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You sure? It is hailed as one of the best in general, but to each his own I reckon. This track is one of my favorites:
Last great poster as well, before they ditched painted/drawn posters for boring photo ones.
Agree. As far as "photo posters" go, I find those to be the best yet.
I can agree about TWINE.
Dr No 1962
There is plenty to like about Dr No, of course it kicks off this character and series that so many love and follow, it introduced a new star to the world in the shape of Sean Connery. Though and I'm sure some might want to throw me to the wolves for this I don't think it's really how envisage a Bond film, it's more like an exotic detective thriller.
In all fairness it was the first one they were just getting started and testing the waters of what they could do with the character and the kind of adventures they could send him on. There are a handful of iconic scenes that have informed the series significantly. The opening introduction, the first time the world heard those immortal lines "Bond James Bond", Connery seems so at ease from the get go.
Although the involvement of director Terence Young cannot be underestimated in the case of Connery, the man pretty much worked with the unknown to construct the character we see on the screen and adeptly handles his duties and delivers an impressive first entry, he's also assisted by a promising script by Richard Maibaum.
We already get a sense of how much Ken Adam will be so significant to the series going forward, his unique set designs are on display, the sequence where Dent is instructed to dispatch Bond is errie and atmopheric and Adam set design is superb as well as Dr No's hideaway set.
Also Bond rather ruthlessly executing Dent, all iconic. Of course Andress emerging from the sea as Honey Rider. Wiseman makes a great sinister villain and there is a nice exchange between Bond and Dr No.
Though an over reliance on John Barry's arrangement of the James Bond Theme, Peter Hunt said he kept using to move the action along, even in more mundane moments. Dr No suffers from not having a proper Barry score and Monty Norman's sub standard effort really doesn't do the film any favours.
I felt the pace of the film is lacking and I found my attention wander at times, I really think the importance of John Barry on the earlier entries cannot be underestimated and it's one of the biggest reasons but not the only one why the next film is a considerable step up.
Undoubtedly a great start but definitely room for improvement and we certainly got it the next time round.
3/5
From Russia With Love 1963
After a promising start it isn't only Connery that has upped his game all involved have taken a gear change, from the get go it is obvious they've taken what they've learned from Dr No and learned from it. I don't mind saying it but this is a much classier affair.
Terence Young continues the good work of the first film and improves on what came before, establishing a far more confident and stylish second entry again assisted by an even more impressive script from Richard Maibaum.
For the most part this film is also John Barry's gig when it comes to the music and it shows how much he informs the film, his sound is essential to setting the mood of the piece and whether it be low key scenes, suspensful sequences or driving the action along, Barry delivers.
Also we get a delightful vocal theme from Matt Monroe as well as Barry's exciting and exotic main theme over Maurice Binder's impressive titles. The story is better as well, a proper cold war spy thriller. We get the elements that will be expanded on as the series progresses, like the gadgets. Although FRWL seems somewhat grounded with what was to follow.
The late Pedro Armendáriz makes for one of the most memorable beloved Bond allies of the series with his likeable Kerim Bey, we get our first sight of Desmond Llewelyn's Q although at this point referred to as Major Boothroyd. In the villains though FRWL gets an embarassment of riches, not only do we get Lottte Lenya unforgettable Rosa Klebb but more importantly we are treated to one of the most standout villains of the series in Robert Shaw's Donald Red Grant. One of the Bond's most deadly adversaries and the Orient Express brutal train fight with Bond and Grant is utterly legendary within the cannon.
Cinematographer Ted Moore display a great eye for scenery and presents Istanbul in all it's glory, as well as editor Peter Hunt who moves the action along effectively. Barry undoubtedly is one of the biggest contributors to the considerable upscale in quality and no more is that more noticeable than in the films climatic big set piece on the water, when the decison to reuse one of Monty Norman's cues from Dr No, possibly there wasn't a suitable piece of Barry's to use but it shows the gulf in quality and the fact for the most part the score of the film is light years ahead of it's predecessors.
That being said this is an exceptional follow up that has rarely been bettered in the series and although Connery would deliver another 2 entries where he's bothered this for me is the pinnacle of his portrayal of 007.
From Russia With Love really is one of the best.
4/5
My current lock screen and wallpaper respectively, I like Brosnans Bond posters. And a DAD poster is my picture password screen on my pc.
Yup.
My favourite Moore Bond. I'd say this has some of the best action of the series.
