It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
I agree, it's not easy leading those sorts of light entertainment Bond adventures, neither is it for an actor to adapt their style to slightly different kinds of Bond films, as Moore was able to do throughout his tenure. It especially wasn't easy taking over from Connery when he did!
For me I think TSWLM just has his best acting. Not only does he perfect Bond's confidence and humour, but we also see him looking genuinely tense (especially during that climax). We also get some of the most genuine moments of humanity from his Bond - him reacting to the mention of Tracy, deciding to tell Anya about the killing etc. None of it's over or underplayed. Again, just very effortless. But honestly, he put in some pretty solid performances overall.
I think you're absolutely spot on about LALD. I really can't see Lazenby having that level of confidence, irony, or indeed charisma. In fact there's many things that Moore did that I can't see any other Bond doing as convincingly (a major example being dressing up as a clown and yet still selling it as a serious scene. Not sure I can imagine Connery or Dalton doing that!)
Had they kept Lazenby in the role, I think it would've gone a different direction, maybe more darker.
The change in tone was the Producers' way of separating the next Bond from Lazenby (whom they see as failure at the time, because again, he'd left).
To each their own, but Moonraker for me, and this is coming from a non-Moore fan like me, but I think he delivered most of the complexities in a more obvious way, like the vulnerability in the Rio Alleyway night after Bond saved Manuela from Jaws, or when he met Holly Goodhead again in the climax when they're both locked by Drax or the centrifuge scene.
Serious and tense situations like the Centrifuge scene (again), the fight with Chang in the Museum, Bond investigating in the laboratory, or Bond targeting the bombs entering the Earth's atmosphere.
And an amazing move from Bond when he tricked everyone in the shuttle that he's going to collapse only to press the button that deactivated the gravity when they're held at the gun point, I really liked that move from him, it's a rare thing for Bond to pull a trick like that.
I think he's great in MR too! I don't disagree with the examples. I just prefer TSWLM.
I'm definitely having a good time 😊
Agreed! I can't understand for the life of me some people here who say they haven't genuinely enjoyed a Bond movie since x time period or x actor's tenure. Or that x is the ultimate Bond and no one else compares to them or their films. There are so many Bond films and each one is bound to be at least one person's favourite. And there's always stuff to enjoy (and discuss) within them even if they aren't your cup of tea.
My guess would be either You Only Live Twice, Octopussy, or Quantum of Solace.
17 MR
18 NTTD
19 TND
20 SP
21 TMWTGG
22 AVTAK
23 DAF
24 TWINE
25 DAD
I mean, I would certainly put QOS next as it's already too high for my liking :D Maybe Thunderball?
I get what you mean, especially with TND, but usually it is just a similar premise or MacGuffin, none of these feel as much like a remake as Moonraker does. There are entire scenes that just feel like variations on scenes from TSWLM. Lotus arising from the ocean scene vs. Gondola drives out of water scene. Stromberg and Drax want basicly the same thing. And of course: Jaws.
And yet, I find them different enough, like having three pizza's but one is loaded with meat, the other is pure cheese, and the last one has sea food on it. :-)
Not eyeball pizza again!!!
(Sorry, @DarthDimi ... I had to..., 😂!! It was there for the taking, and we all know I'm a sucker for low hanging fruit).
I corrected my typo, @peter. Thanks. 😄
It's still a good film, and you can't complain it's not entertaining. Sir Rog is as usual on fine form, the villains are some of the best in the series, and the John Barry score must surely rank as one of the best.
But, as with other over the top Bond films, this one just goes that little bit too far. The pts is outstanding. Then Jaws joins in and starts flapping his arms like a bird when his parachute fails.
A gondola ride through Venice, becomes a speedboat and then a hovercraft.
Bond and Jaws are about to face off in an alleyway of Rio, but Jaws is stopped by a group of partygoers.
The cable car scene begins with real tension and thrills, but then Bond and Holly escape using a chain to slide down the cable, dropping safely to the ground.
And finally, Bond goes into space, to fight on a space station that Earth knows nothing about and all aboard are using laser weapons. I know MR came to be on the back of Star Wars, but this is not Bond to me. This is still fun and enjoyable don't get me wrong, but it's not what I like in a James Bond film.
As with all Bond films, even the ones we don't always enjoy so much there is still some great scenes.
The pts is for the most part amazing, the centrifuge is one of the stand outs of the series, Corrine being chased through the woods by Drax killer dogs and the scenes of the Moonraker shuttles being launched into orbit are stunning visually.
The excess of the film is what bring it down. It just goes too far, and there is very little tension. Bond has a seemingly endless list of gadgets to get him out of any situation.
As I've said, this is still a good film, but as a Bond film it ranks at the lower end of the pecking order for me.
I think he looks confident here. 😉
I think that smile has an air of anxiousness in it, seconds after that, his face returned back to seriousness, he's just forced a smile.
It's not like he's having some cool and easy going demeanor in that scene like he did in the van in Egypt in TSWLM.
YOU ONLY LIVE TWICE (1967)
Directed by Lewis Gilbert
"You can all watch it on tv."
