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to hide and she can now get on with her life and becomes a doctor again for a few months things
were good for them but bond started getting restless and they relized they wanted different things
in life. And bond was not fully ready give mi6 up. And have in next bond film she has left him he
is enjoying himself gambling and drinking at a gambling house when he gets caught up in something sinister which leads him bring brought out of retirement.
That's an argument from ignorance. And we already know that we can use the character in different and original ways: MS can leave Bond because of irreconcilable differences, for instance.
part of the attraction of the Bond myth is that fans see him do all of the things that we want to do (drive great cars, gamble, drink booze, bonk wonderful women etc) and IF bad stuff happens , his role is still dramatic and heroic. "irreconcilable differences" is too close to the everyday business of splitting up/divorce ...too "kitchen sink", I cant think of a precedent with Bond "it's just not working, it's not you, it's me, we need some space etc etc" what next, a visit to Relate?
We see Bond at the end of some of the classic movies embraced with a fabulous Bond girl and we have never had to consider how they split up. We just start afresh in the next movie.
They understood that, and agonized over it when filming CR, and I think they got it just right there (including casting the right actor to play the part, after attempting similar soul searching & peeling back layers, and failing previously).
Getting into this personal junk is very difficult given viewer's collective expectations of Bond over the years. If they're going to do it then it must be executed to perfection, or it can come across weak or can damage the legend in some viewer's mind.
I agree. There are aspects of Fleming's novels that are not 'Hollywood'. CR - The main female character betrays our hero and kills herself; Moonraker - our hero learning that the main female character is in fact engaged. Would like to see that latter ending with Craig though, think it would really work.
This can't be said enough. They're different creatures entirely. That's why "it was in Fleming!" is such a weak argument. Most people haven't read Fleming and thus don't give a damn. These films not only have to appeal to us but to a huge world-wide market.
And it's that spirit that offers an anchor to stop the series from drifting over the horizon. One they've used on several occasions to decent and at times brilliant effect.
@Sark people may not have read Fleming, but that's besides the point. The tone and feel of a Fleming novel is something which, when distilled effectively, provides the essence of Bond. Whether a viewer knows that is moot, it's subconscious. It's also true of specific story moments - I'd hazard a guess a large portion of the audience viewing CR weren't consciously aware that Bond getting his balls whipped was direct literary source.
Respect Sir - One of the most astute posts I've ever read on here that wasn't written by my good self.
This needs to be printed on a banner and nailed up over Babs and MGW's desks at EON HQ.
As an example, that CR ball whacker scene is consistent with Craig's portrayal of the character up to that moment. It's the culmination on film of his tendency up to that point of not being able to see the big picture... of not being dispassionate. Of not thinking it through properly. Of not seeing the forest from the trees. He learns that while getting whacked and it's a memorable scene because of it. Craig also acts his pants off in that scene (Oscar worthy as said elsewhere) as does Maddelsen.
As a counter example, some have talked positively about the torture scene in SP, since it references Colonel Sun. I personally found that scene less successful despite this, because tonally I found it rather violent in relation to the film we were witnessing up to that point, and the Bond characterization we got in SP from Craig.
So to summarize, my point is, the Fleming insertion must stand on its own two feet on film independent of the book and be internally consistent with the tone of the film and actor's portrayal.
Another reason I much prefer the poker scene in the December script - it keeps Bond's portrayal eeve established over the past 90 minutes and it gives the big Blofeld reveal weight that pays off all the faux secrecy during production and marketing. But it does create a plot hole...and some have mentioned that they didn't like Bond being the one to reveal the name Blofeld.
Back on topic of Madeleine. I mentioned this a few pages ago - the YOLT amnesia ending but with Madeleine instead of Kissy would be an interesting thing to play with given it'd be a pyhrric victory of sorts - yes Bond kills Blofeld once and for all (for the Craig era anyway) but Blofeld accomplished what he wanted to in SP's torture scene.
Precisely.
Of course. Bond would never betray his country. Queen & country always come first. He knows that. We know that, but Blofeld would merely think he had Bond on a leash, when in fact Bond would use the opportunity to infiltrate and destroy Spectre for good. But it would be a good "What If?" To see what Bond would do for someone he truly loved.
@ dalton
I love those ideas! I'd love to see them use some of the unused material from the YOLT novel--always loved the idea of the villain's lair being in a castle. And it would also give the writers some good dialogue for the Bond and Blofeld scenes. @ IGUNANA, whether he kidnaps her or not, I'd love to see Hinx return (preferably not as a comedic character).
This is James Bond not Jack Bauer!
Next step. She dies.
die
I just can't see it happening. The idea has been butchered to death.