Last Bond Movie You Watched.

Tired might've been too strong a word. I do enjoy VTAK for various reasons. It's my birth year film for one but well, it's enjoyable.

If we are to get a full VTAK soundtrack one day, so too Moonraker. Though that's mired in legal stuff.

One thing I thought about after watching the film. Bond tells the idiot cop at City Hall to speak to Chuck Lee "of the CIA" and the cop immediately retorts about him being dead, found in Chinatown. Either the cop has superior vision or he had just been called to the body of a Chuck Lee who usually works in Fisherman's Wharf. Bond mentioning CIA doesn't really seem to chime with that copper.

Might re-read that blog post defending Stacey. Saying it's not her fault -she's essentially a geologist thrust into this showdown between Bond and Zorin.

Just thought of a Dalton Bond in bed with Mayday. "Should've brought tulips."

Watched Casino Royale in Concert, i.e. at the Opera House with the Sydney Symphony Orchestra performing the soundtrack.

Overall, a cracker of an experience and highly recommended (for any film with some good tunes, I believe they've done similar performances for Lord of the Rings). CR's brassy score naturally lends itself to a live orchestra and the payoff when the Bond Theme finally blares at the end is well worth it.

I might piss off the h8rs, but I can still remember when CR first came out and the dynamism and freshness it brought to a series that was speedily heading down the creative gurgler. It felt hard-edged and modern. Even the fact that - and I hate myself for saying this as someone who's typically a stickler for the old school ways - Bond wasn't wearing a suit and tie every waking moment like it was still 1962 and men weren't allowed to mow the lawn in anything less than a half-windsor felt like a fresh take.

Some of the lustre has come off since then, of course, as is inevitable with all but the true classics of cinema. I think at least one of the action set pieces could've been cut and the final act trimmed. Some of the Bond-Vesper dialogue is naff. Otherwise, this is one of the most exciting and memorable films of the series which is why I'm not surprised the Sydney Symphony Orchestra picked this one to do.

I will say that Vesper's death is probably the saddest moment in the series. Moreso than Tracy to some extent in my eyes. Perhaps it's the music.

I was a Cregg defender when he was cast and was vindicated when the film came out. In CR, he's tough, charismatic, manly, and owns the screen. The dull grumblepants of his latter films had yet to fully emerge. Surely his Bond story is one of wasted potential. Hopes were high after 2006 and were dashed shortly after. I actually think if he'd only done CR I would've rated him in the top 3 Bond actors.

Actually, maybe they should've just ended the series on CR. The end is the beginning... or something like that. Sure, Skyfall was good, but does it make up for the crapola that was QOS or the debasement of the character in Sprectum, likely to only continue in the next installment? Oh well.

All in all, my positive view of CR has largely remained intact, so that's about it. Just have fun with it, this is one of those films that always gets the blood flowing.

CJB, what have you done to yourself?

I've been consistent on CR for 13 years!

Speaking of General Spanky Moon, it's the revisionism relating to DAD I'm most troubled by. It was dreadful and Hollywoodisation at its worst - I knew it then as a borderline pubescent child, surely the target audience. CR was truly a relief when it arrived, like a cool non-CGI wave washing the bad taste of DAD out of your mouth and cleansing your soul.

Eh, I'd take the archetypal Bond:



over this derivative type of Bourne Bond:



anyday.

Well, depends on what's archetypal Bond and what's derivative.

The bloody, brutal, personal fight to the death in the stairwell is something a reader of Fleming might recognise as Bondian. Perhaps it's also something that could've been in a Bourne film. Question is... so what?

This on the other hand...



... is not Bondian by any measure.

Ah well, at least that scene taught them not to use CGI a) to that extent b) of such shite quality again.

At least the para-sailing scene was an attempt at grand scale and tied into the opening surf sequence.
As bad and as galling as it was it fit the scene.

Whereas the entirety of CR was like seeing a middle finger given to the series itself. And I don't think you can claim the stairwell fight because it is not at all Fleming esque. It is an unnecessary action bit and is cut so slipshod in the Bourne Supremacy-Greengrass aesthetic that it leaves hardly an impression at all-whereas every encounter in the novel means something. It is no replacement for even the unseen bombers with the cases or the Muntzes just as the stupid "Oh I drank poison because I'm an idiot let me restart my heart" is no replacement for the henchman with the Malacca cane.

If Bond hasn't seen his drink get poisoned (which he doesn't, if memory serves) I fail to see how drinking it makes him an idiot.