007's Japanese adventure ended up 5th twice, while it also obtained an 8th, a 9th and a 10th spot once.
Another six members rated it between 11th and 15th, most of those were also top half finishes.
Less fortunate are the two bottom 5's it received, with 23rd being its lowest finish, occurring just once.
YOLT edges out Gilbert's other entry MR by just one point, with a total of 112.
It’s a beautifully made film incidentally. The score, cinematography, and set design are all great. We get some wonderfully iconic and memorable elements - Blofeld’s piranha pool, the volcano lair. There are some great action sequences such as the Little Nelly shootout, and the finale in the volcano (even Bond simply beating up goons on the roof is shot in a unique way with the ariel view. It’s really cool).
The elephants in the room are that Connery’s performance feels a little bit phoned in/a touch wooden at times. It’s understandable given the circumstances, and it’s not a bad performance, just a lacklustre one. Bond going undercover as a Japanese fisherman is another odd moment, but at least we don’t get a Micky Rooney in Breakfast at Tiffany’s situation (the extent to Bond’s transformation is thankfully a chest/arm wax and a haircut… not quite sure why they even bothered with the disguise concept at that point but oh well). Pleasance’s Blofeld is another performance that feels phoned in, but I think it works. He plays Blofeld with just a hint of madness which I like.
The reason this film isn’t rated much higher for me is because I don’t find it the most exciting Bond film, especially by the time we get to the fake marriage with Kissy. I think by design it’s meant to have this slower pace at that point to take everything in, but I don’t think it works considering the sense of urgency within the story. This is also one of those Bond films where the plot doesn’t make sense, but unlike MR it’s one I tend to notice in the moment. Why does Helga pretend to fall for Bond only to trap him in a plane/crash it? No idea. How exactly does Bond fake his own death? It feels like we should have gotten at least an attempt at an explanation considering the film lingers on the blood etc.
I do admire this film, and rate it higher than TB. It might just be personal preference. I simply don’t find it anywhere near as fun as MR, or as captivating as TSWLM. Still though, it’s an important Bond film in the sense it’s the first time the series fully departed from the source material.
It's funny, thinking about this one right after MR, and them being fairly similar films, I kind of think Roger was better in MR than Sean is in this. He was famously on a low gas mark for this one and isn't terribly enthusiastic (although a Connery who hasn't fully turned up is still better than most movie actors around) and I'm just left with a feeling of slightly more presence from the lead in MR than YOLT. He's still great value though.
I like YOLT much more than I should when dissecating every aspect of it. It’s Connerys weakest performance, he looks uninspired and tired. Tokyo is not pictured in an exciting way, it’s gray and a lot of concrete. Pleasense as Blofeld, the volcano and space things, ninja raid and so on is comical. It’s impossible to not think about Austin Powers.
But there’s something about YOLT that still makes me love this movie. It’s a movie I can watch over and over again. And the soundtrack and theme song is the best in the whole series.
E.g. Bond and Aki had known each other a few hours at most, spending only a handful of minutes together in total, mostly in her car. Yet during the massage, they end up glued to each other like steamy lovers who had been separated far too long after a romance that had lasted months if not years.
And I couldn't agree more with @mtm;
Sean's occasional disinterest ("Don't worry, I get it."; "Ma'am.") is reflected in Bond's attitude towards Aki's death. His big love (see above) is dead, but hey, the show must go on. Five minutes later, it's Aki-who?
Lastly, I love Donald, especially as Sam Loomis, but after Eric Pohlmann's deep and somewhat nasal voice in FRWL and TB, it's a little difficult for me to accept the shrill "KILL BOND NOW!" or "GOOD-BYE, MIIIISTER BOND!".
And who put the camera in space, again?
I jest, I jest. ;-) Of course, this is a Gilbert Bond film and we know what that means. It means the money is on the screen. It means the film makes less sense than a Q-Anon convention, but it all looks, feels and sounds great. That's why I keep this film in the middle. It's a different kind of "great", but it's great nevertheless.
However, as it stands I can only echo the enthusiasm for the way it looks and sounds, but as a story it's a ludicrous one.
The same silliness can be found in something like MR of course, but Rog is in on the joke and everyone has a great time with it, while here Sean gives probably the least enthusiastic Bond performance of them all (incl. NSNA) and therefore I find it difficult to get on board with it.
Afraid I ranked it #23. Don't feel like rewatching this one all too often... even though I probably should give it another go soon.
The first half is good, but once Kissy Suzuki was introduced, the film grinds to a halt, it became sloppy and duff all of a sudden, there's a discrepancy in quality, the film obviously lost its momentum in the second half, this film actually suffers from pacing inconsistencies.
Connery was obviously bored and almost getting out of shape too (before it became too much in Diamonds Are Forever), he's sleepwalking through the role and delivering lines in the most dull way possible, showcasing his lifeless performance.
