Last Bond Movie You Watched? 2.0

Perilagu Khan wrote:

Hmmm. Methinks I detect a cartain pattern to your Bond ratings. It is distinctly and absolutely chronological.

:shock:

It is most definitely. Same with the films. The farther you get from the source......

Some day we will find our way back to the garden. (Neil Young)

Casino Royale (2006, dir. Martin Campbell)

The film's biggest problem is perhaps that it feels disjointed. PTS + titles = sombre, hard-edged thriller; Madagaskar + Miami = Die Hard 2 + other generic action stuff; Montenegro = thriller + character stuff + screwball stuff; Venice = teenage love drama + Michael Bay.
If you've got a novel that offers material for a film of at best 1 hour, the last thing you should do is to add stuff that is a) tonally at odds with the source material and that b) ultimately makes the film run 2 hrs + 20 mins.
I can live with a lot of it, but forcing the rookie-Bond-mucks-things-up-and-gets-trouble-with-mommy-boss angle into the story was a BAD idea; the dialogue with Solange makes you shudder; the dialogue on the train is unnatural, if they didn't want to let go of it, then at the very least they should have directed it better, let the characters think a bit and surmise and talk slower; linking it with the poker theme was fairly clever; I could have lived with the Rolex? - Omega! bit, too, but where they go completely overboard is the perfectly-formed-arse shit; in fact, I think the dialogue gets worse and worse as it progresses; the chocolate/armour/little fingerdialogue is perhaps the worst of the series, utterly tasteless.
I love the PTS and the titles. I just wish the fight had not taken place in a washroom, and it would have lasted a bit longer; I also love the Montenegro part, but the banter with Vesper mars it, at least some of it (train/dinner jackets etc.); not sure if the digitalis stuff had to be in there, at the very least Bond's bouncebackability just after the attack is ludicrous; The game itself and Bond's behaviour, the whole "tell" stuff, his seeming defeat, the decision to kill Le Chiffre with the knife and Felix' intervention, even the torture scene, in fact, almost all of it, is very well handled, and fairly clever. There is suspense and tension, something that had not been in Bond for a long time; it feels fairly hard-edged. I also like the stairwell fight; the degree of violence is perfectly suitable and finally achieves the intensity of the novels. I've realized that the torture scene is believable, because in the novel, we can see into Bond's head, which obviously isn't doable in a movie, and the torture gets interrupted by Mr. White much earlier than it is in the novel, so that Bond does not reach the same level of physical frailty as in the novel. Thus he is still able to quip and tease Le Chiffre, and no matter what people say, it is a clever dialogue that perfectly makes sense. Most of the PTS and the Montenegro part is so good, so close to what Bond should be, that I wonder how this can be directed by the same guy who made GoldenEye.
I could write a lot more, but I'll finish here. While there is much wrong with the film, CASINO ROYALE gets way too much flack, which is particularly ludicrous considering the gushy responses to, yes obsession with SKYFALL (the most unbelievable and derivative of all the Bond films).















The Man With the Golden Gun (1974, dir. Guy Hamilton)

Since my time has run out, I'll make it short: I love a lot about the cinematography, the score is pretty excellent, Lee is a fantastic villain, and I thank Maibaum eternally for developing the Andrea character as well as inventing all that solar energy stuff; most of what is good about the film is connected to the solex agitator. The middle part with the karate school and Pepper is rather lame, but has its funny aspects; the ending with

Spoiler:

may not have been the best conclusion, the Nic-Nac on the boat bit is a bit daft; but most of the rest of the film is pretty admirable, both story- as well as dialogue-wise; it's visually and aurally appealing and contains many a good scene (Lazar, PTS, dialogues with Scaramanga at the thai boxing rink and at dinner, most scenes with Lee, actually). Hamilton gets many things right tonally and visually. Just the middle part feels stupid.
Certainly the most underrated Bond film.














Dressed to kill Kra



That Khan bloke is a dead man already!

I'm loving those pictorials!

:)

I think there is a problem with Scaramanga being shot by Bond posing as his wax double. If you watch the scene carefully, Scaramanga does acknowledge the wax double, and we the audience seem to acknowledge it too, as it does appear to be missing fingers, however the camera stays with Scaramanga and it does not seem that he moves far away enough from the wax double for Bond to do the switch.

