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Only last night I was thinking of the scene in TSWLM where Bond awakens after being knocked out by Anya's sleeping gas cigarette. I think we see from his POV- his vision go from blurry to adjusted.
- when Bond reads Vesper's phone (the phone looks straight on, parallel to the screen, not on an angle like other phone close-ups);
- one shot when Bond is looking for Vesper in her red dress, and spots her amongst the crowd
That's basically the reason I made the thread. It's refreshing to see through Bond's eyes every now and again and makes it a tad more visceral of an experience if you notice it (or not hehe). I guess it also goes to show the great lengths/amount of effort that the filmmakers go into for deciding shots and therefore making a better movie.
So anyway, for those that know about it and want a reference, or those that didn't notice but want to see them, I've posted as many screen-caps as possible. (And no, I'm not here to promote their caps website. ;) )
I'll add that TSWLM example, along with many more, later this weekend!
For GF I of course mean the moment when he wakes up to see Pussy after Goldfinger has him tranquilized:
https://screenmusings.org/movie/blu-ray/Goldfinger/images/Goldfinger-450.jpg
Bond's view of Pussy is blurred at first as we witness his senses coming back to him, a nice touch.
And for OHMSS it's a similar moment when Bond wakes up after being knocked out in a trap set by Bunt and his eyes focus on an angel on the Christmas tree next to him:
https://screenmusings.org/movie/blu-ray/On-Her-Majestys-Secret-Service/images/On-Her-Majestys-Secret-Service-0758.jpg
I should also note that we get a POV shot from Bond's eyes as the trap is sprung on him by Bunt, which you can see here:
https://screenmusings.org/movie/blu-ray/On-Her-Majestys-Secret-Service/images/On-Her-Majestys-Secret-Service-0749.jpg
Interestingly enough, when Bond wakes up from being knocked out the camera also seems to mimic the POV of the ornament on the tree as well, as the camera zooms out from Bond's face in close-up to a position that would be occupied by the tree top:
https://screenmusings.org/movie/blu-ray/On-Her-Majestys-Secret-Service/images/On-Her-Majestys-Secret-Service-0757.jpg
I like the GF and OHMSS examples because they simulate for the audience not only what Bond sees, but what he feels. We get to come out of a comatose spell with him to see what dangers are near, or in the case of GF, what beauty there is to behold.
Additionally, I'd also like to mention one of my favorite uses of POV in the series, which are Ted Moore's binocular POV shots in TB which I actually talked a bit about for a review of the film I did recently using this graphic that compiles all the shots in the film that fit this style:
https://fortressoffleming.files.wordpress.com/2017/05/cinematographytb3.jpg?w=730
Moore had already given us a POV shot of Quist as he is chomped on by the sharks in Largo's pool, so his continued focus on that camera style only continues with his binocular shots that allow us to see what Bond is viewing while investigating the case at hand in the Bahamas. Point-of view shots are a constant feature of the film, whether the camera is simulating the viewpoint of Bond or the villains as they look through binoculars, or when the camera acts as Bond's own eyes as they are brought close up to a gadget or item of some importance to him, as in the briefing with Q seen here:
https://fortressoffleming.files.wordpress.com/2017/05/gadgetstb2.jpg?w=730
For From Russia with Love there's also the notable POV shot of Kerim/Bond looking through the sniper scope while waiting to kill Krilencu:
https://screenmusings.org/movie/dvd/From-Russia-With-Love/images/From-Russia-With-Love-204.jpg
It seemed that Moore really liked to use POV shots to simulate certain moments of discovery for the audience, and that adds so much style to those early Bond films.
I'll try to think of more examples to throw in later.
After seeing Hardcore Henry I think this is something I'd like to see more of in Bond. You can do some insane stuff with go pro cameras. Could be a cool way to introduce the next actor when Craig leaves. Big long first person action scene ending in a really cool stunt, then it finally switches to a regular shot (or he could just look in a mirror or something) to reveal the guy who's eyes we've been watching through: the new James Bond.
OO7 in freefall looks through his own hands down to the freefaller with the parachute.
OO7 in the helicopter piloted by Corinne views the Drax facility.
https://screenmusings.org/movie/dvd/Moonraker/pages/Moonraker-067.htm
OO7 views the documents through his OO7 camera.
https://screenmusings.org/movie/dvd/Moonraker/pages/Moonraker-145.htm
OO7 in Rio looks through the telescope and sights Goodhead.
https://screenmusings.org/movie/dvd/Moonraker/pages/Moonraker-415.htm
All the other instances are great. You also made some good points about Ted Moore's work which is something that gets overlooked. As the viewer, we take a lot in without thinking about the effort and thought process going into each and every shot and how it makes it more immersive and adds to the style, as you put it.
I guess I'll edit these into my original post so we have them all in one place.
These too, thanks.
Furthermore, in films like OP Bond checks his watch maybe 20 times (first because of the egg tracker and then to know how long he has until the bomb goes off). Not only is it exhausting finding them all, but it's also not particularly interesting to look at these screencaps. Sounds like a cop out I know, but I think my first argument kind of seals the deal anyway.
If someone vehemently disagrees with that then you can go search for those. :D
LTK- When he's waterskiing.
A Go-pro shot during both the big stunts in the GE PTS would have been awesome.
I wouldn't bother listing all the instances he looks at his watch in the one film. Just show one good example then move on.
Something interesting that I've come across after rewatching CR is that there are many POV shots from Bond during the Madagascar chase in particular. It explains why it makes for such a good action scene. Basically we're put right in the center of the chase as Bond and thereby making it even more thrilling to experience.
Sure, why not? I'd be willing to help you with that if you want.
The only one I can think of is Q looking at that display watch in OP as Bond zooms on that birds tits.
Okay.
https://fastly.4sqi.net/img/general/558x200/56761927__oVHdib42ZWVf2qoHGaOF4ASiryMQT9AgVPYhc-EN40.jpg
I'll add it to the list, thanks.
I actually forgot about this particular thread. Mainly because the observation never sparked much discourse/interest. But now that you've reminded me of its existence, and I've finished that longest single take page (fascinating stuff imho), I'll recommence my efforts shortly.
Sounds interesting. Where can I find the page, or have you yet to post it?
Finished it last November. Voila: https://www.mi6community.com/discussion/15814/bond-film-statistics-09-forklift-ground-conveyor-appearances/p11
1. Traction table scene in Thunderball.
2. When Bond wakes up post plane crash with Natalya and sees Xenia hovering in the helicopter (GoldenEye).