The Brosnan Era '1995 - 2002'

A defining moment in the Bond history, if it wouldn't have for GoldenEye's success probably the franchise would have ended. That's why GoldenEye is so special to me, plus I watched it when I was a kid, and everything from it, the N64 video game, the title song sung by Tina Turner and the score composed by Éric Serra is remarkable. I know that so many of you probably dislike Serra's contribution, but as I said, it's important to me.

Actually you'll find most people like Serra's score and wish he stayed on board (thought I like Arnold too!). His sole efforts contributes to a certain ambience in the film that elevates it's brilliance.

GreatKenji wrote:

A defining moment in the Bond history, if it wouldn't have for GoldenEye's success probably the franchise would have ended. That's why GoldenEye is so special to me, plus I watched it when I was a kid, and everything from it, the N64 video game, the title song sung by Tina Turner and the score composed by Éric Serra is remarkable. I know that so many of you probably dislike Serra's contribution, but as I said, it's important to me.

Then my site is your place! goldeneyedossier.blogspot.com!

BTW, liked Serra too, his music fit the film pretty well.

FieldsMan wrote:

Actually you'll find most people like Serra's score and wish he stayed on board (thought I like Arnold too!). His sole efforts contributes to a certain ambience in the film that elevates it's brilliance.

This. It is a bit repetitive in places if you listen to the album, but perfectly nails the Euro-thriller post-Cold War mood of the film which combined with its oozing style is the best thing about it.

Brosnan had his best moments in the smaller moments of GE, TWINE and DAD. If you read Benson's novelization of DAD, you'll find it has a much darker and grittier flavor with a few slight alterations and can picture an even better Brozzer.

SP makes me yearn for the good old days of less pretence and more fun.

Fun in a Bond film 1962-2002; resurrected solely for 2012.

Looks like I'm going to have to get sufficiently liquored up before I watch SPECTRE 8 days from now, as it appears the good folk of B&B are roasting it like a Christmas ham.

I'm very happy to read this - not so much for cutting down Daniel Craig in the process, but to support Brosnan's portrayal. John Cleese slams Craig, praises Brosnan

"You know the whooolllle stor-ry--"


"Talk to the hand you little welsh bandy leg guy"

Tell ya what, all those dour sourpusses who need "safe spaces" and bleat about nonsense on Twatter grew up in the Craig era. Us Brosnan Kids just make bad jokes and obsess over our hair.

CJB wrote:

Tell ya what, all those dour sourpusses who need "safe spaces" and bleat about nonsense on Twatter grew up in the Craig era. Us Brosnan Kids just make bad jokes and obsess over our hair.

Word.

So-called millennials.

Brosnan's best dramatic moments as Bond:

1. "I didn't ask you to get involved in this Paris".
2. "I trusted you Alec"
3. "Me too"
4. "Slow burning... They never go out"
5. "I never miss"

Honourable mentions:

"And what's the penalty for treason?!"
"...Failed to take into account my hidden assets"
"Unless you really want to give me a massage"
"Cold-blooded murder is a filthy business"

Honestly when I was a kid when the Brosnan films were coming out I didn't really like Brosnan as Bond as I felt like got his butt kicked too much and showed it with the famous Brosnan painface.



But as I got older and grew a spine I started to appreciate his films a lot more especially in these days of darkness and step-brotherly family problems. Nowadays I felt like he did a great job despite some less than stellar material for his last film (TND and TWINE both have grown on me over the years, especially the former for it's more fun-focused attitude) and might be the only Bond I could see doing both a Roger Moore Moonraker-type film and a Dalton Licence to Kill-type film without looking out of place. Even though I'd rank GoldenEye as my favorite of his overall a lot of my favorite Brosnan moments came out of TND from the scene where he's winding down with some booze after escaping the fight with Carver's thugs at the party before Paris walks in, Bond executing Kaufmann point-blank and my overall favorite the "Give the people what they want!" dialogue before the gruesome end he gave to Carver. Even though his performances got stronger and more dramatic as we got into the later films I felt like he was really at the top of his game with TND which makes it kind of a shame that TND is the film Brosnan is quoted as liking the least of his Bond films. The videogame Everything or Nothing is still a solid game and does at least provide a stronger finish for Brosnan's tenure as Bond than DAD does as well as John Cleese's Q who sadly got the short end of the stick as the series rebooted.

Great write up! I'm like that you've found a new appreciation for TND and TWINE. I believe the 90s were the second best era of Bond - the 60s being the best - and as you say, they are fun amongst the "grit" and "darkness" of Craig's era.

I wish we had a fifth Brosnan Bond film between DAD and CR - or better still, CR with Brosnan and directed by Tarantino.

Brosnan likes TND the least out of his Bonds? Has he never watched DAD?

Blunt Instrument wrote:

Has he never watched DAD?

Lucky sod.

I appreciate TND and TWINE as the lust hurrah of a less-shitty decade/century/millennium and some of the last major action films that were made before the CGI rot set in. Their sole purpose was also to entertain. The deep n' gritty elements didn't overwhelm the film or distract too much from the fun.

FieldsMan wrote:

Actually you'll find most people like Serra's score and wish he stayed on board (thought I like Arnold too!). His sole efforts contributes to a certain ambience in the film that elevates it's brilliance.

For years "Run, Shoot and Jump" (the theme that plays over the action in the archives) was used in dozens of trailers for upcoming movies much like "Bishop's Countdown" (from Aliens) was used for dozens of trailers that were advertising suspense or action. From that perspective Serra was a success.

