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Comments
Rewatch that scene. It's not my fault if I'm right!
I always took Fiona's ecstatic little mumbles as her simply reacting to Bond kissing her below the neck and down the torso, but you could be right to assume he'd already attempted...ah, infiltration.
I will! TB does rank high in Bond girl castings. Can't be many of the films which equals TB in that department.
Fat chance! @barryt007 can go to the eighties and go for his illegal love, Kara.... ;-)
Urgh..I would rather shag the fat jailor than that bag of bones.
hahahaha it's a deal! :-P
Please don't say that. I could see @barryt007 going to the TLD set and pushing poor Maryam off the big wheel. He is still in denial of his immense love for her, and is so jealous that Timothy got to spend so much time with her in passionate, romantic moments, that he takes all his envy and anger out on her and her character. A shame, really.
Meh......a time machine would be lovely...I could push her off the wheel over and over again !!
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Introduction:
After setting the blueprint for the series in Dr No and From Russia With Love, there was a feeling that Goldfinger represented a commercial turning point for the Bond series. There was the sense that the film was more palatable and neutered for consumption by American audiences. Therefore, it’s encouraging that Thunderball returned to the original format with a film more ambitious than the previous three combined.
I see Thunderball as truly the film where Bond ‘arrived’. The movie expertly marries together Dr No's more brutal nature, with From Russia’s charisma, and Goldfinger's grandiosity. It all comes together capably under the graceful eye of director, Terence Young.
Thunderball - in the most part - is a entertaining film. Terence Young imbues proceedings with a lavish tone and invites the audience into the the jetset lifestyle of his lead characters. Not to be overly austere, Young never forgets to inject the requisite levels of sex and violence. So whilst the film is polished, there is still an evidently scrappy and juvenile quality at play throughout Young’s Thunderball.
Nonetheless, despite its charms, there is a slightly disjointed and convoluted approach to the storytelling. Eventually, over the film’s bloated 130 minutes, it becomes clear that the filmmakers have little interest in following character arcs or answering any of their own narrative conundrums.
The Plot:
This problem presents itself early on. The pre-title sequence is a tad flat as its mainly there to add a little variation and scope to the film’s location quota and eventually work up to the jetpack gag. Beyond the marvel that the jetpack is actually real and works - the sequence itself hasn’t aged well. Clearly the filmmakers thought that the jetpack’s inclusion was an inspired piece of forward-thinking; a product that was on cusp of being in widespread military use. A proposition that clearly never materialised. Though, you shouldn’t undersell it. After all, that stunt was done for real and the pack actually works.
We are then thrown into the first act, which is by far the most problematic of the film. The whole reason why Bond is at Scrublands is baffling and his tiresome hazing with Count Lippe (contender for the most perfunctory character in this series) never feels like anything more than schoolyard taunting. I’m unsure how audiences in the 1960s took these scenes. But today they play a little long and narratively feel wholly redundant.
The whole crux of the first act boils down to Bond finding Francoise Derval’s body and later realising that he could not be the same man who piloted the NATO plane. I feel there must have been a quicker and neater way of reaching this conclusion. I suppose much of your tolerance of this section of the film falls on how much you appreciate Mollie Peters’ brief and gratuitous role.
However, (despite many differing opinions), I will confess to thoroughly enjoying seeing Largo’s flan come to fruition. Effectively, we are witnessing a heist-film trope play in reverse. The film doesn’t explain what is happening and we slowly see Largo’s devious plan take shape. It’s a thoroughly accomplished piece of filmmaking, mainly as the special effects are terrific. If you told me that Largo hijacked a NATO plane and stole the bombs mid-flight before landing the plan underwater in the Bahamas, I wouldn’t have believed you. Well, it seems Thunderball calls your bluff and goes one further by actually showing you the heist. It’s so convincing and conceivably staged that you have no choice but to believe your eyes. It’s at this point the film begins – a mere 45 minutes into the runtime.
