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'That would be the job of our mods.
That's an admin job, not mods. We don't have control over adding such features.
In the meantime, I'm honestly not sure why people still complain about certain users yet rush to reply to every post they make. Just ignore them. It's that simple.
This rings especially true for those who are hating on NTTD but haven't even seen the film - why bother continuing to press them or craft arguments and debates with them? They've not seen it so their opinions are entirely irrelevant on the matter. Move on and don't reply, they'll stop eventually once they realize they're shouting into the void and not getting anybody worked up enough to engage them.
Sorry, yes, I meant admin.
Ironically it felt like the producers flirted with the idea but didn't commit to it
"She does have your eyes," Madeleine says; and Bond responds with his dying words, "I know ... I know ...."
So I think Bond knew all along that Mathilde was his child without Madeleine having to say it. His not having insisted on any claim to Mathilde was perhaps his way of respecting Madeleine's position of having raised Mathilde alone. But also, like any man who's just learned that he has a child, he probably hasn't gotten his head around it yet - as when he hesitantly and then barely mutters the words "my .... family" when introducing Madeleine & Mathilde to Nomi (if I recall correctly), as if understanding the meaning of those words himself for the first time.
I think the writers were holding out for maximum emotional impact, in that in his dying moments Bond is - to my eyes - clearly embracing the consolation that he is, in fact, leaving something very meaningful behind - his child Mathilde, who is also, figuratively speaking, the manifestation of the very legacy of the Craig-Bond character.
Which is why the ending is not only not depressing but deeply real, in a sense, and even quite celebratory. As someone noted earlier [forgive me, I forget who]: it may have been 'friendly fire' that was taking Bond out as he stands erect on that rooftop, but it’s also filmed in such a way as if that 'friendly fire' were, instead, 'fireworks,' of a kind, in honour of the man & his legacy.
What had Safin said earlier, "Life is all about what we leave behind"? Turns out he's right - especially for a man like Bond, who had been "living off the grid" without family or any emotional attachments at all ...
So I can't imagine any greater final consolation for him - and to my eyes, it all worked quite beautifully.
For me I just didn't buy into Bond and Madeline's love, therefore the writers cemented it with a child. I just wish it felt earned instead of being a plot point.
If Bond could leave Swann behind without a second thought in the PTS, it's hard to believe he'd die for her, but Bond's child on the other hand adds more weight
The child actors for both young Madeline and Mathilde were fantastic, they deserve some praise too
He thought she was involved with the exploding tomb....
Yep. He specifically says he regrets putting her on the train.
Right, his misplaced anger got the best of him and he lived to regret it, which is perfectly in keeping with his "Craig-Bond" character.
There's no right or wrong answer, of course.
I know a lot of fans don't, and never did, buy into the Bond-Madeleine relationship. But I was into it from SP and was not surprised to see the filmmakers double down on it with NTTD. Maybe it's something to do with Léa's tears in NTTD & her sexy voice & inexpresively beautiful eyes - but that scene on the train in SP where she & Bond seemed to understand each other instinctively suggested to me that this would (and perhaps 'should') not be a relationship too easily discarded.
Or maybe I'm just too easy ...
I do feel the Mathilde character is an organic part of NTTD, and not just a convenient plot device. Her presence in the film is set up beautifully by the PTS and payoffs wonderfully in the end - but even during the Norway chase, I found myself emotionally invested in the outcome in ways I have never been before during a Bondian action sequence. It even feels worlds away from the Cuba scene, where no real stakes seemed involved at all - just pure fantasy. And if I have a serious criticism with the film, it's with both the Safin character plus the tonal inconsistencies in the movie. Just comparing those two action scenes is instructive, I think - they're almost from different movies.
