Favourite Frames: The World Is Not Enough

Some frames just tickle...

I'll kick it off with a handful, but there are so many more I can/will add.



Beautifully lit and framed, and of course Sophie is gorgeous. Really capitalises on those eyes that draw you in.



Like the tanker chase in LTK (and many other of Remy Julienne's car chases), I love how the camera swings and tracks the boat as it enters the canal. Plus, having seen the wide expanse of the Thames and the boats zooming about at high speeds, it's an exhilarating moment of progression as Cigar Girl manoeuvres her boat into a narrower area. All to Arnold's exceptional music.



Nice bit of bizarre, especially with the teeth, bullet and wound showing through the hologram. The skeletal component feels particularly Bondian, what with the Goldfinger and Thunderball 1st edition covers featuring a skull and skeleton hand respectively.



Love this moment, probably more than it warrants. I love how Bond leaves an impression after he's left the scene. Saw it with Sylvia watching Bond leave the casino, with Stacey as Bond leaves to reconnect the phone, here it's with Christmas, who is equally intrigued and suspicious of 007. Says so much about not only the Bond girl's character, but Bond himself.



Elektra at her most stunning, alluring, engrossing. She photographs well, and the film makers frame her equally as good. Love the setting, the wardrobe, the make up and hair...



This moment is etched into the James Bond iconography, and the beauty of it is that it's not trying to. Frequently appears in trailers and tribute videos, many screencaps of this very moment scattered on the net-- I also remember having a badge of this shot as a kid. Being a ski chase, and with the fantastically designed pyrotechnics dancing behind 007, it lends the frame so much style and danger, effortlessly encompassing much of what Bond is about.

Some nice choices. What tickles about the boat, is that it's heading to what is a dead-end (along the bottom is Jamaica Road). It's the River Neckinger that largely features in Oliver Twist. Great moment in the film though as you say. I went up that neck of the woods for Dickens stuff but twigged the TWINE moments.

The hologram moment tickles for the sense it's when Bond is messing about with it and when Warmflash walks in, he gets all awkward.

I'll get to this proper when I watch the film. I'm going up to it very soon.

Heh didn't know it was used in Oliver Twist. I do also like those bricked buildings. Good to see more of London (again, a novelty here, overused in the Craig era, especially SP).

Does he get awkward? I remember a shift but no awkward per se.

When I say Oliver Twist, the book mostly. When Dickens wrote it, it formed part of something called Jacob's Island which was ridden with cholera and severe poverty. By the time he died it had already been cleaned up. Some of what you see either side of the boat as it powers in, dates back structurally to the 19th Century. Got pictures of it someplace.

I say awkward, just when she appears and he has a kind of air -"Crikey, it's the woman I just biffed" (if he was something out of a 1950s comedy). Maybe having 'Penny close by did not help.

Hilly wrote:

I say awkward, just when she appears and he has a kind of air -"Crikey, it's the woman I just biffed" (if he was something out of a 1950s comedy). Maybe having 'Penny close by did not help.

Having watched it twice, I stand by my sentiments. Moneypenny isn't in the scene when Molly enters, and it's more a case of, 'oh, she appears just at the right time' to explain the medical jargon. Even when Moneypenny does enter, Bond is more amused at their exchange than awkward. As am I. I'm curious to know what Molly says to poor Moneypenny when they leave the room.

That look of Brosnan. He means business!



The main titles, particularly this shot with the gammas of blue, black and grey.



The establishing shots of the locations, a fantastic work of Adrian Biddle and something TND lacked. The Azerbaijan one, with "Welcome To Baku" is absolutely beautiful and touching. I hoped SPECTRE had some bars of "Writing's On The Wall" with Bond driving the DB10 over Rome this way. My second favourite is the Caspian Sea one, with the first seconds of Arnold's "Caviar Factory" which sounds mysterious and exotic at the same time, as if he was saying... we are in nobody's land.

Great choices. I'm glad you mentioned the titles sequence too. I really love Kleinman's work.

I particularly like these moments (in addition to yours):



The oil motif is strangely seductive and bizarre, perfect for a James Bond titles sequence.



Love the woman sitting carefree atop Earth. The colour scheme is stunning.



Like a painting.



Perfectly accompanies the transition into the verse. Also foreshadows the darker, moodier ambience of the film.

NS wrote:

The establishing shots of the locations, a fantastic work of Adrian Biddle and something TND lacked. The Azerbaijan one, with "Welcome To Baku" is absolutely beautiful and touching. I hoped SPECTRE had some bars of "Writing's On The Wall" with Bond driving the DB10 over Rome this way. My second favourite is the Caspian Sea one, with the first seconds of Arnold's "Caviar Factory" which sounds mysterious and exotic at the same time, as if he was saying... we are in nobody's land.

Absolutely agree on the establishing shots. Welcome to Baku and the opening notes of Caviar Factory (and the Bond theme later) perfectly marry the visuals we see on screen. Our first look into Azerbaijan are oil fields, which layers in the exoticism as well as a prominent facet of the country's geological, cultural and economic history.

