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
Is FYEO the only Bond film where both the PTS and the ending are tonally off from the rest of the movie. I love the PTS and find it a fun way to start the movie, but the light tone is a bit off from what we will see shortly on screen.
The ending, after some cringeworthy endings in Spy and MR we get the most OTT ending of any film. Thatcher and her Hubby and a parrot? Wow it doesn't really belong with the rest of the movie.
I have gone from my memories and I can't recall another Bond film where the PTS and the ending don't really fit with the rest of the movie? Am I wrong?
FYEO is really inconsistent in tone, mainly because it's trying to remind the people that it's still a Moore Bond film.
For all the groundedness in the film, there's the hockey players trying to kill Bond, there's that ski chase in Cortina that felt it belonged to a far more fantastical Bond film, Bibi Dahl scenes, that big underwater mascot, and even the score (this was more obvious in the car chase scene at the beginning of the film, the score didn't fit the tense of the car chase, the score was just cool and relaxed, yet the car chase was action packed, just didn't fit).
Die Another Day also comes to mind, but only the PTS, it felt different from the rest of the film, it starts off brutal and violent but the rest of the film felt like watching almost an entirely different Bond film.
Same for the ending of FRWL, with that waving hand tape in the end, felt very comedic, although the rest of the film was a bit gritty.
I love the film but do wonder if it's just a meh Bond film.
And the technical aspects of it doesn't helped either, like the cinematography, the whole filmmaking and etc.
It very felt much like a TV movie (a film that's made for a TV or an episode of a TV series), this film felt very much like that.
This film even made LTK more big scale in terms of its technical aspects, and narrative.
Yeah I think I know what you mean; there is something flat about it. It's the only Bond film to have that Euston Films feel.
It does have two of the very best action sequences in the Bond films though.
Most people remember this film for Bibi Dahl (the girl who hooked up with Bond), the notorious Pre Title Sequence about Blofeld and his delicatessen line, the ending with Thatcher, and the talking parrot, it's those things that stands out more in the film, and those things aren't that necessary in the narrative or in the main plot, so the film had memorable moments, but for these things.
Exactly, but that's also might be my another problem with the film, with a plot that's almost blink and you'll miss kind of thing, its plot wasn't even that uncertain, because there's the ATAC plot, but there's the killing of Melina's parents, then there's this double cross plot about Columbo and Kristatos, not still mentioning their supposed pasts and rivalry that also hinging on the film, making it convoluted, so it doesn't comes off as memorable in that way.
It's trying to be the best of both worlds: Be grounded but at the same time, making the film silly too.
I love the film and am glad to get a grounded Bond. But like someone already offered up, maybe it's too grounded and low key for it's own good.
Yes that poster, although, I think it's also memorable for its PTS (that helicopter scene with Blofeld).
Because everytime that FYEO was being brought up in some discussion (either in Reddit, in the comment section of YouTube or in some other sites), most people have the PTS as the first thing that's coming to their mind, that Blofeld being thrown in a smokestack, with that line, "delicatessen in stainless steel".
I think the PTS is where FYEO was a lot more remembered.
It's quite funny that the ATAC plot is basically the FRWL macguffin but reversed.
That Bond/Columbo meeting is one of my favorites in the entire series. I love how they each are quick to individually prove their own motivations while forming a close alliance. He's probably Top 3 Bond allies for me.
I saw a 1983 interview with John Landis, John Carpenter, and David Cronenberg yesterday. They were talking about how blood and violence could get you an 'R', but the least hint at sex, nudity, or even slightly 'revealing' images could get you an 'X', with huge economical consequences. I hope I'm nog the only one who is disturbed by this extremely unbalanced attitude towards sex on the one hand and violence on the other.
Actually, Cronenberg said that the situation was okay in the US but [then] very bad in Canada.
The atmosphere is tense when Bond's way back on a ski jump is blocked, so that he has no choice but to make the jump and risk being taken down in full sight by the sniper. By some fortune, another assassin on skis decides to tackle Bond halfway down the ski-jump and as both men are in the air, the sniper hesitates, only to get knocked over by Bond's skis. Men on motorcycles then follow in pursuit, trying to shoot him with machine-guns hidden in the turn indicators. The pursuit continues down a busy ski slope, crossing the crowded patio of a ski hut and finally entering a bobsled run. This is where the action hits its peak. The stunt was for real and cost one of the stuntmen in the sled his life. It speaks for the quality of the entire scene that it is not marred a bit by the accompaniment of an uninspired disco-tune.
23 years later, Wes Anderson took inspiration from this scene and re-imagined its best parts for a fantastic ski and sled pursuit in his film The Grand Budapest Hotel.
Well, we can safely say that some of the modern directors this time are at some point influenced by the directions in the Bond films.
It's just a testimony as to how Bond became one of the Hollywood symbols when there are the likes of Christopher Nolan, Steven Soderbergh, Wes Anderson, and even Denis Villeneuve whose directions have a blend of being inspired by the Bond films.