CJB wrote:

Well, depends on what's archetypal Bond and what's derivative.

The bloody, brutal, personal fight to the death in the stairwell is something a reader of Fleming might recognise as Bondian. Perhaps it's also something that could've been in a Bourne film. Question is... so what?

This on the other hand...



... is not Bondian by any measure.

A fight scene is a fight scene. Staircase action doesn't offer much variety so it doesn't exactly suggest it's Bondian, unlike Bond's fight with Grant in a tight space with disguised gadgets or Bond's fight in a satellite dish which is the villain's lair. I was surprised to find that scene was so memorable to fans. If that constitutes a memorable sequence then it's a huge step down from the iconic scenes of the series, such as Goldfinger's laser scene, Bond killing Dent or even the volcano assault.

So what? If I wanted to watch a Bourne film I'd pop that in instead.

RE: the parasurfing scene, it showcases Bond using his wits to get out of a sticky situation, something Craig Bond doesn't do at all. It's charge in no matter what (plaster obstacles, killing leads/people he's to protect, etc). Sure, the technology sucks here but so did the sped up effects in TB (one of the best films in the series) and the green screen (DN car chase). To be honest, I'd much rather Bond surfing a tsunami than Bond going into space.

BI wrote:

Ah well, at least that scene taught them not to use CGI a) to that extent b) of such shite quality again.

Well, there was that hugely disappointing free fall scene in QOS. Considering it's a doable stunt (unlike the less plausible parasurfing scene) and one they actually performed 30 years prior for MR, I have more of a problem with that. Especially since the tone in DAD is much more welcoming and lighter than that of QOS's.

HGTB wrote:

At least the para-sailing scene was an attempt at grand scale and tied into the opening surf sequence.
As bad and as galling as it was it fit the scene.

Whereas the entirety of CR was like seeing a middle finger given to the series itself. And I don't think you can claim the stairwell fight because it is not at all Fleming esque. It is an unnecessary action bit and is cut so slipshod in the Bourne Supremacy-Greengrass aesthetic that it leaves hardly an impression at all-whereas every encounter in the novel means something. It is no replacement for even the unseen bombers with the cases or the Muntzes just as the stupid "Oh I drank poison because I'm an idiot let me restart my heart" is no replacement for the henchman with the Malacca cane.

Boom. Oh that poisoning scene. So much for a "human" Bond. He dies, comes back to life with no medical consequences and goes on to win, drink, crash his car and get his balls beaten in.

Also quoting this again, because this seems to be my biggest argument against CR, and yet no one seems to be able to counter it.

HGTB wrote:

It is an unnecessary action bit... whereas every encounter in the novel means something.

If Bond can get from A to B in the book without this emotional journey, it's padding. It also dilutes Bond's character to the point where it's a wonder he's managed to live to the age he is.

CJB, I'm assuming it was something to hear Bond music live to the film, even if it is the most clinical score in the film until Tom Newman came along. You Know My Name would have been a treat. Did they keep Cornell's vocals?

Yup, they kept the vocals. First big round of applause from the audience was at the end of the title sequence.

I'd love for, say, GF or TB to get the same treatment though perhaps ye olde films won't get the same number of bums on seats.

From Russia With Love.

It's been a (hard) few years since I've seen it as I was holding out to watch it with a particular friend and  it wasn't until I popped it in I realised how long it had been.

It's perfection. Even the helicopter/boat sequences at the end which seem to divide some fans.

The gypsy camp sequence, as I've said elsewhere, epitomises James Bond and it makes for my favourite combination of scenes in all the Bond films. A good helping of sex, danger and culture, it's atmospheric and populated with colourful characters, and Barry's music is excellent.

Has Lois Maxwell ever looked sexier?



And by the way, this is how you expand on Moneypenny's role. Not whatever they're doing with Naomie Harris.

One thing that stood out is dubbed dialogue over actors who aren't moving their mouths. That seemed a little sloppy but a very minor gripe.

This is, objectively, the very best James Bond film.

Hard to disagree there. Also, has there been a more likeable character than Kerim Bey since? Hard to say. Though I'll admit that it's funny that someone so overtly Latino could pass for a Turk (i.e. generic foreign type) in those days.

Regarding Moneypenny, it's Current Year and it's inconceivable that somewhere out there a female is doing secretarial work, therefore we'll never see the likes of Lois Maxwell again. I give it another 2 films before they kill off Mallory and make Moneypenny the new M.