The Bahamas:
We are then thrown into the Bahamas, which is as richly glamorous as you’d expect. Young and Ted Moore show the bright opulent beauty of the area, whilst injecting a European sense of elegancy. Nonetheless, he isn’t afraid to celebrate the more salacious aspects of the far-flung locale (which mostly comes in the form of a scantily clad Sean Connery or a woman). The tone and feel of the Bond pictures was really established by filmmakers such as Alfred Hitchock, but Young isn’t afraid to ape that style whilst making it a little more cheeky and kinky.
Nonetheless, the actual story in the Bahamas is haphazard and shakily told. Soon it becomes clear that the film merely wants to string together a series of set-pieces and confrontations with little regard to building them succinctly on top of each other. Instead, scenes play out with little relation to the sequence before it or after it. Subsequently, narrative momentum is tarnished and characters are introduced only to be neglected. Which is a shame, as the film has a very impressive and somewhat busy supporting cast.
I think the stodgy narrative may come courtesy of the fact that the audience are ahead of Bond. We know where the plane is and that Largo has the bombs. So we have to sit and watch Bond play catch-up and flaunt around the Bahamas for 90 minutes before catching up. The move slows down any narrative momentum and rids the picture of some drama.
The most impressive sequences in the Bahamas are the scenes with Bond doing some actual espionage work. I really enjoyed the moments where Bond (decked out in that black polo shirt) is spying on Largo – whether it be casing the Disco Volante at night or stalking Palmyra. It’s great seeing Bond using his trade skills and these sequences are brilliantly tense and thrilling.
One of the film’s greatest assets is the sumptuous underwater photography. It’s undeniably thrilling when you see Bond underwater – shirtless and with a knife strapped to his heel – whilst a shark casually swims past him. It feels like a shot from a comicbook or the cover of an adventure novel come to life. Furthermore, the fight scenes underwater are terrifically staged and hugely ambitious – even if they eventually they become a tad monotonous. Nonetheless, the ambition and execution cannot be understated.
The Cast:
Sean Connery gives his best performance in the series in Thunderball – in fact, his performance makes the more baffling and groanworthy aspects of the film forgivable. He still has that insouciant and charismatic edge mixed with a sense of physical menace. But this time, he also has a much better sense of humour and mischief than he displayed in his previous films. This is the secret ingredient that makes Thunderball really work. Connery is simply having a great time and is making everything feel effortless. In particular, Connery is at his peak of coolness and nonchalance with the girls, who he has terrific chemistry with them.
Not to mention, it’s the film where he looked the best. His suits are immaculate and his sense of style perfect (except the odd garish beach shirt). Not to mention his physical presence and oozing sex appeal. There is a relaxed and cool nature to his performance; a feeling that he isn’t trying to impress and it all just comes to him naturally.
It be wrong to say that there is any leading lady in Thunderball – as the film has a pretty stacked supporting ensemble who all get equal billing time opposite Connery. Most impressive is Luciana Paluzzi, who comes close to stealing the picture. She’s just as mischievous and fun as Bond and it’s always genuinely exciting to see Fiona Volpe in the film. It’s no coincidence that ‘Volpe’ means vixen in Italian- as Fiona is a cunning fox of a character. Someone who happily makes love to a man before ruthlessly orchestrating his death. She might take her orders from SPECTRE, but she callously directs her goons to carry out her bidding. She is someone who takes pleasure in using her sexuality for her own ends. She even lures Bond into bed to taunt him and pass the time (growling and clawing at 007) while waiting for her hired hands to arrive. She later launches a withering verbal attack on 007’s vanity and ego, mocking him with his failure to turn her to the side of right and virtue. It's the film's sharpest dialogue.
Adolofo Celi is perfectly adequate and looks the part of a sleazy, well-fed Sicilian mobster who has a habit for sunbeds. He isn’t quite on the same league as Gert Frobe, but in his defence, Thunderball isn’t overly interested in developing him beyond his piratical tic.
