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Conchita won in a landslide victory and without juries that victory would have broken every record!
It was once more only the social media that went beserk over her/him and not the general public which accepted the act and simply voted for the best performance and song.
And yes I was crying after the performance and when it was clear Austria would win!
Something just came to my mind.
Bond did not cry when holding dead Vesper at the end of CR. He was livid and bursting at the seams, but did not cry. She was, at that point, the love of his life.
He was bawling at the end of SF when holding dead M.
It just came to me after reading your post. The auteur's influence?
Has that been announced, and if it has, where has this been announced?
Here's my favorite parts of the song:
Intro - Nice string and horn part. Draws me into the song with a Bond vibe.
Pre-Chorus: "If I risk it all..." (Pure and Powerful F4, G4, and G#4 notes) SS shows off his vocal strength during this part.
Chorus: When SS comes out of falsetto and hits "The Wall" with a solid soulful F4 again.
Instrumental - Brilliant brass line.
I definitely don't "hate" the song. I think we are all extremely invested emotionally in Bond. We all have ideas about where the series should go and how it should go about doing that. There have been many letdowns in the past for each one of us I'm sure. I can definitely see where people are coming from with some of the critical feedback.
Sam is obviously a talented person and I'm happy for SS that the song is a success and hope it drives people into see the movie and buy it when it comes out on DVD/BR/Digital. I'm just as excited for the film as I was before the release of the song. Actually now I'm more excited to see how the title sequence works out.
It's directly relevant in terms of how much of Bond's inner psyche and emotions should be revealed to the audience (visually or via lyrics that reflect his turmoil). This goes back to my point about what Campbell said about the Vesper romance and how difficult it was to get the balance right when CR came out. He agonized about it, according to his statements at the time, and indicated that it was a fine line. Cross it and the audience could lose faith in Bond.
I'm sure SP will be fine because those who've read the scripts are not suggesting anywhere that we'll have waterworks.....so perhaps this soul bearing is just limited to the song. I sure hope so.
I pondered this for a while to see if I'd agree or not, and while I do think that Goldeneye is very Bondian, I concluded that I'm not at all sure that it "would never ever fit in on a U2 album" considering how many kinds of stuff they've managed to fit in there over the years. Some of their albums are so different from one another - and sometimes some tracks on the same album are so different from one another - that they could be by different bands (especially back then, not so much now), so I see no reason why the Bond tune they wrote couldn't have fit in, too.
That was hardly bawling. :)
But I have seen some posts questioning whether the lyrics are actually from Bond and asking why we should think that (although I think its a very reasonable assumption to make)
Yes quite.
Much more than we've seen from him up to that time ever, and that was my point. Certainly more than I was comfortable with. The issue is, how much more of the 'peel back' or 'armour strip' is necessary these days?
I've never been critical of that scene before (although many have on the respective SF debate threads, and I understand their point of view). However, once I heard the lyrics to this song, with the further 'soul bearing' that is taking place, I (someone who tends not to be as critical of it generally compared to some) wonder how much is enough.
As I said, perhaps this is just something that is reserved for the song this time, and not the film. That way, the song gives us the insight into the soul, ensuring we don't have to endure direct exposition of it in the theatre.
That will work for me, and then it all makes sense.
It's very clear that some people simply don't like it, but there are certainly people on here who are being vitriolic not just about the song, but about the man himself. It seems way over the top.
Just disappointment by some, appreciation by others, and interesting discussion as in any thread.
Not more heated than should be expected for a new Bond song, not more insulting, just on par.
Words like, 'putrid', 'vile', 'insipid', 'limp-wristed', 'sappy', 'egotistical'... not words I'd associate with mere 'disappointment'. Anyhow, I've let myself down over this once already and don't intend to again. I just genuinely found it a shame that certain people immediately went in for the kill like blood-thirsty vultures.
Again, maybe I'm missing something, but that conversation was long done with some time ago. We have been discussing things rather intelligently here since.
Of course we aren't going to agree on everything, and particularly not on a song.
I think why this thing this has touched a nerve (and as I've said so many times before, it should have been anticipated) is because the song is getting at masculinity in a way......it's touched some of us in a very raw way. Those who don't like it think it's sappy, and those who do like it are sensitive to that assertion because they may think it personally reflects on them for liking it. Lyrical choices like 'I'm suffocating' sung in falsetto when relating to Bond's psyche can be very impactful in either direction.
It's brilliant marketing as I've said, but highly controversial.
As long as it doesn't do long term damage outside the immediate fanbase (all of us are going to see the movie several times anyway regardless of what we think to this song) I don't care.
You are correct with your assessement.
Obviously some find it ok that everything is fair game.
Well may they dwell in it, I'm out.
Quite. One could also argue that those who don't like it are equally sensitive to how that may reflect on them amongst their alpha peers; which given some of the stuff that is posted on here wouldn't surprise me in the slightest. I'm quite happy to say it struck an emotional chord with me. If that make me sappy, so be it.
This is one of the main reasons I disliked SF. Tone was wrong and IMO Mendes did not 'get' Bond. Bond in SF seems a different character from the one in CR and QoS.
IMO Bond would be more upset about the fact he'd screwed up than emotionally cut up about M's death.
I'm hoping SP has a more solid take on the Central character.
Precisely, as I said in my bolded comments above.
Brilliant marketing, but it may do damage to the alpha males outside our little universe (we're all going to go see it anyway).
Avoiding all radio & promo material. Still trying to leave it for the 1st viewing...
Although having read all the comments since the song came out I am not in the slightest surprised - it was always going to be a relatively safe & mediocre song that played to Sam Smith's vocal strengths (the falsetto's people seem to dislike).
Some like it, some don't. I wasn't a big fan of Adele's SF, thought YKMN and even FYEO were better to be honest... so I'll reserve judgement.
Well I was unashamed defender of Sam Smith over the past few months on here and I don't particualrly like the song.
It's not a disaster from my perspective. It will probably suit the film quite well. It's just that it doesn't grab me. As others have said, it sounds like an album track and probably not a single.
It's better than lame pastiches like TND or TWINE though.
I really think it's such a shame EON don't require collaboration with the score composer as a prerequisite.
Head of nail ---> HIT.
I wouldn't call it safe, or mediocre. I think you could argue that case for SF, potentially, but I don't think there would be such a polarising view if that were the case for WOTW. It was always going to sound like a Sam Smith song. The key is whether you take to his voice, the lyrics and the overall style. It's somewhat different to what you might expect, outside his voice imo.
Agree, but we're all aware that is not the case right now, as much as we'd like it to be. Labouring over it won't change it.
Although I can't truly comment on the 'mediocre' label yet, I find it hard to believe that SS has made an edgy song ... (ie. not what I'd call 'safe')
But yes, I found SF rather 'safe' and not in the least bit inspired.
Honestly, next to SF I would argue it's more divergent and works in a way you wouldn't consider a trad Bond track to. There are strings that feel quite classic, but outside of that there's much more experimentation imo. I'm not holding out much hope you'll like it, though.
Well, I think he may well have achieved the complete opposite. He appears to have a number one single, but I very much doubt this song is going to go down as one of the Bond classics.
After repeated listens I am still unable to remember a single bar of the song.
Also why so slow? It seems it's just picked up on something Adele started. Could have been a bit faster IMO.
I was very critical of EoN's decision to go with SS - but honestly I'm approaching both the song and the film with a completely open mind & will judge both purely on their quality, nothing else.