Nice write-up Fieldsy. I love the gypsy camp scene for a few things -the fight for a start, the music, Bond's sweat as the dancer gyrates near him and that moment Kerim Bey overturns the table blazing away at the enemy (all the while with the 007 Theme going great guns). Kerim Bey is up there with Draco and Colombo in my book.

When one is in Egypt, one should delve deeply into its treasures...

You are very suspicious Mr Bond.
-I find I live longer that way.

-Play any other tune?

-What a handsome craft, such lovely lines...

What a helpful chap


The Spy Who Loved Me

a rewatch from nowhere. One of those YouTube vid mash ups probably. Moore hits his stride in his third outing, at least he seems better in the role than elements of the previous two. From the off it's a shame there wasn't a decent score. The official release was lacking (seems to be mostly the Egyptian bar music ad infinitum) and yet the Tanker is actually quite suspenseful. Great musician Hamlisch was (though film-wise I only recall his Three Men and a Baby score) but it dates the film, sometimes quite horribly. Often I feel there should be score where there isn't (starting to sound like Rian Johnson's approach to Episode VIII).

Parts are enjoyable. The lines I quote above are some of my most quoted Bond remarks in everyday conversation. Whenever I see Egypt on the TV, I invariably think about delving into treasures. It is a film, like I said before, that I don't skip the title sequence. The song is good, the graphics catchy. Jaws is ruddy terrifying in this film -compared to his reprise. I mean he doesn't speak, he's the brains out of him and Sandor, he dispatches people all over the place (and a shark) -he does enough early on to impress Bond (biting the padlock) though I wonder, does Jaws like some modern Dracula, like the taste of blood?

There's some fairly good moments with Bond and XXX ("Which bullet has my name?" or his discomfort at the mention, or threat of it, of Tracy) and yet there is Bach. Good looking broad (I've said before I never joined the bandwagon on the old forum. There's still something about how she looks in that uniform on the deck of the sub or the way her hair unfurls when she's rumbled by Stromberg's men) and she tries but probably as well she never reappeared in VTAK. Moore's Bond seems to enjoy teasing and prodding her from the very first -"Hope you enjoyed the show" to the car chase but you never quite believe she'll ever finish 007 off (so to speak) after the mission. Moore's expression, even with a gun aimed at him, is priceless. Indeed, we must all join his eye-roll at her Shaken Not Stirred line. Covers the loss of accent.

But what ramble would not be complete without Shane Rimmer? At last, the man gets to do something more outside of two Thunderbirds feature films. Not Oscar worthy but I love Shane Rimmer and he has a couple of moments (his reaction to Bond's casual 'disarming a nuclear bomb' or his Scott Tracy-esque "James, that comes from the top!")


On this note, the chap who plays the sub captain of HMS Ranger. Seems a touch jarring if almost comical, his 'my God!'. Editing a little sharp, the music not quite menacing enough. Though what would be the option? Failure of the lights or maybe cut to Faslane with Ranger in communications and someone say, Thunderbirds like, "they cut off, sir! They cut off!"


Q at least gets a bit to do, show off his tech know-how and like with YOLT and TND, good to have Bond in uniform. Keep that link to his past (do always like how he returns the salutes of junior officers whilst perhaps feeling a slight fraud. His RNVR days being quite a while back).

My favourite of Rog's 'OTT' Bonds.

Ha, indeed. You know I forgot to mention the Valerie Leon moment with Bond.

"I have a message for you.
-[suitable pause] I'd say you just delivered it."

She has a knack for being there for that kind of exchange, the other is one shining moment in NSNA.

"Oh, you're all wet!
-Yes, but my martini's still dry."

Good stuff Hilly. I agree with most of that, especially the score and Bach. I recently read she was fed up with Gilbert insisting on so many takes and he said that to push through and she'll thank him at the premiere. And that night, she did. Hard to think that was her best work.

Hilly KCMG wrote:

Nice write-up Fieldsy. I love the gypsy camp scene for a few things -the fight for a start, the music, Bond's sweat as the dancer gyrates near him and that moment Kerim Bey overturns the table blazing away at the enemy (all the while with the 007 Theme going great guns). Kerim Bey is up there with Draco and Colombo in my book.

In the words of the great Vavra, 'TANK YOU! TANK YOU!'