Unless the wax double from moments earlier was indeed Bond, but it does seem that the wax figure was missing fingers, unless Bond bent them maybe, hmmmm.

Never mind the different suit, IIRC.

The Living Daylights (1987, dir. John Glen)

On the one hand, this film has one of the best storylines to ever grace a Bond film. Timothy Dalton is stellar as the one actor who is closest to Fleming's version of the James Bond character. He is tough, resourceful, charming, witty, and deadly.
On the other hand, I noticed quite a number of things that didn't sit well with me; not that they were new to me. First of all, obviously, Glen's refusal to do without the little slapstick elements. It starts with M having his desk in the big military plane that carries the double-oh-agents to an exercise at Gibraltar. It may be an improvised one, but there is no need for carrying the papers along. In fact, M shouldn't have been there in the first place.
I wish I had taken down notes, because all of the complaints seem to have vanished from my memory over night. But they are along those lines. The film lacks a spark, zest, an edge in several scenes. It's due to Glen's well-known blandness. While the fight in the safe house kitchen is pretty good, the one in the Afghan prison could almost be from OCTOPUSSY; and that is not a good thing at all when it comes to fist fights. Next time I watch it, I'll take some notes for further complaints. Please remind me. ;)
And while I wish they did without obviously impossible nonsense, the winking to the audience, particularly in a movie with a rather serious overtone, the damaged cello that caught a bullet but can still be played is so fresh and charming an idea, I simply have to love it. That is the only gimmick I'll let them get away with. And while I love John Barry, and this score works very well for most of the film, the synth stuff did not feel appropriate in some scenes. Also, I felt, the dialogue between Bond and Pushkin when Bond confronts him in the Russian's hotel room, should not have been scored, at least not all the way through. The music, while fine, distracted my attention.
There were more things that bugged me, but I'll go on with what I love about the film: the terrific PTS - the great aerial shots of the parachuting MI6 agents, Bond's introductory reaction to the death scream of one of his colleagues, the exercise turning into a deadly affair, the action on the car - utter brilliance. This is where Barry's synth score probably works best - the way the story elements work - how we find out why the mission from the PTS went wrong, that it was all part of an elaborate scheme - brilliantly thought-out by the writers; the defection that wasn't what it seemed to be, the way the character of the girl is worked into the whole affair; -
The weakest part of the film may be Afghanistan; the shootout between Soviets and Afghans is long; very long. But, apart from that, it is once again well made. It lacks some zest and edge once again - also the fight with Necros outside the plane; but THE LIVING DAYLIGHTS offers many excellent scenes I cannot complain about: the whole defection/sniper part is marvelous (stuff your orders!); Necros attacking the safe house; Bond questioning Pushkin at the hotel room, and the way he operates in that scene; the romantic scenes in Vienna; the great showdown in Whitaker's fun room-cum-arsenal - it is much better than the preceding action in Afghanistan, with really good dialogue, quite gritty.
Most of all I must confess that THE LIVING DAYLIGHTS is only one of two Bond films that brings tears to my eyes, and at least one time more often, and in a more intense way than the other film: firstly, when Bond says NO WAY! to Kara's wish to drive back and get her cello, and the next shot that shows Kara hurrying out of her apartment, carrying the cello case. It gets me every time, it reveals so much about Bond's character. The other scene is the very ending, when Kara is disappointed and believes Bond hasn't attended her concert, only to find in her room the arrangement of champagne bottle and two glasses, and the following bit with the whistling and the beeping key ring - simply wonderful.
(I must admit that SKYFALL makes me weep too - but for very different reasons... :twisted: It's also very sad to see that Bond in THE LIVING DAYLIGHTS visits concerts and operettas and enlightens colleagues about the significance of a Stradivarius's name, a distinctly sophisticated and well-bred man, while "ageing" Bond's response in SKYFALL to being asked what he sees in The Fighting Temeraire is - "a bloody big ship"... :roll: )
Another great scene with Kara is when Bond is drugged and tries to prove to her that he was the one who had deliberately missed her when he was assigned to shoot dead the sniper; another great scene is at the fair in Vienna, when Bond has just gotten Georgi's "message", as he tells Kara.
And no-one ever in a film says Over and out. That's it, he's in in a nearly as cool a manner as John Terry does. 8)
There are some more really good bits, but I think it suffices for today. One of the few really great storylines in Bond history, and a fine film overall.

