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Comments
+1!
Agreed. Does the villain make the movie, or does the movie make the villain? Interesting question IMO.
1. Tracy
2. Vesper
3. Tania
4. Domino
5. Honey
6. Natalya
7. Solitaire
8. Pam
9. Melina
10. Octopussy
11. Pussy
12. Camille
13. Kara
14. Anya
15. Wai Lin
16. Kissy
17. Madeleine
18. Sévérine
19. Holly
20. Stacey
21. Christmas
22. Tiffany
23. Domino '83
24. Mary
25. Jinx
26. Vesper '67
Right, so here we go with the medal table. In total 19 heroines collected at least one medal. In case of a draw, I considered how many more top 5's were received. If that didn't separate them, I went with top 10's.
I showed these results to my “coffee guy” before work on Friday, and he couldn’t believe that Halle Berry finished so low. I think he mumbled something about us being “idiots” or some such term. It took a while to calm him down!!!! =))
Question: By my count there were 26 participants in this game, yet the “silver metal” total only adds up to 25. Did I miss something?
To give everyone time enough to consider their preferences, let's say Sunday 20/6 at Midnight will be the deadline.
Cheers
GG
I found CR's approach a bit too stripped down personally. There are lovely themes, for sure, like "I'm the Money," "Dinner Jackets," "Vesper," "City of Lovers," and "Death of Vesper" and rousing ones like "Blunt Instrument" and "The Name's Bond...James Bond," but the rest of the action and suspense cues, which make up the greater portion of the score, are Arnold's least involving work for Bond in my opinion. He really took his sound for the Craig era up a significant notch with QoS.
So as a whole, I actually find more to enjoy in DAD's score than CR's. A couple of tracks get a bit too experimental with the techno at times, but there are wonderfully lush cues ("Jinx Jordan," "Going Down Together"), bombastic fanfares ("On the Beach," "Welcome to Cuba," "Bond to Iceland"), cool beats ("Kiss of Life," "Wheelchair Access"), engaging suspense cues ("Some Kind of Hero," "Ice Spy," "It Belongs to His Boss/Double Agent"), riveting action tracks ("Jinx, James, and Genes," "Whiteout"), and marvelous themes woven throughout.
I surprised myself when I discovered that CR was my least favorite of Arnold's Bond scores given how terrific a select few of the tracks are, but there it is. I think this ranking will be particularly interesting because fans hold such diverse opinions of the series' scores.
It would also make more sense. Some films have quite the disparity in quality between title song and score. Not all, but some. I wouldn't even know where to begin with ranking the films in some cases if song and score were combined.
Spot on, that's a great reason to keep them separate (plus, even more games for us to enjoy in the future if we do).
I agree - that being said, the integration of the title song is an important aspect of each score for me so that will likely factor in, still.
With certain films, the theme heard in the title song is also used throughout the score (Goldfinger's popping up in "Alpine Drive," A View to a Kill's in "Bond Meets Stacey," Skyfall's in "Komodo Dragon"), but then you're rating how the theme is used in the score orchestrally as opposed to its use in the title song.
Yes, that's correct.