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Only once did I get that feeling in TLD and it's when Rosika puts that supervisor's head between her breasts. There is also the cello chase but that doesn't bother me. We had equally implausible jetpacks and mini-helicopters in the 60's as well.
OP on the other hand really doesn't seem to know what it wants to be, spy thriller or spy comedy. A great Cold War setting ruined by the Tarzan yell, the crocodile-sub, the perfectly put on clown makeup, tennis puns, etc.
I don't think my feelings for the Dalton films will ever change. But when I was younger, I didn't like OHMSS, now I appreciate the events of the film and its place in the cannon.
Dalton only did two and so he didn't have too many films to establish himself or his approach, but it seems clear on watching his films that he was going for something quite a bit darker. He appears more uncomfortable with delivering some of the one liners than Moore (or even Connery), and that in combination with some of the aforementioned gags (cello, Miklos's breast smother, etc.) gives the impression that these were inserted to appease Moore fans. I believe that's the same reason why some (myself included) feel 'poor man's Moore' in some of the SP gags. They are not as easy to pull off as they seem. The trick (imho) is not to seem embarrassed about it or to do it in a manner which suggests it's beneath you.
Now, I really like that bit. It's funny, but also reasonably convincing as a ploy; classic spy-movie distraction technique. And that whole scene with the pig is light in tone, so it's not as if it suddenly breaks the mood.
As for other moments where the tone noticeably shifts: the cello sled, as mentioned, though I would also expand this to include the car chase immediately prior. Everything is largely even-keeled before that car chase. Considered on the whole, the Bratislava sequence is a wonderful adaptation of Fleming. Tim is excellent. The sequence is Glen's best directorial effort in all Bond, perhaps. Yet within twenty minutes of its ending, Bond is sawing yet another bumbling police car in half with a laser, using a bare wheel to cut a hole in a chunk of ice, and sledding in a cello case.
To @Agent_99 's point —
I also don't find that bit as particularly intrusive as the car chase, the cello sled, Kamran Shah's arrival to the concert, or even (on an admittedly lesser but very literal note) the sexy sax that plays when Dalton jumps into Leiter's girls' car (perhaps this is a bizarre one particular to me, but I've always found that an intrusive choice of score there). Luckily I can't add to this list the magic carpet bit, as it was wisely excised (though it does point to a certain mentality on the filmmakers part in the moment of production which I think finds its way into the rest of the film regardless).
In a more general sense, I also find the tone that Koskov and Whitaker bring to the film slightly off. They read more like comic figures than threatening villains.
I agree with this @bondjames with the clarification on my end (since @GoldenGun was wondering about why OP can be called 'classic' despite its tonal issues) that I personally wouldn't call OP a 'classic' in the sense of that term. Of the 80s films I do think highest of it (again, largely agreeing that it works despite its tonal shifts because of Moore), but I tend to think of it as, at best, a mid-tier Bond film. What prevents it actually going higher for me are things like the Tarzan yell, the tennis glances, etc. that pull me out of the story.
As above, I agree these moments pull me out of the story. But I actually come away from viewing each film thinking OP knows better what it wants to be than TLD.
In my opinion, TLD only has one such moment while FYEO and OP have plenty. I like Rog's 70's outings better because they just go all out extravagant and embrace that approach throughout.
AVTAK is much worse with the fire truck chase that's pure comedy and no suspense or thrills followed by Zorin gunning down miners in cold blood a bit later. Even Bond's perilous hang from the blimp is punctuated by silly bits like having him raked by passing antennas.
OP is a much better roller coaster ride with that balance meaning it's just fun.
Are you talking about people, or skills?
A little of both would be ideal.