Donald Pleasance was okay as Blofeld, but he's not threatening and menacing, he's more cartoonish, especially compared to the faceless Blofeld of the previous Bond films, no doubt this Blofeld is the most parodied of all the versions of Blofeld (the best examples are Dr. Claw in Inspector Gadget, and Dr. Evil in Austin Powers), I can't help but wish how Jan Werich could've done the role, I could see him being a bit more closer to the faceless Blofelds of the earlier Bond films.
Bond in Japanese disguise is also the biggest elephant in the room, I know it's in the book, but again, considering that they've changed so much from the books, and given that this film had strayed far too much from the book, they could've left that aspect out, but instead, what the filmmakers had done was abandoned the whole story from the book, and in all of what they could've left, still retained the silliest aspect.
Kissy Suzuki perhaps is a fine character, she did helped Bond in the climax and proved to be a bit capable and an asset compared to the likes of Tiffany Case, Mary Goodnight, Stacey Sutton, Kara Milovy, Solitaire, and heck, even Anya Amasova, but still, in terms of character, she's a bit bland, she's a bit undercooked as a character and was not even named until the end credits, it's a shame because I think she could've been a bit better, given how she's characterized in the book, but all of what makes the literary Kissy Suzuki went to Aki (who's a much better character, played by a better actress).
The title track by Nancy Sinatra is fine but mostly dreary and something I don't listen to very much often, cinematography is decent (what could I expect from 60s? It's not until OHMSS where they've upped the technical and filmmaking game), and the score is good (a step up from the previous Bond films).
It's mostly a middle of the road Bond film, it's not the worst, but definitely not the best, it's a weak Bond film, it's not enjoyable or fun either to watch and mostly, to be honest, a snoozefest to watch, but it's not a bad one, but it's lacking.
The two Bond girls are underdeveloped, I guess Aki is alright, but the unnamed one is completely uninteresting.
The film is also really silly with the Little Nelly and a vulcano lair with a self-destruct button. Which could have been fun, if it seemed like the actors were actually enjoying themselves.
I do give the film some points for production value, a decent amount of stellar shots, set design, soundtrack, title sequence + title song. It is definitely also an iconic Bond film for better or worse.
When ranking these films, I not only look at how much I enjoy them, but also why they came to be the way they are. Why the film makers may have made some of the decisions they made. For example, sending Bond into space with a laser gun in MR on the tails of Star Wars.
With YOLT it was the height of the 60's spy craze, spawned from the introduction of James Bond in DN in 1962. By the time of YOLT in 1967, Bond had many imitators including, Matt Helm, Derek Flint and Harry Palmer to name a few. Each Bond film before this one was bigger than the last, so it stands to reason that YOLT would be a massive production. It would need to be if only to keep one step ahead of the competition.
Where some see Connery as being bored, I still see an actor doing his job. Maybe he's not at his peak, but it's well documented the hard time Connery had in Japan whilst filming, so you can hardly blame him for not bringing his A game. Add to that the film's producers were making many millions from the success of the Bond films, but Connery felt he wasn't being paid fairly for his part in the proceedings, another stumbling block in the overall feel Connery had for the film and the series as a whole.
All that being said, he's still plays a very good James Bond. It's not an embarrassing performance.
Visually the film is a delight, taking us for the first time to the far east, and till now our only Bond film set in Japan. It's beautifully shot and showcases many of the countries lavish and stunning locations. From the streets and city of Tokyo to the docks at Kobe and the wonderful Ninja training school.
The cast is also something I enjoy. Tanka is one of the best and most believable allies that Bond has had. At least in his ability to help Bond in the field. They also form a solid relationship. Aki is great as the secondary Bond girl but dies far too soon for my liking. She has real chemistry with Connery, and they work well together. Kissy Suzuki is okay, but doesn't quite match Aki, but she is at least capable and competent.
Donald Pleasance plays the first on screen Blofeld, after a faceless villain had appeared in FRWL and TB. He lacks any real danger directly to Bond, but he's evil enough to make him memorable. He's been imitated enough in other films. Namely Dr.Evil in Austin Powers.
Ken Adam knocks it out of the park with his Volcano lair set, which is still impressive to this day. The visual of the Ninjas rappelling down from the roof is stunning to watch.
Also, the wonderful aerial shot at Kobe as Bond tries to evade a hoard of henchmen is another stunning visual and a highlight. Finally, the aerial fight with Little Nellie battling the Spectre helicopters is another set piece delight.
TB was a big Bond film, but YOLT took it to the next level. This was the first Bond film for director Lewis Gilbert, who would return twice more. All his Bond films are over the top and massive in scope and story. It's not my favourite of his trio, but it's gotten a lot more love over the years.
I couldn't write a post on YOLT without mentioning the truly beautiful John Barry score, coupled with the lovely title song from Nancy Sinatra.
I'm sure many Bond fans rank the score for YOLT highly and it's for good reason.
The early Bond films were so lucky to have the behind-the-scenes crew that they put together. Ken Adam and John Barry being high amongst the reasons these films work and have longevity.
YOLT isn't my favourite Bond film, but it's a very good entry in the series and the only one to showcase the delights of Japan.
By the way, @Slazenger7, the guy who put the camera in space was the same one who live-streamed the helicopter dropping the baddies' car into the ocean.