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Comments
Eewww!
Good one!! I'll have to look for it the next time I watch TB.
There are just some men out there, no matter how assured you are in your heterosexuality, that you must admit are the male equivalent of a drop-dead knockout. For me that's only ever been and only ever will be Sean Connery, specifically in 1964. From the 60s onwards Sean has made it harder for everyone sharing his gender to be men, but what an example to live up to. The bastard.
Sean Connery nostril flare compilation from me?
Poor old Lazenby being neglected here. At least he has the dubious honour of being the only overdubbed Bond.
I assume you don't want me telling you where it is, so I'll keep quiet. :)
Only in GF does he do it? Could you make a list? I'm not totally certain I know what you mean.
When the three blind mice murder Strangways outside the Queens club they're wearing their everyday suits. Yet in the very next scene when they arrive at Strangways house and shoot his secretary, they're all wearing black jackets.
Never registered for some reason.
That's the joy of the films. You still pick up little bits like that.
I also like the scene after Bond has arrived at government house. All the evidence, such as cigarette and gun are in evidence envelopes that Bond passes to the commissioner.
It's these little touches that make DN the stand out film for me. Bond offering M his lighter when M realises he's got no matches to light his pipe is one of my favourites.
OHMSS?
Great question...
...unless I’m forgetting, the only ones that come to mind are GF and OHMSS. In some capacity, even if very briefly, it happens in all the others.
Wasn't Connery dubbed in DAF to show the voice recogniser machine working?
I find it interesting that the two films partially feature Bond reacting to the events in the narratives with a form of repression, with mental repression manifesting itself in QoS and a more physical repression being present in SF (though there's a bit of mental drama here too). In QoS Bond is actively trying to hide/repress his feelings for Vesper from his MI6 masters to avoid coming off as compromised or vulnerable, and in SF we find Bond again attempting to repress his pain from his superiors at the agency, except this time around his pain is physical as he faces strain in trying to pass his examination.
I like how the scenes in QoS and SF are played when Bond is actively repressing his feelings, as they are played in a way that really gives them a form of continuity when it comes to how Bond acts; he feels like the same man in SF as he was in QoS, just a few years on at that point. The scene where Bond sneaks the picture of Vesper in front of M just after vehemently arguing to his boss how little the woman meant to him is a quiet scene that wonderfully compliments a similar moment in SF where, after extensive physical training, Bond collapses and reveals his physical weakness in private as soon as Tanner and the other MI6 reps leave the room. Moments like these build up Craig's Bond as a very distinct take on the character, always attempting to hide his vulnerabilities and keeping his guard up when around those who could judge or harm him with it down.
Details like this go a long way towards how I like to argue that films in a series can have a sense of continuity that goes beyond the narrative, where a sequel or series of sequels can carry continuity without each film progressing the same overreaching arc or story line. The continuity in the Craig era is definitely strong in the narrative form, especially in CR and QoS and then later in SP as things tie together, but even from QoS to SF where the narrative continuity isn't as stressed as the others we can see how the continuity of these characters and how they've developed can still play a part in connecting the films on some perceptible level. Bond still represses himself as he always has when facing challenges in SF, just as his relationship with M goes full circle after being built up across the past films. We can additionally see how Bond's interactions with Severine are driven in the background by thoughts of Vesper, as he spots the same fear as he didn't spot soon enough of his old love. And in another similar connection between QoS and SF, we go from a movie that teaches us about the negative side of revenge and the hollowness of the action (QoS) to a film that presents M being the target of such a revenge scheme by a man who ultimately represents that same hollowness of existence through his mission, having nothing to live for but causing harm to an old woman when all was said and done. The lessons and experiences of Bond in QoS definitely experience some carryover in SF, and I think in unexpected but fascinating ways.
I assumed he grabbed the picture as a means to identifying Yusef, rather than for sentimental reasons.
That's how I see it.
He is saving it for later,when he will get revenge on Yusef,after his mission is completed.
Which is what he did.