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(I must admit that SKYFALL makes me weep too - but for very different reasons... :twisted: It's also very sad to see that Bond in THE LIVING DAYLIGHTS visits concerts and operettas and enlightens colleagues about the significance of a Stradivarius's name, a distinctly sophisticated and well-bred man, while "ageing" Bond's response in SKYFALL to being asked what he sees in The Fighting Temeraire is - "a bloody big ship"... :roll: )

Though I think you're missing the point of that line (Q's snooty putdown hitting a nerve, not a statement of Bond's cultural refinement) I'd like to see Bond the gourmet and Bond the sentimental romantic return to the films.

Manhunter wrote:

The Living Daylights (1987, dir. John Glen)

It starts with M having his desk in the big military plane that carries the double-oh-agents to an exercise at Gibraltar. It may be an improvised one, but there is no need for carrying the papers along. In fact, M shouldn't have been there in the first place.

I was fine with M being there. I was fine with the papers flying. I figured he simply forgot that he had papers on his desk. It was not a big slapstick moment for me.

I did think the part about Kamran Shah and his army showing up to Kara's wedding was just wrong. Totally, tonally wrong. For certain it got a huge laugh in the theater when Shah said "We ran into some trouble at the airport", but the amount of work required to get the viewers to accept that joke and to accept Shah's presence in the scene were not worth the payoff. Shah only has one other line in the scene: "Where's James?" That line could have been uttered by any other character, including Kara. The outcome of the scene would have not been measurably altered had Shah never shown up. I kind of like the way Shah's exit is handled earlier in the film, with his his guns shooting, his arms pumping up in the air, and Bond waving the plane back-and-forth as a form of "goodbye". To then bring Shah back into the movie almost feels tacked on as a gimmick, and it also undercuts everything that Art Malik and the crew had accomplished in the preceding scenes.

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I wish I had taken down notes, because all of the complaints seem to have vanished from my memory over night. But they are along those lines. The film lacks a spark, zest, an edge in several scenes. It's due to Glen's well-known blandness. While the fight in the safe house kitchen is pretty good, the one in the Afghan prison could almost be from OCTOPUSSY; and that is not a good thing at all when it comes to fist fights. Next time I watch it, I'll take some notes for further complaints. Please remind me. ;)

My complaint at the time, and it still holds, is that Bond isn't involved in the action sequence at the safe house. I don't see the problem with having him be in the scene, but for some reason the writers take him out of one of the better choreographed fight scenes, and could have given us our first encounter between Bond and Necros instead of waiting till the scene outside of the cargo plane.

I had no problem with the prison fight scene either.

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And while I love John Barry, and this score works very well for most of the film, the synth stuff did not feel appropriate in some scenes. Also, I felt, the dialogue between Bond and Pushkin when Bond confronts him in the Russian's hotel room, should not have been scored, at least not all the way through. The music, while fine, distracted my attention.

This was probably the weakest score by Barry, but considering how great all of his other scores were such a complaint may be misleading. The romantic cues between Bond and Kara are beautiful, but the action pieces leave a lot to be desired. The synthesizer works against the PTS score as far as I'm concerned. His action edits on films like AVTAK and OP (snowmobile chase, fight atop GG Bridge; Bond and Octopussy avoiding the yo-yo buzzsaw) enhance the action. In TLD, some of the scores don't take away from it, but they don't enhance it either. It's not bad like NSNA's score, but it doesn't always thrill you like some of his others.

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Most of all I must confess that THE LIVING DAYLIGHTS is only one of two Bond films that brings tears to my eyes, and at least one time more often, and in a more intense way than the other film: firstly, when Bond says NO WAY! to Kara's wish to drive back and get her cello, and the next shot that shows Kara hurrying out of her apartment, carrying the cello case. It gets me every time, it reveals so much about Bond's character. The other scene is the very ending, when Kara is disappointed and believes Bond hasn't attended her concert, only to find in her room the arrangement of champagne bottle and two glasses, and the following bit with the whistling and the beeping key ring - simply wonderful.

TLD had what I considered to be one of the most truly authentic romantic relationships Bond has ever truly had in the films. Maryam D'abo does a great job, (especially at the end when she sighs with sadness that Bond is not able to come see her at the concert) of really selling the character and her story arc, and she and Dalton make a great couple. She is perfect at playing innocent, naive, and yet she's not a bimbo either. She's capable and able to help Bond in key situations when he needs it. She's real and natural without needing to strap on a gun and be just like 007.

