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The thing is, the writers have to find a way to portray Bond as a credible character in his role that highlights the actor's skills. I think Moore is the strongest when he uses his charm and wit to find answers and to get what he wants. He is also perfect when he acts as a rather relaxed and mature Bond and not as an insecure rookie. Retrospectively, his rather violent approach in TMWTGG seems out of place. Especially since Andres is a very sympathetic and weak person who requires some help and is not even any threat to him. There does not seem to be any relavence for Moore to slap her at all.
Another evidence that Moore's outing as Bond in TMWTGG is rather a reference to the Connery era is the fact that he exploits Andres bad situation to have sex with her. This is very unusual for Moore's Bond but not for Connery. Due to his charm, Moore however never needed to force a woman to have sex with him.
The same goes for his dismissiveness of Goodnight's advances - he know's he's got her anytime he wants, so why play along? I especially loved her momentary hard to get act in Thailand, which threw him.
Definitely though, the producers have to play to an actor's strengths. On that I agree and perhaps in the long run, the way Moore's Bond developed was best for him in the role.
Fleming let Bond be slapped.
Le Chiffre sort of did? Twice.
But... 'relic of the cold war,' 'it seems you've become useful again,' 'blunt instrument,' and 'Tennyson'...
Loved her chat with Bond when he was useful again in Die another Day.
I actually i loved all their moments together in that film, especially at the end where right in front of the American guy she supported Bond and quite admited in his face she truted him.
Right in front of Bond she quite admited he is right.
I also liked their talk about Elektra's kidnapping and accepting the mission he asked for.
Actually i prefer more the latter relationship between Bond and M in Die another day and The world is not enough than the one in goldeneye.
Brown has always been a bit overlooked of you ask me.
It's interesting because they have a very similar conversation in skyfall. He even had an evaluation in both movies. She even says "what do you expect a (bloody) apology" in both.
I agree, I also like her more in the Brosnan films, especially Golden Eye. They had great chemistry together. The problem I have with her is that because of her fame she was a bit to much in the focus in her later films. I also did not like all her globetrotting which seems rather stupid for such a prominent person (especially in QoS).
So true. It was very similar and it's funny how she answered both times if they were expecting an apology but I felt Brosnan at the end understood her a little more.
He was a more mature his Bond who knew better her position and I felt he respected her more.
Perhaps...never thought of him that way as he was mostly played for laughs
That's what I find creepy. His sex jokes to Natalya, that moment when she gives herself away not thinking he's a mole... Just creepy.
Neither man cuts a very imposing figure, but the fact that they're quick to vehement anger does add a sense of tension and danger when they're on screen.
The same reason why I love Nicolas Cage. You never know what to expect with him, he can suddenly change the tone of his voice/start screaming or make silly faces. Hugely entertaining actor, as are the characters of Greene and Boris.
Its as if the filmmakers were saying " we're gonna have some fun with this, why don't you join us?"
He noes dem computez :-SS
Same here, but for me it basically sits at the top of the pile.
While the Brosnan era gave us an invisible Aston Martin, the Moore era gave us a submarine Lotus.
Brosnan had Denise Richards as a nuclear physicist, and Moore had a Voodoo sorcerer.
Brosnan had Graves in his Robo-cop suit, and Moore had an assassin with a carnival fun-house style labyrinth.
The two eras are not that different.
For me, most of the Moore films are well executed formula, just like GE is well executed formula. I enjoy them all, but find MR & AVTAK highly derivative.
Post-GE, I find the Brosnan entries to be cliche'd pastiche. Just going through the motions (Bond, James Bond - check, flashing the Omega - check, ordering the Martini - check, fancy car - check, villain with deformity or funny name - check, smart alec throwaway line - check, etc etc.).
It's a fine line between executing on the formula well and being overly predictable. I don't think EON has made a decent 'formula' film since GE, and that was the last one made when Cubby was around.