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Comments
That is controversial. I think he lessened YOLT. It could have made a much bigger impact if it was more true to the novel, and followed OHMSS of course.
That's where he got messed up. He got a second part of a story without the first. It's not all his fault: he had written a screenplay before (officially).
TB took everything in a "bigger and better" direction, so you can see how Dahl was faced with a challenge in adapting a dark, introspective novel for Connery's basically flippant Bond. The Garden of Death became the piranha pool. The Question Room became a "bigger and better" volcano.
Of course Eon never should have reversed OHMSS and YOLT, so they gave Dahl a near- impossible task. And a lead actor who was sleep-walking through the role at that point.
In retrospect, it's amazing that YOLT isn't a bigger mess.
Yes. That's why he deserved a second chance for one or the other.
I prefer Wood s TSWLM novelization to Fleming s TSWLM.
As for the TSWLM Fleming novel this little noir like novel us certainly different but a very easy read if you enjoy it taking place in a different genre and a very small scale adventure, which is something I truly enjoyed.
It doesn't beat Fleming but imo it beats the movie.
I have been thinking the same thing actually. The challenge would be to make sure it doesn't take too much time - without feeling superficial. But it could be some very exiting scenes and a good start off point to a bigger story.
I'd agree with that.
Fleming’s Bond encountering computers and social media would be a novel in itself.
+1
For the next James Bond novel, whether Anthony Horowitz writes it or not, needs to stop doing drugs or a doomsday machine as the villain’(s) scheme. Ever since Devil May Care, the villain’(s) plots have alternated between the two. DMC-Drugs. CB-Doomsday Machine. Solo-Drugs. TM-Doomsday Machine. FAAD-Drugs. It’s getting as old as Bond quitting or resigning from the average Purvis and Wade script.
Also: IFP and Dynamite Comics (or who published the comic book) needs to rerelease Permission To Die. I’ve heard great things. It explores a time of mystery: Bond’s life after Tracy’s murder (EON continuity wise, anyway). Also the full Goldeneye comic. It’s about time!
John Gardener should have been told to quit after Nobody Lives Forever. He would have a better legacy in the fans. Have another author bridge the gap between him and Raymond Benson.
Everything or Nothing, Bloodstone and Skyfall deserved novelizations. They could have been written by Bruce Feirstein.
IFP should start a modern day villain spinoff series, starting with Blofeld. I could see only Blofeld getting more than one book, with Irma Bunt. The only period piece would be Hugo Drax. The only film villain character that could work is Alec Trevelyan. Not every villain needs a story though.
IFP needs to move away from Fleming's timeline. The more books they connect to it, the more desperate they seem to reconnect to it.
Devil May Care should have taken place after Colonel Sun. Continuity would have made more sense if Faulks had done it this way.
It wouldn't be a bad start for a new Bond actor. It's kind of like how the Dirty Harry films often started with Callahan unexpectedly dealing with some bad guys unrelated to the rest of the plot of the film. Or like in many of the older Bond film PTS sequences for that matter.
It would've been a great introduction for a new Bond actor:
Imagine that motel scene where it's rainy (as described in the book), then Vivienne was almost going to be killed by the mobsters, when someone knocked the door, then Vivienne opened it, and there's this man in a raincoat whose face was hidden, only a shadow of the hood was seen, and it's covering his face, then when he put down the hood, that's when we're going to see the face of the new Bond actor.
Introducing himself: Miss, do you have an extra room in there, by the way, my name's Bond, James Bond.
Then Bond heard a voice from someone (another man), and Bond asked who's that, but Vivienne couldn't answer and Bond saw the fear in her face, Bond insisted on asking on who was it.
Then Vivienne still couldn't answer and she shed a tear, then Bond forced to go inside, only to see those mobsters pointing a gun at him.
Then that's where the action starts.
I much prefer the artworks for the PAN paperbacks, which are some of my favourites.
I don't think even 50s-60s 007 properly served in the Royal Navy. He tells the US commander in Thunderball that he wasn't a proper naval officer and we're told Bond joined the Secret Service from 17. His work during the war was probably limited to sabotage jobs and maybe some reconn and the light espionage that Naval Intelligence did, and that does not fit in proper service in the Royal Navy or SBS. Bond's Navy background would also make it hard to see him jumping from embassy to embassy in his prewar days which Fleming mentions (Kingston, Paris, New York and Moscow are all Bond's embassy jobs I believe).
In modern day terms, the equivalent to the Naval Intelligence sort of jobs would be Defence Intelligence in an active warzone involving Britain (not the case right now, but could include Middle East/Yugoslavia) or probably straight back at MI6, just doing some more subversive work. John Pearson's biography tries to fit in all of this but just makes an awkward cutout where "people were angry" so Bond had to go to the RN and then Fleming comes back and picks him up for Naval Intelligence again.
Same for me, it's not a style I'm particularly fond on but I recently went to Goldsboro Books where they have a few on display and seeing them in person I could finally appreciate the detail of the paintings and the composition of them, they are striking.
Great Pan
Pan still life
Penguin centenary