I love the gypsy camp scenes for the reasons you mention, also. Personally, Draco is the best ally of the series, but one can't deny the great work Armendariz did.

CJB wrote:

Hard to disagree there. Also, has there been a more likeable character than Kerim Bey since? Hard to say. Though I'll admit that it's funny that someone so overtly Latino could pass for a Turk (i.e. generic foreign type) in those days.

Regarding Moneypenny, it's Current Year and it's inconceivable that somewhere out there a female is doing secretarial work, therefore we'll never see the likes of Lois Maxwell again. I give it another 2 films before they kill off Mallory and make Moneypenny the new M.

Armendariz's casting did cross my mind when watching the movie, but when he has so much charm and chemistry with Connery, he gets a pass.

Moneypenny the new M and with a male secretary called Bigbucks? Maxwell would be rolling in her grave somewhere. Fleming too.

BI wrote:

My favourite of Rog's 'OTT' Bonds.

His 70s Bonds? I'd agree if that's the case. His 80s efforts are superior.

Well, it's down to personal definition I suppose. By 'OTT' I mean the 'megalomaniac plans to wipe out the human race and start over/plans to cause an event that will benefit themselves and their cohorts without a thought for the thousands who will directly die as a result' ones.

Under that criteria those in Moore's tenure that qualify (to me) are Spy, MR, OP and View. And Spy is my favourite of all of them.

Go forwards backwards, quickly...
Hmm?


For Your Eyes Only

could there be any more, er, Moore a moment than to nod at the villains as they close on the 2CV? To me, it's a fourth wall moment (he is of course looking at the camera), almost as if Moore's Bond transcends everything, notices there's a camera hovering and well, "How do you do chaps?"

Coming after recent viewings of Moonraker, VTAK and TSWLM this film is a jolt to the Moore-induced system. Initially it seems to be as you were after TSWLM and MR. Serious moment with Tracy's grave (why is she buried in Blighty? Perhaps it's where her English-born mother is buried?) is followed up by the implausible return of Blofeld. I don't know about anyone else, but to me the last outing for Blofeld remains DAF. FYEO is...weird. The PTS capped off by Bond tapping the head: "Alright, keep your hair on."

But normality creeps in after the titles. M's absence, dear Bernard Lee, is keenly felt. Geoffrey Keen though is in one of his moods and Villiers' Tanner is complete odds with Fleming's CoS. I always imagine Tanner to be either Kitchen (GE, TWINE) or some cross (if we think of his literary version) between Kenneth More, John Mills or even Donald Huston -someone who is serious enough and has seen wartime action but is now a figure of responsibility. Villiers' Tanner is a touch...too much.

Good to see Bond doing some detective work albeit with computers -nowadays I suspect Bond would've had a picture for Locke in a fraction of the time, sent to his phone. Also good to see Lotus' (or is it that Loti?) return even if neither car has all the tricks of TSWLM.

Whatever Moore thought of the change, I always like this and Octopussy for his Bond. Moore's Bond here is different to previously. He has the good sense to keep Bibi at arms length, he has good moments with both Kristatos and Columbo, even tolerates Ferrera and, to my mind, good chemistry with Melina (I read, Bouquet auditioned for Goodhead, interesting) and yes, has one of his more darker moments with the car. Aside from the ledge scene, there must be salutations for after the Countessa is mown down. Moore's Bond is suitably pissed even if subsequently he has an awkward moment when Columbo mentions the Countessa (Ah, yes, well...we did, er…). Moore, for the first time perhaps, is starting to look noticeably different. But it has been ten years and so it goes.

Columbo is a joy to behold, it is a same there was not more of him. Or some spin-off film.

Ferrera for his faults is not bad. Bond is suitably bemused when they first meet -the awful code-phrases but his death somehow, if not as keenly felt as Sharkey in LTK, Vijay in OP or even Kerim Bey in FRWL, is still hard. Bond at least has the good sense to gain some measure of revenge.

Bouquet does her best, I never have problems with her. I always think it refreshing that Bond does not score with his main girl until the end. Both have things to achieve -her revenge for her parents and he, his mission. She can handle herself.

Someoveracting, Bibi and Gonzalez ("Licence to kill...take him away!") notwithstanding, it's a solid form. Musically, key mentions to Drive in the Country and Runaway. Latter could go on forever. (You also have to love the camera work, draws you into the chase)

And finally, refreshing after the grand scale of the previous two films, to have a villain's lair so simple and ordinary (if up a mountain). Though quite how Melina thinks her crossbow has the range to hit the villain stalking Bond, is anyone's guess.