I liked most of the score. Some of it was very moody and exotic (such as Natalya going to meet Boris at the church). But some of it seemed to be out of character as well; Bond's entrance into the casino was kind of dour and melancholy. The score was a bit of a downer when it should have been uptempo (perfect example of a score matching a casino scene would be the music that plays over the backgammon sequence in Octopussy).

I'm glad Serra didn't return, as it meant Goldeneye could have its own 'feel.' Plus, that industrial sound he's famous for may not have suited a film as whimsical as TND.

Case in point:

http://youtubedoubler.com/?video1=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DxCrH317uDuc&start1=&video2=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DqKAME9fAA-4&start2=10&authorName=

TND needed the brassier sound Arnold gave it. I reckon Serra would have given TND a highly technological sounding score to compliment the media themes of the film, but it would have come across as very empty. I agree with you CJB, the industrial, post Cold War soundtrack lends Goldeneye a very ambient and distinctive feel.

CJB wrote:

Blunt Instrument wrote:

Has he never watched DAD?

Lucky sod.

I appreciate TND and TWINE as the lust hurrah of a less-shitty decade/century/millennium and some of the last major action films that were made before the CGI rot set in. Their sole purpose was also to entertain. The deep n' gritty elements didn't overwhelm the film or distract too much from the fun.  

The bold is why I think the 90s are the second best era of Bond (behind the 60s)... You still rate TND and TWINE quite low on your list, though, don't you?

Gravity's Silhouette wrote:

FieldsMan wrote:

Actually you'll find most people like Serra's score and wish he stayed on board (thought I like Arnold too!). His sole efforts contributes to a certain ambience in the film that elevates it's brilliance.

For years "Run, Shoot and Jump" (the theme that plays over the action in the archives) was used in dozens of trailers for upcoming movies much like "Bishop's Countdown" (from Aliens) was used for dozens of trailers that were advertising suspense or action. From that perspective Serra was a success.

I liked most of the score. Some of it was very moody and exotic (such as Natalya going to meet Boris at the church). But some of it seemed to be out of character as well; Bond's entrance into the casino was kind of dour and melancholy. The score was a bit of a downer when it should have been uptempo (perfect example of a score matching a casino scene would be the music that plays over the backgammon sequence in Octopussy).

Serra did well. Run Shoot Jump is probably my favourite piece of the soundtrack. I actually really like the music that accompanies Bond's entrance into the casino. Perhaps you're right in that it could have done with something jazzier and less melancholic, but it sounds so beautiful. I wonder what the thinking was behind this choice of music...

FieldsMan wrote:

You still rate TND and TWINE quite low on your list, though, don't you?

They'd be floating somewhere in the lower half. I just don't think they stack up against most of the Bond films that came before them (though save for CR and SF, they're better than what came after).

I've always enjoyed this scene; a glimpse at what DAD could have really been. I like Brosnan's understated attempt to save face (as opposed to quipping about scratching balls). Highly atmospheric scene about a prisoner exchange with great music from Arnold. 

Shame they didn't get a better actor than Rick Yune, though I'm not sure who would do better job saying "Not as soon as yours".

Wonder if Trump's seen DAD. He might start wondering if anyone he knows is, in fact, a race-shifting Nork.

DAD goes off the rails right when Bond is watching Los Organos via binoculars and Jinx comes out. From the Beauty Parlor on it goes into complete wacky world. I don't mind the gene therapy fantasy elements or the usage of MR's villain setup re-inventing Drax as Graves. It's the stupidity factor going into overdrive that's the issue.

I love the Brozzer in anything even if the material isn't good. I like his style and can't help but still see the 007 touchstones in later roles. He does such good work and gives his Bond so many beautiful nuances but for me the issue is that the films from GE onward seem to make Bond take a backseat in his own film and it was as if Pierce had to fight for screentime.

Christopher McQuarrie: "I'd love to see a Bond who enjoys being Bond, I miss that... I'm actually a fan of Brosnan's Bond".

Should have known considering the HALO Jump homage in Fallout.

https://www.yahoo.com/entertainment/christopher-mcquarrie-reveals-bond-movie-hed-want-make-exclusive-135754188.html?soc_src=community&soc_trk=fb&fbclid=IwAR1M55_k9MU1_Lmp48VfjEt3_uLOx3jAC6AR8Ws1-WRltYQmXevv_r13Eds

I think of Brosnan enjoying himself and instantly see that reaction during the car park chase in TND, from the backseat.

I make that grin and "hah-ah" noise Brozzer does when the tires re-inflate all the time.

Pre-2006 the actors portrayed a human character who was an intelligence man and an outsider.

Afterwards its a grimacing and shambling nothingness. As much as I belittle what they did to the Frankenstein films, there is more humanity in the later portrayals of the creature in GHOST OF FRANKENSTEIN and even HOUSE OF FRANKENSTEIN than what is the EON series today. Yep. I said it. Heck, Chaney Jr.'s shambling non-existent Mummy achieves emotion at times in the truly lackluster final three 40's Mummy films-and he hated playing the role!

Hilly KCMG wrote:

I think of Brosnan enjoying himself and instantly see that reaction during the car park chase in TND, from the backseat.

There are those who think this moment of levity comes too soon after Bond's emotional farewell to Paris, but it's hard to see what good mourning would do him when he's got several of Carver's/Kaufman's goons trying to flambe the car he's driving from the back-seat.