That and the fact that he felt he was betrayed yet again for the woman he loves just like what Vesper did to Bond in Venice. Actually right after the tomb explosion, he tried calling her, probably to tell her to get to safety as Spectre is around. He did not think Madeleine was involved. But the whole "Madeleine is part of Spectre, she set me up and she's betrayed me like Vesper did" was probably running through his head the moment Primo said she is the daughter of Spectre. While in fact they were setting her up as well to get to Bond because Madeleine seemed just as clueless as to what was happening as evident to her reaction when he got back to the hotel and her reaction in the car while getting shot at. Alas trust was still an issue for Bond and feeling angry at the time, he felt the best thing to do was to put her on that train and part ways, never to see each other again. 5 years later he regrets this of course. It was in that moment of anger and confusion that he got rid of her while in Italy so he could disappear since Spectre clearly wanted him dead.
Wonderfully stated and I'm in total agreement; this wasn't depressing, but a celebration of the man, and his legacy that he leaves behind....
I wasn't a fan of their romance in Spectre, @Feyador ...but in their very first scene in NTTD, I was sucked right in and did believe this was a genuine couple dancing in the glow of the "honeymoon" phase. They were loving and passionate. And much of my belief resides in Lea's performance. She was a wonderful gut punch to me emotionally. To me, she has now joined the Mount Olympus of Bond Women, previously only occupied by Tracy and Vesper.
I also in place of Bond, would have strangled Blofeld for messing up my life again.
I mentioned it earlier somewhere but I kind of like the idea of Spectre as a prequel to NTTD, than NTTD as a sequel to Spectre, which probably makes no sense... but the concept of NTTD introducing these characters to us, and then seeing them in Spectre (how Bond and Madeleine met, Blofeld in his prime, etc.) feels like a cool way to experience the films to me.
Guess everyone has their own definition of "good writing." If SPECTRE had been well-written, it wouldn't have needed NTTD. The whole mumbo jumbo about there being more story to tell was exactly that -mumbo jumbo.
The producers would never admit to this, but Craig's tenure has been greatly McGyvered. There are tonal shifts because there were 5 or 6 writers involved, massive rewrites, change in directors...
The scale and cinematography of the film are used as devices to cover up the inconsistencies. It goes from a fairly tight action thriller to a melodrama, all for the sake of tying up loose ends, yet keeping so many things loose and unclear in the screenplay.
Has anyone bothered to wonder why Mathilde would randomly talk about "mosquito bites" while they were in pursuit? A kid being a kid? Yeah, right...
I think this was discussed actually. It’s a subtle allusion to Heracles, and an insidious reminder that even a simple mosquito bite could be fatal if that mosquito had bitten another individual with the nano bots.
It's doubtful we will ever go down that route. If you are having particular problems with certain members' opinions you can ignore those members. Or if they are clearly breaking the rules flag the post and a mods will pick it up and if necessary, wade in with their size 10s.
Offering the option to block or ignore will spare you the head ache but create bigger ones for the mods.
I love Lea's acting on the train and in the DB5. You really feel the desperation and fear, she's a brilliant actor. A little moment I noticed on my last viewing was how she held onto Bond when he tried to usher on the train, such a subtle tiny moment that says so much.
That's actually my favorite part of the film. All downhill from there :D
(I don't hate NTTD, but Matera and it's action climax did feel like the highlight to me...)
I think we’re supposed to think “what is he going to do?”. He’s seething with rage and trapped in a car with a woman he thinks has betrayed him (right after he finally got over Vesper). So, I was wondering where his head was at, and what he’s going to do next. That plus the danger of the window finally giving in made it a very tense scene for me. Loved it.
It's my favorite scene in the film, mirroring that fantastic moment in OHMSS when the pursued Bond finally surrenders himself to the bench by the rink, resigned to his fate.
I don't want Moore style back, I don't want single mission where Bond doesn't arc, I don't want people messing their pants at a glimpse of any actor in a suit or smoking with a gun, screaming "there! that's the new Bond! he's perfect!". Bond is not a coat hanger with a gun and a Martini Vodka in the other hand anymore. He is a full fleshed human being like in the novels, and we must have the journey continuing.
So what if he apparently died here. He also died in FRWL and in YOLT, but then he came back.
James Bond Will Return!