Then you have Claudine Auger – who is one of the most beautiful women in the world. The character of Domino is a little underserved. She appears to have an emotional arc as she’s a captured woman being manipulated by Largo. There is certainly drama to be mined in the concept of a kept-woman in a loveless relationship with an older man in order to live the high life. Additionally, she has a real frisson with Bond. However, it really isn’t developed enough and the character does disappear into the ensemble. It’s a shame as Domino was maybe a scene or two away from being an interesting character. Auger does rise to the occasion when the material gives her a chance. The MI6 team are a little unnecessary and Rik Van Nutter scarcely registers as Felix.
Technical and Conclusion:
In technical notes, the usually faultless John Barry submits a score that is a little spotty and overly bombastic. In the third act, it accentuates the overly repetitive nature of some of the underworld scenes. But the title song by Tom Jones is close to perfection alongside Maurice Binder’s impressive visuals. Ted Moore’s photography is an irresistible lure. Ken Adams, inevitably, does a great job with the production design. Though there is less to marvel at this time out. Peter Hunt’s editing wipes are a little tiresome.
Meanwhile, the script is patchy and raises illogical question. For example: Why can’t SPECTRE remember who Bond is whilst he’s at Schrublands? Why isn’t Largo shocked by Bond’s arrival on the island? Why does Largo even try to kill Bond and raise more attention to his scheme? Why is Domino so happy to see Bond after he bailed on their date at the Junkanoo? I know these are rather nitpicky concerns, but they do mean that beyond the entertaining nature of the film, it doesn’t stand up to scrutiny on repeat viewings.
The film is overall a very entertaining and fun picture – I was hoping on repeat viewing to fall head over heels for it. Though, it’s clear that the movie is a ton of fun that is beautifully filmed. Nonetheless, it’s flawed. The real standout is Sean Connery – who gives a great performance, even when the film threatens to overwhelm him with special effects, explosions and underwater tussles (and did I mention sharks?) – he never falls into the background. Thunderball is an ambitious film, perhaps too ambitious.
I only feel strongly compelled to point out Peter Hunt didn't edit this film. It was Ernest Hosler. And the film is perhaps missing the Hunt touch.
I personally like him slightly better in FRWL, but TB runs it a close second or third for me (with DN fighting for prominence as well).
Here are a few shots I love:
That being said, I didn't watch TB in 2018 – the first year I haven't in 16 years, and I feel bad because of it! Two viewings coming up this year for that reason.
You bring up interesting points – the key ones being Connery's performance (I even find him better here than in FRWL – more "comfortable"), Thunderball as "the film where Bond ‘arrived’", and the supporting ensemble – which only feels equaled in OHMSS, IMO. Where Bond in OHMSS has Diana Rigg's Tracy as the standout Bond girl performance, Luciana Paluzzi equally steals the show in TB as the villainous Fiona Volpe. I'd actually argue that Luciana Paluzzi's performance is the best performance yet in the series by an actress.
The plot certainly has it's obvious shortcomings; some more obvious than others of course. Still, I'd argue that these shortcomings are on the level of the shortcomings in any Bond film – just like @CommanderRoss wrote.
It may be just me, but it feels like TB is a "love it!" or just outside the top ten to mid-table film for many here on the forum. Reading peoples opinions of TB, I guess a lot relies on how they feel about the underwater battle (some feel it's too long) and the fact that this is a film that takes a while to get going. For me, TB is all about how grand and ambitious this film is, how great it looks, that certain feeling of "peak Bond" I get from it – and the scenes where we see Bond do actual espionage work. It's not as present in every Bond film, and it's an element I value a lot. That's why TB is in my top three – and has been for years.
For my money, this is the best performance from Connery as Bond, in fact the best Bond performance full stop. Everything he does has a swagger, his delivery is dryer than a Martini. It may not be his strongest film, but Connery himself hit his peak here. Wonderful stuff.
I also have to take a moment to address the girls! Particularly Fiona and Domino! Good lord, if there was ever a more alluring pair of women in a film, then I would quite happily eat my hat. With relish.
