Escalus5
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Shirley Eaton's real voice can be heard in the first episode of The Saint ("The Talented Husband"). Eaton gives a good performance and is easy to understand in that episode. I never understood why she was dubbed in GF.
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I wonder how much Maibaum was being paid to crank out these increasingly silly scenarios.
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OUT OF THE PAST is far superior to both KEY LARGO and DARK PASSAGE. DARK PASSAGE is a terrific novel by David Goodis that somehow doesn't click as a movie, despite all of the talented people in front of and behind the camera.
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Fans of the Mitchum/Greer pairing in OUT OF THE PAST should absolutely check out THE BIG STEAL, a breezy, noir-ish chase film/comedy where the stars — quipping and setting off romantic sparks — make a very likable and engaging duo. It’s also interes…
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I was so traumatized by the embarrassingly bad KINGDOM OF THE CRYSTAL SKULL, I only just remembered that Indiana Jones married Karen Allen's character at the end of that movie. So where is she in this? Or their son for that matter? I really wante…
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007HallY wrote: » At no point are Bond's heroism nor his decisions as a man questioned, which would be interesting given the controversies with the character over the years. Without this NTTD relies instead on that element of tragedy. The film set…
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I don't know what to think of this documentary. It's well-paced, and I liked seeing all of the interviews with John Barry, but there are some editing decisions that I don't understand. For example, "Live and Let Die" was the first Bond theme to b…
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MaxCasino wrote: » Escalus5 wrote: » MaxCasino wrote: » Charlie and the Great Glass Elevator by Roald Dahl (1972). The effects would work in a faithful modern day adaptation. It's a Cold War satire and more entertaining for adults t…
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MaxCasino wrote: » Charlie and the Great Glass Elevator by Roald Dahl (1972). The effects would work in a faithful modern day adaptation. It's a Cold War satire and more entertaining for adults than children, which is why I'm guessing it's …
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I have to give Osborne and Davies credit for writing Bond as a guy who is not unflappable, but doing the most dangerous things imaginable and who is clearly scared sh*tless while doing them, to a humorous degree. As I mentioned already, that's a uni…
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007HallY wrote: » I love reading these first drafts. I think had the series not taken its hiatus/have done another with Dalton, Bond 17 would have likely been different than these scripts, perhaps closer to Goldeneye in plot and tone. They clearly…
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Here's another question: If Connery had made the CASINO ROYALE film with Feldman, would the fans be bleating about it decades later, claiming that it's not "canon" and not really a Bond film, as they do with NEVER SAY NEVER AGAIN?
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You need to read the essay "Rogue Royale" by Jeremy Duns (included in the book Duns on Bond). It answers a lot of your questions and also gives a detailed overview of Ben Hecht's Casino Royale script, a serious attempt at an adaptation (not a spoof)…
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I haven't read the Osborne/Davies script but did read the synopsis in Mark Edlitz's book -- and it sounds like there's some brilliant (and hilarious) stuff in there. My guess is it was shot down by MGW because of the overly comic tone.
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Fire_and_Ice_Returns wrote: » Salvador Dali Dream Sequence from Spellbound (1945) I recently learned that this sequence was not even directed by Hitchcock, but by William Cameron Menzies.
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Ludovico wrote: » Great analysis @Revelator ! Questions for everyone: why did Bond succeed where Templar felt short? I have a few answers myself: mainly Fleming is a superior writer and Bond is unique in himself, if that makes sense. For all his …
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It's weird to see Charteris describing Templar as a hero with "swashbuckling zest" from a more innocent time, when he sometimes wrote the character as a gleefully homicidal vigilante (particularly in The Saint in New York). I like Charteris's writin…
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Soderbergh already has a terrific Bondian action- thriller among his credits: HAYWIRE.
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I don't know enough about his career pre-Bond to judge, but I think that LOGAN LUCKY is easily the best thing Craig did during his tenure with EON. Sure, it flopped, but people should check it out anyway. I wish Soderbergh would direct a Bond fil…
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DoctorKaufmann wrote: » Orson Welles took writing credits for CITIZEN KANE. The difference being that Welles actually did co-write CITIZEN KANE. Pauline Kael's foolish claims to the contrary were contested by Welles's friends and collaborat…
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peter wrote: » As far as the the unfortunate scriptwriter; this is also Hollywood on any given day. I myself had been threatened and bullied by a producer who actually said to me, "I'll make sure you never work in this town again." Yes, the most c…
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I actually think that Brosnan did his best work on television. A warning if you plan on viewing THE DECEIVERS: It's not good!
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Creasy47 wrote: » I've been going through all of Pierce's filmography in an attempt to finally log all of them on Letterboxd, sans the miscellaneous mini special feature documentaries or overlong TV miniseries. I recommend you don't skip th…
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His career is probably over. At the very least, he won't be invited back for the next Bond movie.
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COLOR OF NIGHT got terrible reviews and flopped financially, but it's an interesting movie by a solid director (Richard Rush, best known for THE STUNT MAN). An offbeat, sexy thriller with a lot of dark humor -- Ruben Blades's character, in particula…
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I would've scrapped everything involving Madeline, Mathilde, Blofeld, "We Have All the Time in the World," and Bond's fate. I love the idea of Bond working with the CIA (one of the few things that I enjoyed in the movie). I would've extended his …
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Creasy47 wrote: » 007ClassicBondFan wrote: » What gets me is Smith was actually laughing at the joke at first. I understand defending your woman and all that, but that was embarrassing for Smith. Rock at least handled that professionally after…
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Clooney’s lingering back injury (which he got during the making of SYRIANA) would prevent him from playing Batman again, even if he wanted to.
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Eastwood was the top choice to play Two-Face on the Adam West series, until it was decided that the character would be too gruesome for television.
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DarthDimi wrote: » What I love about this movie is that it blends Fincher (Zodiac, Se7en) with '70s Scorsese (Taxi Driver) and '70s Coppola (The Conversation), both in terms of content as well as tone. Although I can see the influence of th…
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