Watching the 'keel hauling' scene again i realized just what an incredibly accomplished sequence this is. The editing is just stunning and coupled with the stuntwork it's a sequence that works incredibly well. It looks dangerous, painful and is full of supense. Real sharks as well! I can just imagine how this sort of sequence would be done today. Full of CGI no doubt and half as effective.
Same with the scaling of St Cyrils. An incredible and dangerous sequence that puts you right on that sheer rock face with Bond. (Moore looks seriously uncomfortable in some of the shots!)
As the old saying goes, 'they don't make em like that anymore!' and that goes for most action films these days.
Thanks @Birdleson, it's been a while since I've seen both and I'm starting what will be a very drawn out marathon on the lead up to Bond 25.
The one I'm interested to see how I'll react is Goldfinger, I know you love this film and it's one if not your favourite but I've not been such a fan for a while, I understand it's place but FRWL has been for most of my life has been more my thing.
I think I prefer Young's style to Hamilton's as I'm not a big fan of his 2 Moore entries, Young, Hunt, Gilbert & Campbell would be my favourites. As much as I like Skyfall Mendes loses considerable points for SPECTRE.
Not sure If I'll subject myself to SPECTRE again, I only saw it at the beginning of this year when it premiered on British terrestrial TV and I can't say it's getting any better. I know that is something we both definitely see eye to eye on, it's no. 24 for a good reason.
Just caught my first viewing in upscaled 4K. I had to calibrate the set a little at the start but once I found the sweet spot everything just popped, and it was like seeing it for the first time tonight. I noticed so much detail in the sets, especially at Hosein’s harem, Fekkesh’s residence and also in Anya’s train compartment of all places. I’ve always thought Egypt looked stunning in this film, but it truly came alive with this viewing. My favourite bits are the Karnak Temple encounter with Jaws and the nighttime Pyramids scene (quite suspenseful and moody).
I know many think Bach is wooden and I'd be a fool to argue, but I think her acting limitations suit her character, who I buy as an aloof and distant well trained Russian agent. Her general standoffishness is a nice contrast to Roger’s warmth and playfulness in their scenes together. Speaking of Moore, while I don’t rate his performance here as highly as in the first two Hamilton films, I think his portrayal is, as always, pitch perfect for the film’s tone.
I’m a big fan of Hamlisch’s score too, and think it complements the film and enriches the scenes. I even like the dated disco elements, although my favourite aspects of the score are during the Egypt and Liparus sections.
Gilbert’s Bond films are of course known for their scale. Not only are they grand in concept (world domination or conflict), but also in filming style. There’s an almost relaxed, unhurried manner in which he and cinematographer Claude Renoir compose shots and landscapes from a distance, allowing the film to breath and atmosphere to creep in. This is most noticeable in Egypt, but it’s something that’s evident throughout, giving the film a real ‘epic’ flavour.
Ultimately this effort is a series of iconic and memorable scenes beautifully composed and strung together one after another like a concerto. All cylinders fire in EON’s hour of need for a legendary classic. It's a wonderful film that never gets old for me.
After wonderful viewings on DN and OHMSS this past week, I have LALD and TLD on my plate next. I will probably get around to LALD sometime tomorrow or Monday. This Bondathon is shaping up to be one of my best with how much enjoyment I've gotten early on; I think I made a good choice by spacing out the films a little more than I usually do.
Same thing I did before the release of Spectre tried to watch every bond film/ Spectre BTS, trailers,clips and what not. If one wants to enjoy a particular film leave all behind. The less I see all clips before watching in theatre the more I enjoy it.
Like TSWLM, this is a film which really benefits tremendously from the upscaled 4K experience, due to the beautiful scenery and locations. The interior of Casino Estoril, the scenes in the Alpine Room and the villages of Lauterbrunnen and Grindelwald all look almost kaleidoscopic in this format, with lots of noticeable details. Additionally Piz Gloria seems to bask even more radiantly than previously atop Schilthorn.
I really like the action sequences in this film. They are quick cut and edited very tightly, which gives everything vitality. It’s a very different energy to TSWLM, which is more relaxed in this regard. I’d say OHMSS at times feels more modern as a result, while the later film paradoxically seems more vintage. John Glen served as editor and 2nd unit director on both films, so perhaps he and Hunt were instrumental in this faster approach to action here, capitalizing on Lazenby’s youth.