I would kind of like to see THAT sort of relationship again in a film; maybe with Craig's last film. Let his Bond have a happy ending. Make it essentially a one-Bond Girl picture and let the film devote its time to building up the chemistry between the two. Bond can retire, and his son, James Suzuki, can join MI6 and carry on the franchise.

FieldsMan wrote:

Never mind the different suit, IIRC.

But I think we are too assume that Bond put the wax double's clothes on.

For the scene to make any sense, Scaramanga had to have been acknowledging what he thought was the wax double, but not knowing that Bond had done the switch already. Then Bond shoots when he's got Scaramanga lined up.

What throws it off though is that it looks like real Bond is misssing fingers in the last look before we see Bond turn and shoot.





====Diamonds Are Forever on big Tiff Bell Lightbox big screen=====

I am happy to announce that Tiff managed to show the pristeen perfectly restored version of the film. It was a sight to behold. I can't imagine the blu-ray looking better. The sound was cranked up full and clear.

This is the best looking screening of DAF I have ever witnessed and with a packed audience that really enjoyed the film. Tiff is packing most of these screenings, as people are taking advantage of the Bond-movie-admission-and-exhibit-combo deal, especially on the weekend.

So it seems Tiff is showing the pristeen restored version of everything from DN-DAF. Not sure about LALD as I missed the first showing. (will catch it in Jan) Everything I've seen though from TMWTGG to LTK have been grainier non-restored prints.

Tomorrow; Goldfinger. Does it get any better than this?!

A DAF/GF, Guy Hamilton/Shirley Bassey/Connery big-screen weekend. 007 nirvana!!!

Re: TLD's score - I think John Barry's and Chrissie Hynde's' If There Was A Man (which is what the Bond/Kara music is derived from) one of the best love songs in the entire Bond canon. Probably the best, right up there with We Have All the Time in the World, The Look of Love (if that counts) and All Time High. In the words of Sean Connery from THE RUSSIA HOUSE "It's like nothing I have ever known: it's unselfish love, grown up love. You know it is. It's mature, absolute, thrilling love. "

If it's of any interest, the Yamaha DX7 synth bass lines and sequenced Roland TR-909 (or possibly an Alesis HR-16 or E-mu SP-12/SP-1200 - Ambler will have to correct me) hi-hats and hand claps were done by producer Paul O'Duffy - who's worked with Swing Out Sister, Frankie Goes to Hollywood, Dusty Springfield, Amy Winehouse, and Hans Zimmer (on DAYS OF THUNDER).

All Time High as one of the best love songs in the Bond films? Really? :|

I really like that song too actually.

So do I, even though I don't understand how it's related to the movie.

I was excited when I was at the cinema watching TED, and All Time High played.

Walecs wrote:

So do I, even though I don't understand how it's related to the movie.

Two ageing lovers who've seen it all, but are happier than ever. Bond and Octopussy.

Largo's Shark wrote:

Re: TLD's score - I think John Barry's and Chrissie Hynde's' If There Was A Man (which is what the Bond/Kara music is derived from) one of the best love songs in the entire Bond canon. Probably the best, right up there with We Have All the Time in the World, The Look of Love (if that counts) and All Time High. In the words of Sean Connery from THE RUSSIA HOUSE "It's like nothing I have ever known: it's unselfish love, grown up love. You know it is. It's mature, absolute, thrilling love. "

I love "If There Was a Man" as an instrumental, but Hynde's vocal performance on the actual song is so ear-bleedingly awful that I can't stand it (Hynde is much better on "Where Has Everybody Gone?").

Anyway, last night my wife and I did a Dalton double-feature. Love THE LIVING DAYLIGHTS, don't really love LICENCE TO KILL. But whatever you can say about the films he was in, Dalton was a great Bond.

Harmsway wrote:

Largo's Shark wrote:

Re: TLD's score - I think John Barry's and Chrissie Hynde's' If There Was A Man (which is what the Bond/Kara music is derived from) one of the best love songs in the entire Bond canon. Probably the best, right up there with We Have All the Time in the World, The Look of Love (if that counts) and All Time High. In the words of Sean Connery from THE RUSSIA HOUSE "It's like nothing I have ever known: it's unselfish love, grown up love. You know it is. It's mature, absolute, thrilling love. "

I love "If There Was a Man" as an instrumental, but Hynde's vocal performance on the actual song is so ear-bleedingly awful that I can't stand it (Hynde is much better on "Where Has Everybody Gone?").