Nowadays I'm much in the mood for something a bit more experimental. SP ticked all the right boxes for me. It had everything I'd been asking for since CR. So now? Lets get a bit weird with it. Bond is pretty much set in stone. It won't die out. Even worst case scenario we get a complete flop, they'd reboot it eventually. So with that in mind, and with SP doing all the "classic" Bond stuff so well, lets take more risks. Particuarly when it comes to the plots. Look at the supernatural stuff in LALD. That's the sort of experimental, different material I want them to double down on. Mess about with the formula a bit more. @Mendes4lyfe was talking about having a Bondless PTS setting up the villain and then introducing Bond getting off the plane, already on his mission, post titles. No need for the London scenes. I like that idea? A Bond film that cuts to the chase to the point that it doesn't even feature M on screen, never mind Q and Moneypenny. How about an action scene from a POV perspective filmed with go pro cameras ala Hardcore Henry? A Bond film set in one location that takes place in real time, maybe a Die Hard/The Raid scenario in some luxurious hotel or casino? A Bond film that's almost a horror film, where he fights a cult or some other equally creepy threat? I don't know. I'm just spouting random ideas but you get the point. Lets do something different. Except the gunbarrel. They've fucked about with that enough.
For the longest time I truly disliked it. Every time I've seen the film over the past few years my appreciation for both the film and also Connery in it has increased, to the point where I now think it's a truly top notch performance. I also think he looks pretty good in some scenes, despite the slightly portly appearance and bushy brows.
To a degree, the same thing applies to my views on Dalton in LTK. When I first saw the film I couldn't stand either. Now it's a firm top 10 entry of mine and Dalton continues to move up my actor rankings, having recently bumped Craig down a notch.
I can't say DAF is going to get into my top 10, but I really do like the film these days, as I do the other 70's Hamilton entries with Roger.
The DAF performance is an interesting one. I've always enjoyed DAF very much, and Connery's performance in it. The reason being, it's very clear from the start what kind of film this is – and Connery carry that lighthearted, confident performance throughout. He and Charles Gray are great together too, and Gray is a perfect Blofeld for this type of Bond film.
For this reason, I've always had trouble ranking DAF. It gets more enjoyable for each viewing, so it will most likely find it's way to a top ten – maybe top eight even, the next time around. I like it too much not to.
Also agree re. LTK and Dalton. Didn't like that film when I was younger. Now it's an entry I find myself enjoying – even with the obvious late eighties nod to Die Hard etc. A film of it's time, it's very understandable they went in that direction with Dalton in the role.
That's a good way of putting it actually. I think the Arnie/Mel/Sly triumvirate were quite strong at that time and Bruce changed the game with DH.
Me too.
For many years I was indifferent to Jill St. John's performance in DAF. It didn't bother me nor interest me. One of my main problems with DAF then and now, is Tiffany Case being presented as quite clever when introduced as Peter Franks' contact – developing into something quite different as the film progresses.
The violence of those actors films certainly feels like an inspiration for LTK. Luckily, Dalton had the intensity to pull it off – and Robert Davi was a perfect casting as Sanchez.
Interesting. I feel the opposite. It used to stick out like a sore thumb for me in the Moore Bond films, being as low key as it it. It was close to the bottom. After a couple of re-watches in recent years, it has soared in my rankings.
I really appreciate that Moore got the chance to do a real Fleming-esque story.
got to quite like it.
It’s just not memorable at all, for a Bond film. Just the action scenes, and Q.
I remember finishing Casino Royale for the first time and thinking "this is Bond, the best bond movie ever" despite it being almost the complete opposite of what I had wanted from the series growing up and this train of thought carried on until about 2014.
Eventually I found myself feeling a bit nostalgic for the original 20. I noticed the Bond 50 box set online and made the investment. Going through the series again in its entirety, sort of reverted me back to the more indulgent, ever so slightly fantastical Bond films of the OG 20.
Now I find the likes of QOS and CR near or at the very bottom of my list. I like my Bond films a bit more balanced between fantasy and reality.
Also, as a child, the worst Bond films from Connery and Brosnan were Thunderball and The World Is Not Enough, now they aren't just my favourite Bond films from their respective Bond's, but they are now my top 2 favourite Bond films of all time.