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Finished my annual viewing last night, and I don't have much to add to your comment, @Mathis1. OHMSS is really a greatest hits of classical scenes, IMO. There's so much to highlight, from scenes to actors performances, cinematography (the series best?), etc.
A true classic.
It's a Christmas film!
Gets better every time I see it!
Agree on everything you said @Mathis1
It's usually a winter Bond film for me – not necessarily just a Christmas Bond film. My viewing this week was actually the first in about two and a half years (!), as I didn't watch it last year, and two years ago I found myself watching it during the summer.
Watching it again during Christmas was just perfect, and I hope to watch it again same time next year.
Still, for me, my favourite Moore Bond movie. Though he doesn't look as good as he did in FYEO (No going to the gym prior to filming for our Rog!), and he badly needed a haircut!!, this has so much entertainment in it. Pts is still cracker, nothing to do with the plot, but really well staged and no silly payoff!
Love Rita Coolidges theme. It has one of the best opening scenes of the series. There was genuine chemistry between Roger and Maud Adams, Berkoff and Jordan are great villains. Peter Lamonts war room set is a standout, the action and stunts are thrilling, and the bomb diffusing sequence is really well staged by John Glen and his team. Moore probably should have ended things here, finishing, pardon the pun, on an All Time High!
Great watch for this today. Always enjoyable.
Prior to my annual watch of Jools Holland, I put on Craig's debut. Been a while, still brilliant though! Punchy opener, great theme and Kleinmans retro titles (he needs to reinvent for Bond 25 though, getting a little tired!)
Free running chase still thrills, Mads perfect LeChiffre. The ladies in this are more alluring than usual, lead by Eva's wonderful Vesper. Brutal fight scenes, the epic poker encounter, brave to include torture scene, and that spectacular climax, (impressive as it is, I do think it should have taken a leaf from the pts and just have Bond face off against Gettler and just one or two thugs, have it short and brutal)....and then there's Daniel, simply brilliant, from his cold intro in Drydens office to that fabulous set up and delivery of THAT line at the end (still gives me goosebumps), he gives a terrific performance. Despite the criticism he has been facing since, I for one am delighted he is still Bond and really looking forward to his appearance in the New one!
Great viewing.
I managed to start 2019 off on the right foot by getting in a double bill viewing with friends of my two favourite Bond films from my two favourite actors in the role today. We had tremendous fun with both.
Sean Connery is just magnificent in his second outing as OO7. Not only does he look the part in almost every scene (the proportions of his Anthony Sinclair suit and the tailoring right down to cuff length is especially noticeable in many scenes, including in the hotel when he's checking for bugs), but he also just lives and breathes this character through and through. It's truly a brilliant performance, and very subtle too. Even the way he tips the bellman is pure authoritative class - that's how I'd imagine Bond would do it. I'm not surprised they still use the famous Bond/Tanya hotel room scene for testing future actors. It's such a great scene, with wonderful back and forth between Connery and Bianchi. Speaking of the lovely Daniela, she's also quite outstanding in this film, combining vulnerability with strength. I found myself mesmerized by the way she looked in the Hagia Sophia interior scene - statuesque and breathtakingly perfect in a mysterious Hitchockian manner. I find her mouth to be the right size too. I noticed this time around that Young films the now legendary train fight scene in a very smart manner, putting the camera in unique places to accentuate the claustrophobia of the surroundings (particularly when Bond is unconscious and Grant is over him). The instrumental version of Lionel Bart's title track is one of my favourites as well. I think it actually works better without Munro's crooning, with the melody combined with the wavy credits giving off a sense of exotic suspense. The final seamless segueway into the bombastic punchy Bond theme always gives me chills - this film is the perfect blend of romance with suspense.
Then it was on to Roger Moore's third. Once again I was amazed by the sheer brilliance of the film making on display from the outset. Claude Renoir deserves credit for shot framing in this film, as there are just so many wonderfully composed and lit scenes which accentuate the beautiful surroundings and convey atmosphere and scale. The technical mastery, attention to detail and level of film making precision on display by all here is worthy of awe - it's Bond by way of David Lean. The shot in Egypt where Bond is seen in shadow with the minaret seemingly next to him and framed by the light through the opening is just brilliant, and especially so when accompanied by Marvin’s foreboding cue. The model work is also quite outstanding - there is one sequence in particular where the Liparus is coming to envelope Bond’s sub which is wonderfully done, with the camera pulling up high as the ship moves closer. Roger Moore’s unflappable Bondness is perfectly suited to this type of large scale film. He’s insouciant, but also a determined man on a mission. This is most notable in Egypt, where he easily dispatches two of Anya’s men and then calmly exits the scene leaving her impressed – he’s focused on the next step of meeting Max Kalba and doesn’t want any distractions. Even at the club he ditches her for the meeting with Kalba without taking his martini, and she has to bring it to him. Speaking of Anya, she’s one of my favourite Bond girls. Bach gets a lot of flak, but while she may not be an acting thespian (to put it mildly), she more than makes up for it with other notable attributes. She gives her character a sensually cool iciness combined with a bit of welcoming and comforting warmth that shows itself from time to time (but not often) – I find the combination and restraint very appealing. What she lacks in vocal delivery she compensates for with her magnetic eyes – just watch the scene when Bond is dismissive of her before going up to meet Stromberg on Atlantis – if looks could kill. This is large scale movie making at its finest, and like FRWL combines romance with suspense and atmosphere in perfect quantities to create one of the best Bond films.
