is wearing a shirt with some sort of pattern on it when he's interrogated at Big's and later when he's in the boat chase. The ecru number. For all these years I thought it was a plain shirt. The benefits of high def upscaling and a larger screen. Highly recommended, although it also shows up wrinkles and other skin discolourations far more noticeably as well.
Probably the Bond film with the most ambition, but least invention.
I mean think about it, not even counting the direct references to previous Bond entries, this film does nothing of its own. It's the story of the franchise, told in one film. The love story is equal parts OHMSS and CR, the Brothergate is basically GE. The score is mostly reused from SF, and to top it off, to add insult to injury not only do they use the same 007 theme they've been using since CR, but as their flourish to cap of the adventure they give Bond his DB5 back. That's right, the same car that appeared in 4 out of the past 7 Bond films? Yeah, that's back. Like that's supposed to really impress you at this point.
I'm first generation Canadian and am proud of my heritage.
SF it is then... (perhaps with Boyle's Bond and Queen meeting for the Olympics as an intro....)
In all seriousness, to a great member here, love to you and your bride @barryt007
It's still Moore's best and it's a prototype Bondfilm.
Is Sir Rig the husband of Diana Rigg ?
It is German for Roger.
Perhaps not inconsequentially, the older I’ve gotten, the better I respond to his films as well. This may be due to the fact that we’ve all seen these movies a million times, we know (although of course we disagree from time to time) that they’re all flawed in some regard, some entries more than others, and it always comes down to whether the Bond actor — the person with the most screen time — is a compelling on-screen presence. The films around Moore were formulaic and comfortable in their camp, but he’s just charismatic as hell in all 7, and unlike Brozzer (or perhaps Craig in Spectre) he wasn’t trying to ape or “play” James Bond. He simply was, in his own way.
Edit: For the record, I may be wrong about all of this. And take what I say with a grain of salt, I rank some of Moore’s most infamous outings very, very high.
If I remember correctly, there was a backlash against the lighter Bond films around the time Craig was cast, given the darker direction post-911, and of course due to Nolan and Bourne having provided a new way forward. I'm assuming that was also the case when Dalton took over, but for other reasons. Perhaps we are at a stage again where a directional change is required, but in the opposite way. That seems to be the opinion of many members on this forum of late, including myself.
I too could of course be entirely incorrect. Time will tell, depending on what they give us with B25 and how well it's received.
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@BAIN123, I agree that the film seems a bit cheesy and tv like in places, but I think that's part of its charm. I think it was made for far less than some of the immediately prior entries.
I agree complete with this. You can discuss the negatives of his seven films in length and detail, but you can't find many negatives about his on-screen presence. He brought something different to the role from Connery - and made the role completely his own.
I hadn't watched a Bond this year yet, and for some odd reason, I felt like watching DAF. When I got into Bond, just over 20 yrs ago, DAF was one of my favouries. But over the years, it has slipped down my ranking. Between Connery looking a shadow of his former self (here he looks like a of an out of shape, middle aged, American car dealer), Blofeld in drag, the weird tone, the lift fight, "my god, you just killed James Bond" and Tiffany herself, there is a lot I don't like. I like some pieces of the soundtrack though, 'Gunbarrel & Manhunt' and 'Bond To Holland' are my favourites.
One of those that never fails to put a smile on my face.
Same goes for me. I really love DAF ever since I was a child. It's far from perfect, it has many flaws, but it's fun. I love the way it's shot and it's one of Barry's best soundtracks.
edit: Just finished Quantum of Solace. Few more thoughts on it in the Bondathon thread.
My feelings on the film haven't really changed although I did enjoy this viewing. Dalton still overacts, but not in every scene. There's some good acting in the Wavecrest scene where Bond threatens Lupe with a knife. And to be fair she ain't bad either in these scenes. What follows is the best sequence in the film. Well filmed by John Glen as Bond destroys the drugs haul and then commandeers the sea plane. Nice action indeed. Also the truck chase apart from that silly wheelie is technically excellent. Love the Kenworth going over on two wheels.
The PTS is also a good one. Get rid of that awful slow motion shot and it's a really good opener for the film.
Enjoyed the deleted scenes. A good one with Bond watching Sanchez on a news report while wearing a white shirt and shoulder holster and a terrible one with Bond wearing a floppy hat. I know he was undercover but that's ridiculous!
Some nice home movies about the film from Peter Lamont, especially the footage of the mansion that doubled as Sanchez's home.
So not a total disaster, but with many flaws, this was one of my better viewings.