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No, I did too. Thankful that it wasn't another Hamilton-type crash-bash-smash car chase, some nice light relief and a great pay off. One of my favourite scenes.
And a magnificent portrayal by Daniel Craig as Ian Fleming's James Bond-007.
I totally appreciated that chase. One more CGI-assisted car crash we did not need (see Furious 7 if you need to). The sense of familiarity in most of SPECTRE melded with new little twists to things (no sacrificial lamb for instance) is what great Bond movies are all about.
Ufff, you mention "Furious 7" now. There were no real car chases in that film if you ask me. It was "Die Another Day"-style action times 1000. Cars parachuting out of airplanes, cars jumping from one skycraper to another...
I shall be honest here, I understand why people nowadays prefer this kind of bloated action porn, over more real-life car/motorbike chases like we have witnessed in "SPECTRE", "Rogue Nation" and "Winter Soldier"; It awes you upon first watch. No matter how ridiculous you find it on first watch, you start laughing with a big "WTF"-feeling :-).
I had the same feeling. So I think it's entirely unfair to slam or ridicule the car chase from "SPECTRE". At least that was real action. And I think we should appreciate that a bit more, instead of slamming our own Bond films for being unoriginal.
Because it can be much worse: CGI "Furious 7" style. So ask yourself first: What do you really want?? Car chase "Furious 7"-style? Or car chase realistic style? Do you prefer getting laughs out of cars behaving like stuntmen, jumping from building to building? Or do you prefer a classic toned-down car chase, in which most of the stunts were done real?
Saw SP for a third time last night, still can't wrap my head around what's not to like about that car chase. The shot of Bond drifting through the streets while Hinx follows, and the score is playing as the vocals string out and they pass in front of that big building (not sure what track it's called, nor the location in Rome, so I hope someone understand what I'm talking about) is totally breath-taking. I'm in awe every time I see that shot.
Beautifully filmed and framed though.
As a fan of Bond and as someone who did enjoy SP, the film itself obviously isn't above criticism and the car chase has clearly failed to live up to the reasonable expectations people had for it. It wasn't terrible but still, it was disappointing for many people.
https://fjackets.com/buy/Sam-Smith-Spectre-Premiere-Tuxedo.html
What were your favorite non-action sequences of the film @RC7?
I quite like the FYEO Citroen chase, but the AVTAK Renault chase is a bit much
Many people compare this scene with previous Bond films, but....
--> Bond vs. Donald 'Red' Grant
--> Bond vs. Oddjob
--> Bond vs. Hans (YOLT)
--> Bond vs. black henchman (OHMSS)
--> Bond vs. Tee Hee
--> Bond vs. Jaws
--> Bond vs. Gobinda
--> Bond vs. Necros
--> Bond vs. Xenia
--> Bond vs. Stamper, and finally....
--> Bond vs. Hinx !
What I liked most about this particular fight sequence, was the sound editing. Absolutely top-notch. The strangling noises, Bond's moans, the noise of all parts in that train being slammed, the noise of Hinx waving the fire off his jacket, everything.
Per Hallberg and Karen-Baker Landers truly deserved that Oscar for "Skyfall". They probably won't win it this time around for "SPECTRE". But an Oscar nomination I would recommend.
I agree the sound was amazing and like the old exaggerated examples of the older films.
No they don't:
https://secure.sonypictures.com/movies/academy/foryourconsideration/?film=spectre
One for your consideration poster for music doesn't mean that this will be the mean focus of the Sony Awards Office. Like with "Skyfall" several -usually rare- for your consideration posters will be made.
This is the one I have at home:
I outlined them in another thread, I've copied and pasted below...
Spectre meeting - Rome: a fantastic introduction to the organisation. Cinematography, staging, pacing and dialogue all fantastic. The direction and acting around Oberhauser's entrance is superb. I've heard several comments surrounding the films apparent 'pacing issues', chiefly, it not being allowed to breathe; this scene is masterful in the way it slows the pace and builds a palpable and unnerving tension.
It's also brilliant in its use of expository dialogue. Never too much, never too little. We understand the organisation immediately, their global reach, their deference to their leader and we see his calm, collected ruthlessness, cue Hinx's entrance. Another moment that will go down as a series high point.
L'Americain - Sensationally lit, beautifully scored by Newman and pitch-perfect acting from Craig and Seydoux. There's an electricity to the relationship that translates their situation and state of mind perfectly. You can see the cogs turning in Bond's mind and I get the impression, with Swann being a little squiffy, he continues to see a little of himself in her. It's quietly and subtly effective.
The 'Who sent you?' DAF throwback is a really nice touch and the discovery of White's hidden room brings yet more chance for us to savour these little subtleties of performance that you could only get with actors the calibre of Craig and Seydoux. The fleeting moment of reflection when he takes the Vesper tape and subsequently tosses it aside is just excellent. Again, there's a brevity to it that tells you so much in such a short moment. I'd go as far as to say this scene is one of my favourite in the series.
Torture - The main criticisms I've heard aimed at this scene are that it doesn't stand up against CR.
Personally I find that rather flawed, for the same reason I wouldn't compare the car chase in SP to the car chase in QoS. Tonally they are trying to achieve very different things and they are crafted to exemplify the characters and their place within the story.
Transplant ESB and the relevant dialogue to the CR torture scene, or something similar, and you have a scenario which loses the calculated menace behind the man. The way Waltz operates the chair is like a scientist, meticulously probing, psychologically testing. Having him whip his balls, or something equally, viscerally brutal takes away the self-assured, measured approach this psychotic should employ.
Again the soft lighting and empty almost spectral feel of it ties in perfectly with the cold, amoral world ESB represents. The dialogue and acting are pretty sensational, not once does it stray into hammy or cliched territory and given the subject matter I take my hat off because the balance they strike is excellent.
I've now seen it three times and I have to say, each time I hear it... 'The man you are now talking to. The man that is in your head...' I lose my shit. While the thought of Blofeld returning was always going to be mouthwatering, I had felt several pangs of anxiety concerning how they'd go about the reveal. Well, they nailed it in my eyes. No unnecessary theatre, no scenery chewing, just a withering look from ESB at the sound of the name, 'Franz', the cat and the dialogue. It's just bloody brilliant.
And I fully agree. Especially on the entire torture sequence and the S.P.E.C.T.R.E. board meeting in Rome. Pure acting delight and IMO perfectly written sequences as well. I also like to add the entire Morocco sequence, as the ride towards Blofeld's lair was also wonderfully filmed. Yes, it had a bit of a 'DN' feel to it -the arrival at Blofeld's modernist, Mies van der Rohe-esque bungalow and Blofeld's 2nd reveal in front of his Kartenhoff meteoroid- but it was re-imagined perfectly.
I also mentioned before that the torture sequence in SP should not be seen as a 'lesser' version of the CR torture. Then the people don't understand the huge differences in reasoning behind Blofeld and Le Chiffre. I also like to add that Per Hallberg's/Karen Baker Lender's sound editing is nailbiting during the scenes we just mentioned (also during the train fight sequence).
"SPECTRE" currently ranks 7th in my TOP 26 of films with the character of James Bond. And that hasn't changed a bit.
I for one will have much more to say following my second viewing tomorrow. Watch this space for what will likely be a novel length analysis...