Hilly KCMG wrote:

... good to have Bond in uniform. Keep that link to his past (do always like how he returns the salutes of junior officers whilst perhaps feeling a slight fraud. His RNVR days being quite a while back).

One of my favourite little moments of the film if not the era. Great touch.

And yes, Shane Rimmer is underappreciated. Old school, smartass Yankee; a Felix for when Felix is unavailable.

Rimmer was (and is) always good for his buck. One of those Rent-a-Yank types (as he and Ed Bishop called themselves, in spite of his being Canadian) called upon often. I was hoping to meet Rimmer at some signing thing last year but was working. I'm quite aware he's now mid-80s. Indelible part of my childhood.

If you guys ever watch BATMAN BEGINS again, try watching it as a Roger Moore film and you'll realize it has all the traits of a Lewis Gilbert installment. Down to someone looking down their drink after the batmobile passes by. But the real thing that seals the deal: Shane Rimmer in a control room.




The only thing this film misses out on is featuring Batman caught in bed with a lass by the Gotham police.

"Batman, what do you think you're doing!?"

"Batting above my average, sir."

*pulls down curtain*

*Royal Navy choir sings Na Na Na Na Na Na Na Batman as credits roll*

final one for a while, Octopussy

Surely one of Sir Roger's most physical films. If we include the stunt work, jumping all over trains, fighting all over the place, chasing/being chased, the Indian scenes and excluding it, seeing Moore dish out the usual punches and (a favourite Moore-Bond action) lashing with the foot. To me always good to see the actor involved in action, even if it is less sophisticated fight moves than what you get in the latest films.

Following a similar theme to FYEO in terms of grounding Moore, it has a bit more of the old Moore to it than FYEO did. The safari scene or whatever you want to call it is halfway more akin to a David Bellamy programme than anything -the best of- tigers, spiders, snakes and some puns for the ride.

"No ma'am, I'm with the economy tour."

Like 009 before him, Bond feels the best way to get into a circus is to take time to cover himself as a clown bearing in mind a nuke is about to rearrange everything in Germany. Something I've never minded, Bond is suitably single-minded in his determination to get to Karl-Markx-Stadt before it kicks off. Some good action before he gets to KMS -though Bond has some cold moments from LALD to here, something about the fact that after he shoots the soldier (at the carriage door) and then immediately whirls and fires at a fleeing Orlov strikes me as one of Moore Bond's would-be colder moments. Moore's Bond is never really one with a gun -yes he fires one in films and kills Stromberg with one, but most of his action scenes with bad guys were fisticuffs and here you have him quite willingly blazing away at Orlov in the carriage.

I always like Bond's "That's for 009", up there with the car-kick in FYEO in the sense Moore's Bond at the back of his mind, wants or has that edge to get back for 009's murder. We're all in it together as far as the 00-section goes. Moore has some brilliant 'real' expressions -after being blinded by one of the twins in the train, as he's hunted, or even after "that's my little octopussy" (I strongly suspect Moore's reaction is what half the cinema audience must've done at the time..."You're little what?")

Berkoff is delightfully OTT -right from the off where in the space of a few seconds he goes from normal to blazing nuts. (Even the chap playing the expert, that is brought along by Gogol, seems a touch melodramatic, lifting the fake star high and dropping it with that look on his face).

Some moments humour-wise still work, poor Wilmer being tortured by Bond at Christies, the economy-tour line and a few others. Shouldn't like the balloon sequence so much but on the basic level it's two mates out for a ride. At least Q gets his moment with the girls. Old devil.

Maud Adams remains a vision of beauty. Always will do.

There is a certain relish with Jourdan's Khan. Doesn't scream bad guys but he has a villainy all of his own.

Vijay played with charm that his death always is a painful one and the manner of it too. My claim to fame remains seeing him at Wimbledon when I worked there in 2010. Twice walked past him as he chatted  by Centre Court (I wearing this mucky hi-vis jacket what with 'behind the scenes' work) and then seeing him play in one of the invitational matches.

And Barry's score is not bad. Always like how the Bond theme kicks in when the dagger plunges into Bond's dinner tux or the menacing sound of "Yo-Yo Fight". Always amazing how Barry's music evolved. The sound of Connery's Bond in GF-TB, the 70s sound of TMWTGG/MR and then that of OP-TLD.