I can't hear it. It's a beautiful, soulful performance. Nancy Sinatra's delivery on YOLT and Sheryl Crow's on TND sound much worse to my ears.

John Barry's "Into Vienna" on the other hand is horrible. Should be playing in a mall somewhere. Glad it was rejected and replaced by a real orchestra.

FieldsMan wrote:

All Time High as one of the best love songs in the Bond films? Really? :|

Agreed. It does nothing for me.

Largo's Shark wrote:

Harmsway wrote:

Largo's Shark wrote:

Re: TLD's score - I think John Barry's and Chrissie Hynde's' If There Was A Man (which is what the Bond/Kara music is derived from) one of the best love songs in the entire Bond canon. Probably the best, right up there with We Have All the Time in the World, The Look of Love (if that counts) and All Time High. In the words of Sean Connery from THE RUSSIA HOUSE "It's like nothing I have ever known: it's unselfish love, grown up love. You know it is. It's mature, absolute, thrilling love. "

I love "If There Was a Man" as an instrumental, but Hynde's vocal performance on the actual song is so ear-bleedingly awful that I can't stand it (Hynde is much better on "Where Has Everybody Gone?").

I can't hear it. It's a beautiful, soulful performance. Nancy Sinatra's delivery on YOLT and Sheryl Crow's on TND sound much worse to my ears.

Agreed. With ignominy.

I simply love Hynde's voice. She sounds like Rachel Welch looked. Painfully beautiful.

Sinatra, Crow, Knight and Easton, OTOH? Not so much. With ignominy.

Perilagu Khan wrote:

FieldsMan wrote:

All Time High as one of the best love songs in the Bond films? Really? :|

Agreed. It does nothing for me.

I think I meant "Nobody Does It Better." ATH has the beautiful orchestral arrangement in the score, but the Tim Rice-produced song is painfully languid. Rita Coolidge sounds like she was sleep walking.

My favourite Bond love-song?

Lulu's end title vocals over Bond and Goodnight sailing off on Scaramanga's junk.

"Goodnight Goodnight. Never fear, JAMES BOND IS HERE !!!!

Amore!

On Her Majesty's Secret Service (1969, dir. Peter Hunt)

What I've said about the dubbed versions being inferior to the original ones has now to be inverted: while some of the actual translations (or re-phrasings, even changes in dialogue) are certainly inferior in the dubbed version, there is one reason why I strongly prefer the dubbed version of OHMSS:
George Lazenby.
His voice work (if that term exists at all in English, I am not aware of a fitting one) is pretty poor, save for a couple of exceptions. Listening to him during the whole film I can clearly see why many would rank this film in the middle or below it. He simply cannot convince with his voice, so to speak, he is often so far off hat I find it really annoying. It's the first time I really noticed that he was being dubbed when he impersonates Sir Hilary Bray (no surprise, it must have been the third viewing at the most in English, never really payed enough attention before, it seems); while it was a pleasure to finally hear Bond speak with a proper voice, the idea was bad; the difference is too crass. They should have dubbed Lazenby for the whole film. It would have been easy to find someone bettering Connery in that department. So, when I listened to the dubbed version (when I was looking for appropriate caps for the picture show below), I realized in those scenes that Lazenby's acting is fairly good outside of his use of voice. When I watch the dubbed version, I do not have a real problem with him. In fact, I actually quite like him (and the fact that he has the same voice as Connery had had since FRWL helps to maintain a feeling of character continuity).
So, I like the storyline (there are some improvements on the novel, one of them concerning the Tracy character - Maibaum was really good at this); the romance is well developed and elevates the material (though I have to say that I prefer the romance in THE LIVING DAYLIGHTS; while Rigg is fine, I think d'Abo is more convincing, she really lives the character, and Dalton is an actor genius anyway; the writing in TLD even surpasses that of OHMSS in that respect, too).
I love the gorgeous cinematography (Reed, whereever they got him from, does some great stuff; but the guy responsible for the aerial shots, and Bogner, probably surpass Reed's work); the music is fantastic, I lack the proper adjectives to describe it. The action scenes are marvelous, particularly the ski chase and the bob chase, but also the fist fights in the PTS (in spite of the comic book-like gimmicks), and in the hotel room; the escape from the cable car machinery room!
Most of Hunt's directing choices are admirable as well, acting and tone are good most of the time, some of the direction is artful. I even don't mind the Satchmo montage; the preceding scene at the bullfighting arena is quite brilliant, and having further dialogue scenes after such an emotionally dazzling moment would have been exactly the wrong decision. I could find gripes (the idiotic breaking of the fourth wall at the end of the PTS; the sound gimmicks during the short fight in front of Draco's room and some more), but most of the film is splendid. Best portion is probably the whole escape from Piz Gloria, Bond meeting Tracy again at the ice rink - wonderful moment - the snowbound shack, up to the devastating effects of the avalanche.
Emphatically and insistently I want to praise the editing of the whole film; I am not aware if Hunt worked with Glen or simply supervised his work, or if Glen did all on his own - in any case, I love all of the editing decisions. The editing is excellent.
I find everything OHMSS does so much more convincing than the romances and the drama stuff in the Brosnan and Craig films, and that is particularly including the pretensions of SKYFALL. All of the persons involved in making OHMSS (as well as most of the other 60s films), were at the top of their game.
Still, while I can see it is tempting to think of OHMSS as the best Bond film, it isn't quite. But it is very good nonetheless.

