Watched it New Years Day, wonderful as always. What more is there to say about Dalton? After I saw this for the first time in 1987, whenever I read any of the novels after, it's Dalton I always picture in my head.
That pts is still the best of the lot, the sky dive, the stunning intro shot of Bond, the action, and the final whoa moment when the jeep plunges over the edge. Solid theme from aha, with strange lyrics, Binders titles, and then that fantastic opening sequence, straight from the short story. Dalton rocks that tuxedo, and the velcro lapels were a nice touch (love that moment where you can see in Bonds face his distaste at what he is about to do, kill a sniper.)
I love these villains, Koskov, Whitaker and Necros, all have great moments to shine. Great throwaway moment where Dalton exhales cigarette smoke in disbelief at Koskov smiert spionam tale in the safehouse and the look he gives him before he leaves.
Kitchen fight is a cracker. The Aston chase is great fun. And the cargo net showdown with Necros is a thrilling set piece.
And then there's Kara, her relationship with Bond is beautifully handled by Glen and Dalton and D'Abo have genuine chemistry.
Great score from John Barry (and nice cameo for his final score for 007) and themes from The Pretenders. "You didnt think I'd miss this performance?" Absolutely not. A classic Bond in a classic Bond movie!
I really feel as if the only problem with this movie is that it is a bit slow and unspectacular. The performances are great, the locales are great, the story is both tight but elaborate. Theres an accusation thrown around that the villains are weak, but I don't see it. The only thing Necros is missing is a more memorable name. If he was called "the man in white" or "Mr Headphones" then his stock would rise immediately among fans. But then that's this whole films problem, just slightly unspectacular to stick out. But I still love it.
9/10
:))
-They will send their best man, James Bond, to eliminate him.
-Oh, I'm not convinced. Mr Headphones can do it.
-I've worked with the Russians. My appearance and music tastes are well known to them.
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I love TLD. One of the best.
Couldn't have said it better myself, @Mathis1
The PTS is indeed my favourite of the lot.
The best Bond film since OHMSS when it came out.
I honestly think it is quite spectacular too. The PTS is one of the most spectacular in the series, and has arguably some of the strongest action and stunt work of all. The fight on the plane is one of the most unique scenes in Bond. And as you mention the locales through out are great. Honestly I think it is more spectacular than the majority of the Bond films.
+1
Not to mention the battle at the airport finale with the blowing up of the bridge!
I’ll probably be watching my first Bond film of the year tomorrow night.
I'm with you on hopes for the future.
I also like the bit where Bond uses the already dead thug as a decoy, thereby fooling Stamper into thinking he had killed him.
Some neat touches there.
I think this is because Craig has no hook. There's nothing about his Bond that draws you in and feels unique. Connery, Moore and Brozza may have only had a two dimensional character, with odd flashes of depth. But they sold you on what character they had. You believed that Brozza as the ladies man, Moore as the charming British gent, and Connery as the man on a mission. Trouble with Craig is they spent so long making you feel his humanity, they forgot about his personality. The few moments where Craig gets to truly shine as Bond are when he is playing curmudgeonly and cynical. The scene between Bond and Q in the gallery immediately springs to mind. That was the unique take on the character that Craig brought with him, that he actually is convincing playing. I like that Bond, he endearing. Too bad that he gets not much time throughout the four films.
Always liked this with Moore (he's my favourite Bond after all!); the one liners was probably a way to "take the edge off" a ruthless kill, but you can also argue that this showed a cynical side to his Bond.