Forgot the "holiday aspect" of TB in my comment, @bondjames! The beautiful scenery certainly makes you feel like you've been on a (very) short holiday to a exotic location. Although many Bond films find him in similarly exotic locations, few of the films equals TB to really make you feel it in the same way – if that makes sense.
TB is really just a great exploration of the escapism of the Bond series.
Definitely! The first scene to come to mind re. casual gear for me, is the scene where Bond kills Vargas with the spear gun, while laying casually on the beach next to Domino. Great scene.
Haha - I don't really have the time to rewatch them that much. I used to try to watch a Bond film a month, but I'll confess the last film I watched was Spectre in October 2016.
I couldn't agree more. If I was to nitpick, I would say that they probably needed just another dramatic scene or two to realy have Connery run the full gambit. Maybe he could of had a moment with Leiter after finding Paula dead. I mean, Bond treats Paula with a lot of contempt. He doesn't even intorduce her to Leitier. Which is kinda rude.
Also, as I've stated above, I really feel we needed more Claudine Auger. She's stunning and quite compelling in her dramatic scenes. I just wanted to believe in her and Bond's dynamic more and there are moments throughout where you feel that relationship coming together. I just wanted more. Instead, she kinda disappears into the ensemble and Fiona Volpe gets the chance to stand out.
I mean, come on...
Also, it struck me as odd the other night when I re-watched the film how cruel Largo is to Vargas. (I also forgot that Vargas wasn't a mute! - imagine my surprise.) I suppose it's Largo's way of asserting control and dominion over his thugs.
Also the guy who plays Vargas is so creepy - great casting.
Know the feeling! OHHMSS was the only Bond film I watched in 2018, for example. I usually try to find time to watch FYEO, TB, FRWL and OHMSS every year. It's become sort of a tradition. Outside these films, I only watch a few now and then.
Yes, Philip Locke was great as Vargas. I've seen him in a couple other villain roles; guess these kind of roles was something that suited him.
I noticed that. Leiter actually asks him "Who's the girl, James?". That sort of thing wouldn't fly today and rightly so. There are other scenes in Bond films (which elude me at the moment) where the villain addresses Bond and somewhat ignores his companion. Sign of the times perhaps.
That's another great example!
I hope to one day visit the Bahamas, and I wonder how much it's changed since TB (a lot one would imagine, given the age of the film). It would be great to seek out some of the filming locations too.
I couldn't agree more.
That was the world of Bond that was created by Terence Young.
There was a casualness to the sense of luxury, opulence, glamour and sex. There was nothing forced or conceited about it. It never felt stagy or hammy. It had a loose organic feel.
It welcomed the audience in - never once letting the audience feel as if they were impostors or unwelcome in the splendour of the world. I feel part of this came from the casting of Connery - had someone like Grant, Niven or Moore played the part in TB - they'd accentuate the otherworldliness of it.
Connery had charm and charisma - but it was marred with a sense of physicality and menace. He was all things to all audience members. Both aspirational and achievable.
Well put. You're probably right about Grant, Moore or Niven vs. Connery. They didn't have the ruggedness he so readily possessed (when combined with his grace, it was unbeatable). Having said that, I'm wondering if you've seen To Catch A Thief? It's one of my favourite films and there is a sequence in that film set in Cannes with Grant, Grace Kelly and Brigitte Auber which very much reminds me of the Domino intro sequence in TB. It has that same flair to it, but is a bit more posh in that 50's way.
New Orleans is on my list as well. It seems like such a vibrant place!
I have indeed seen it. Recently in fact.
Hitchcock's style in To Catch A Thief is very present in TB. That sense sense of European wealth and sophistication - mingled with danger and intrigue.
However, I always feel that Hitchock's style in that film is more elegant and poised. Bond in comparison, is slightly more salacious and scrappy. It's more overtly aware of it's own sexual potency. I don't just mean the women - Sean Connery is equally fetishised throughout the film.