You don't mind me shooting, isn't it, Sair Hilary?

Moonraker (1979, dir. Lewis Gilbert)

Gravity's Silhouette wrote:

My complaint at the time, and it still holds, is that Bond isn't involved in the action sequence at the safe house. I don't see the problem with having him be in the scene, but for some reason the writers take him out of one of the better choreographed fight scenes, and could have given us our first encounter between Bond and Necros instead of waiting till the scene outside of the cargo plane.

The reasoning behind this decision, I assume, is that if Bond had stayed at the safe house, then he would inevitably have been one of those who failed to protect Koskov, because the "abduction" of Koskov had to be successful for plot reasons. Consequently, Bond would have had to have a positive failure at a mission looming over his further career, at least for this film, which he would have had to come to terms with one way or the other - and which would have added yet another story arc to this already fairly complicated plot. Necros kills all of the agents attacking him, via Walkman cord, frying pan, or explosive milk bottles, so I don't see how Bond could have survived it without being a coward or in a very contrived manner.
One may also consider what the reason for Bond staying there might have been - after all, he is an MI6 agent, responsible for operations outside of England (the defection in Czechoslovakia); guarding Koskov was probably MI5's assignment. And if Bond stayed there a bit longer, assuming he had nothing else to do, I doubt Koskov would have staged his "abduction" at a time when Bond was still there (he had calculated Bond in as a factor in his charade from the very beginning).
I also don't see why they should have met so early in the film; they probably took the Grant-Bond relation from FRWL as a model, where their first encounter is foreshadowed throughout the film and is the dramatic climax of the movie (which is not to say the equivalent in TLD was even remotely as tense or exciting). (Even though their actual first encounter is when Bond is being drugged, or rather when Bond awakes on the plane heading to Afghanistan; unless you are counting fight scenes only; Bond also shoots at the spotlight that Necros points at him, but it is no direct encounter. At the fair in Vienna, Bond is a tad too slow to catch him.)

Gravity's Silhouette wrote:

TLD had what I considered to be one of the most truly authentic romantic relationships Bond has ever truly had in the films. Maryam D'abo does a great job, (especially at the end when she sighs with sadness that Bond is not able to come see her at the concert) of really selling the character and her story arc, and she and Dalton make a great couple. She is perfect at playing innocent, naive, and yet she's not a bimbo either. She's capable and able to help Bond in key situations when he needs it. She's real and natural without needing to strap on a gun and be just like 007.

This is absolutely true! I love Kara's character and story arc, d'Abo's acting, and the scenes with her and Dalton together. The best romance in any Bond film. Barry's music adds a lot to the other already great elements.

My last Bond viewing was OHMSS, like to pop it on in the run-up to Christmas ... enjoyed it, as ever. One of the series' greatest 'what ifs' is Lazenby not quitting after all and continuing in the role.

DR. NO (1962)

It's good.