Speaking of Laz, I think he really nails his first and only appearance as Bond. He doesn’t have the raw machismo of Connery, but then again who does? What he has however is an undeniable athleticism and earnestness, both of which suit the narrative. One can readily buy that this man can fall in love and be hurt, which is something Connery regrettably never had an opportunity to show in his time as Bond. What’s most remarkable about his performance to me is that he shows vulnerability without over-emoting (I’m not sure if that’s because he wasn’t a trained actor, but whatever the reason, it works for me). As I mentioned on the Production Thread, I have a theory that films like these where Bond faces loss are best served with one-off actors such as here. Would we have as readily bought Connery in this one? I’m not so sure. Conversely, would we have readily bought Lazenby in a hypothetical future Bond film playing the icon Bond after this? Again, I’m not so sure. On a side note, it’s hard to believe that Laz was 29 when this was filmed – he honestly looks like he’s in his mid 30’s.
The rest of the cast are excellent as well, but most notable for me is the lovely Diana Rigg. Hers is a pivotal role in the narrative and it’s a testament to her skill as an actress that it all works – her Tracy is three dimensional and believable. It’s also a credit to the screenplay in how the romance is realized. I like the Louis Armstrong montage and the barn scene as establishing elements. They both work without getting too cheesy.
So another great viewing completed. The only bit I'm not too fond of is the whole Piz Gloria section, which I find quite slow and dull. Up to that point I’m fully engaged, and then from Bond’s escape onwards from the mountain I’m back in full swing. However, in that middle section I get a bit bored. It’s not a major knock, but I wish I enjoyed that section more. Still, this was an amazing film for EON to close out the 60’s with and in many ways it marked the end of an era. Starting with DAF, the films had a deliberately different flavour.
Nice writeup @bondjames
Go for it @FoxRox - LALD always puts a smile on my face. You can't go wrong with that one imho.
@bondjames Agreed. It’s the funniest entry in the whole series IMO.
I don't know why but the Craig Bond films for me are largely becoming unwatchable. There are a few great moments in SF but for the most part the film is so boring. Still, it's better than SP which is completely unwatchable.
Unwatchable is a bit strong. It certainly has its faults but 'unwatchable'????
There are certainly some strange so called Bond fans on here. I like all the films, obviously some more than others but i wouldn't consider any of them 'unwatchable'
Perhaps you have a personal problem with Mr Craig...?
Nope. Craig is my 2nd favourite Bond actor and yeah, for me, SF is mostly unwatchable and SP is completely unwatchable. Doesn't make me any less of a Bond fan than you or anyone else here.
Good write-up, @bondjames.
I must admit I've never fully warmed up to this film's narrative structure, with the first act being less about the mission and more about the romance. But I do like it, just more in my mind than in my gut, so to speak. I suppose it's the same with Skyfall. I'm a formula guy in that sense, waiting for the mission to kick off in full. I also find the part with Bond romancing the Piz Gloria girls a bit dull, and perhaps slightly dissonant given what came before with Tracy, but in terms of the build up of suspense, the Piz Gloria segment of the film is terrific. The subtle tension in Bond and Blofeld's exchanges; the locked doors and guards all over the place; the fellow agent snooping around; etc. Great stuff.
And the film is, as you say, absolutely beautiful looking (in set design, locations and cinematography). Lazenby is good, even very good in his debut --athleticism and earnestness, perfectly stated--. Diana Rigg is Diana Rigg and Tracy is one of the most interesting Bond girls, with that sense of despair and loneliness she has at the beginning, and which Draco eventually reveals to us. Also, the film is nerve-wrackingly suspenseful at times, and last but not least, it feels absolutely vital. It's bursting with inspiration and energy.
I've also grown to enjoy the rather insane nature of Blofeld's plot. He actually expects to become a member of legitimate society!
I also very much agree with you regarding the action sequences. To use an appropriate metaphor, most of them feel like a bobsled that's spinning out of control-- verging on chaos in an exhilarating way. Quick cuts, as you say, and also strident sound effects. The other day I just thinking about the brief fight before Bond meets Draco. I love the use of echo and the slightly off kilter, oneiric camera shots.
The score also seems to share that especially strident and edgy nature with the sound effects. The ever-present high-pitched synths and wah-wah brass... the film's sense of danger and intensity is definitely enhanced through sound.
I didn't watch OHMSS that long ago but I may just have to revisit again when I go back to watching these movies.
But you havent explained why are they 'unwatchable' to you?
I've summed up my thoughts in detail repeatedly as I've been told by some members here and encapsulated it, categorizing the film as boring, which I stated. No Bond film should ever be boring nor lacklustre and those 2 adjectives are the most apt words I can afford to describe the film right now.