I disagree about TND. Hamburg is a port city, and the harbour at night is a nice little introduction to the city, along with the opening bars of Arnold's party music. Similar, the Ha Long bay photography is stunning.

TWINE does have a pretty special title sequence, I will say.

Yep! Along with FRWL, TB, LALD, AVTAK and GE, the TWINE titles sequence and song combo is certainly one of the very best.

That hard look of Brosnan's in the PTS would've been one of my suggestions. I must get cracking sometime soon.

Don't mind me-- just adding more to this library.



I find this shot to be a good companion frame to a Goldeneye shot, when Bond is running through the archives. Love the colours, with the orange reflecting off the pier. Encapsulates the danger in Bond's world with a sense of style.


There are a number of shots in the film (that I'll probably end up posting) with Bond and Christmas sharing the frame that really captures a 'teamwork' dynamic. This is one of them. Bond shielding the newly rescued Christmas from the surrounding danger and it's all enhanced by the swinging camera.


Similarly, this one captures that sense of teamwork while still staying true to Bond/Bond girl dynamic. The close proximity, Richards' stance with her healthy chest seemingly expanding upward and Bond taking a moment to absorb her beauty amidst the action-- joie de vivre, if you will.

Not forgetting the moment from that sequence when she climbs ahead of him and he has a quick cheeky (arf) look at her arse.

Indeed. Makes Bond... relatable.

I really need to get cracking with this. Some of my favourites come early on.

I always though this frame looked like Bond was swinging a 15lb kettle bell into Electra's chin....

Cor, those teeth though. You know considering what she did to him prior, I think hitting her in the chin with a kettle bell is the least he could've done. Chortle.

Ha. Good scene, though.

Bit late to the game but mine be from the PTS



aside from the fierce look after he kills the goons, it's the flick of the hand he gives and then this expression. Brosnan's Bond is already pissed.




no idea why but it always tickles Bond taking the time to adjust his tie. Brosnan was the last Bond (well of course, only Craig has followed) to seem to take such things seriously or be stylish.



it was a toss up between this and the one just before where he gets drenched. Both reactions seem more Brosnan's than say Bond's. The first one is shit I've just been drenched and the other, this one where he looks back at the boat and ahead, is "Did she just blow up an old, possibly historic, boat?"



and this, the only time the Dome ever looked good was in the TWINE PTS

Mr. Kiss Kiss Bang Bang wrote:

Yep! Along with FRWL, TB, LALD, AVTAK and GE, the TWINE titles sequence and song combo is certainly one of the very best.

Probably the most underrated title track in all of Bond. And it's the only one that is definitively and directly from the villain's perspective.

Always liked the look of the x-Ray Bans.

Hilly wrote:

no idea why but it always tickles Bond taking the time to adjust his tie. Brosnan was the last Bond (well of course, only Craig has followed) to seem to take such things seriously or be stylish.

One of his best moments in Goldeneye is the tie-adjust in the tank chase, in between glancing back at the mess he's left in his wake and gunning the tank onwards.

Craig does adjust his cuffs just after dropping through the train carriage roof in the Skyfall PTS. I grinned.

I get what you mean there, Hilly. Broz-Bond looks comfortable in a suit, Cregg-Bond does not. Doesn't help that in the last two they outfitted him in short, tight hipster numbers. I think Cregg was perhaps most "stylish" in CR when his look was largely smart-casual (casino scenes aside). I dunno, just thinking of how weird and out-of-place Cregg looked in the Skyfall PTS where he's chasing the bad guy on a motorbike while wearing a skin-tight Don Draper-for-metrosexuals suit and tie combo while the rest of Istanbul dresses for warm weather. You run the risk of being in Austin Powers territory at how silly it appears.

Heh CJB, you've reminded me of Moore complaining that while for Octopussy's India scenes others were suitably dressed 'Bond is wearing a dinner jacket, like a bloody idiot'.

Glad this thread got a bump. Lots to like in TWINE. Those PTS shots were great, Hilly.

Surprised Bond hasn't had more to do with glasses/spectacles. Should be as common as the watch gadgets.

CJB wrote:

I get what you mean there, Hilly. Broz-Bond looks comfortable in a suit, Cregg-Bond does not. Doesn't help that in the last two they outfitted him in short, tight hipster numbers. I think Cregg was perhaps most "stylish" in CR when his look was largely smart-casual (casino scenes aside). I dunno, just thinking of how weird and out-of-place Cregg looked in the Skyfall PTS where he's chasing the bad guy on a motorbike while wearing a skin-tight Don Draper-for-metrosexuals suit and tie combo while the rest of Istanbul dresses for warm weather. You run the risk of being in Austin Powers territory at how silly it appears.

Bond in a suit in hot weather doesn't bother me. Craig in such a tight fitting one does. The prime example is him walking along the rooftops in SP. Someone compared him to an overgrown toad and I agree 100%. He couldn't move properly in it.

I actually ran a little sunglasses tournament over at the other site a couple of years ago.

https://www.mi6community.com/discussion/18229/the-16-shades-of-bond-tournament/p1