____________
Thunderball
As a part of a double-feature I didn't really plan on doing, I started last night with a viewing of TB. Some of my opinions of this film, and why it's a top-three entry, is covered in the Thunderball appreciation thread. Still, there are things to mention:
I know the Shrublands part is something that other members bring out as a weak and/or slow part of the film. I've always enjoyed this part a lot, and this viewing was no different. It plays out like some sort of mystery within the film, with Bond looking into Count Lippe, and by the inclusion of the mysterious man covered in bandages – Angelo. We're also introduced to Fiona Volpe early on, and we quickly learn why she is one of the series best and most dangerous henchwomen.
The rest of the films plays out beautifully in gorgeous locations, with Bond continuing investigating Largo and discovering the sunken jet bomber and eventually confronting Largo and his men in the fantastic underwater battle. What a film!
Live and Let Die
I continued the shark theme with LALD – which was unintentional but funny once I came to think of it.
Where TB have some minor mystery elements, this one takes this to another level, diving into the occult. I've always liked how an investigation into the mysterious deaths of three MI6 agents turns into such a colourful adventure. I also like how the supernatural elements are played out throughout the film, and how it ties in with the plot.
On top of that you have some entertaining stunt scenes; like the jumping on crocodiles bit, and the Louisiana boat chase. Sheriff J.W. Pepper is such a great comedic relief in the latter sequence; I really don't mind the Bond film having some returning elements or characters like this. The finale in the budget villains lair could have been better, but as I mentioned in the Bond...comments while you watch... thread, I still enjoy it.
I have a soft spot for train fights in Bond films; there's something about that confined space of a train compartment that makes those fights so interesting to me. LALD no different. Such a great way to end the film. LALD finds itself inside my top ten as well.
What do people make out of the laughing Samedi perched on the front of the train? Just adding another element of the supernatural?
I'm with you too @jobo; I find Craig Bond an extremely likeable and three dimensional character. Although SP is by far his weakest entry (and I think a muddled production and his knee injury/surgery played a huge role-- I don't think many of us understand when you take out the meniscus, you literally can't bear any weight and the pain is chronic. My own daughter is going through this right now, and she's in a brace until she can get her surgery. DC took two weeks off during SP to get a temporary fix (scope) until filming was over to get the bigger op done. Physically he was not one hundred per cent in this last film-- and it showed. He wasn't as "present" as he usually is. When you have this type of injury, your energy goes into healing).
Brosnan was never my Bond, and although I like the man, I have a hard time liking his James Bond as he does feel, like you say, an actor portraying James Bond without a clear direction. I thought what he did in TND was his most relaxed and likeable turn, and he made it seem effortless. Unfortunately I never saw that kind of whimsical charm in his other efforts.
It will always be Connery, Craig, Dalton, Moore, Lazenby, Brosnan...
Given James Bond is a male fantasy figure in many ways, in the end I think many of us see him through the prism of our own life experience and personality. We perhaps identify most readily with the elements & actors which reflect our personality (or our perception of our personality) back at us.
Going forward I personally look forward to a return to a more stylish, lively & fun interpretation, now that a lot of the back story elements have been addressed by EON with this iteration.
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I think Moore Bond crossed the line with Solitaire (she wanted him anyway so he didn't need to trick her - I suppose he knew that from the initial card reveal at Big's and so just decided to move things along in the interest of the mission), but in the end he saved her from a terrible fate with Kananga.
Nice reviews. Both great Bond entries (despite being very different), and highly successful to boot. I've never done a double bill of these two, but am tempted to give it a try in a few months (I just saw TB a few weeks back). RE: Samedi at the end, I never took it literally even as a kid. For me his reappearance was just a personification, and a reflection of the inability to kill an idea or cult.
I have never seen this film. One day I intend to get to it.
I'm undecided whether I feel Bond crossed the line with Solitaire. It was probably "written in the stars" that they would end up in bed together, but that deck of cards certainly expedited things. Bond did what was necessary for the mission though.
Yeah, that's how I see it too. It's an interesting touch though, to include him at the end there.
It was an interesting double bill for sure! Might repeat it later this year.
I really love seeing some appreciation for Barry Nelson.
I think considering this was live television he was great. He looks cools as well, but more of in a Mike Hammer way rather than Bond.
Just finished watching YOLT for the first time in a long time. A rather pleasant viewing compared to the last one, as I found the first half more entertaining than before. I love the way the film progresses all the way up until Bond goes undercover as a Japanese fisherman. Bond meeting up with Henderson and Tiger Tanaka, and the scenes at Osato Chemicals are among the highlights.
The film doesn't keep me particularly interested after this. It only manages to reach the same level of excitement with the volcano fight. The lesser second half, along with a Connery on autopilot makes this a mid-table entry for me.
Don't know how many Bond films I'll watch this year, but since I've already watched three films in January, I'll put up a ranking:
1. Thunderball
2. Live and Let Die
3. You Only Live Twice