Last Bond Movie You Watched? 2.0

CJB wrote:

QOS in your bottom three, Fields? I thought you were one of its biggest proponents. Not even, whatshername, Jemma Artery salvages it?

I get what you mean by the shitshow that was SP murdering one's passion for the series. Turn to Fleming's written word in these dark times. Literary Bond's incessant cravings for bacon and eggs is more flesh-and-blood than any deep n' gritty character arc the current crop of films serve up.

I used to be - and to an extent I suppose I still am in the CR vs QOS debates - but one can't excuse an unfinished script, an uncharismatic lead and OTT ADHD editing. I counted four shots to capture Bond running through a tunnel that took all of two seconds. Granted, it does get better as the film progresses, but it's a damn shame that this desire for 'grittiness' (through the camera work) prevents one from appreciating the look of the film. I still think Fields is a breath of fresh air. I did smile when she turned up. Good old Bondian lightheartedness, though she's long been dethroned as best Bond girl in the series. Fields and Gregory Beam make QOS feel more like a Fleming novel more than anything in CR - including Vesper and Le Chiffre.

TMWTGG is up next for me with Fleming's works. Supposedly his weakest novel, but I'm sure it's still ahead of Craig era nonsense (save SF).

Interesting what you say about Moore in his first 4 films, FM - it's generally felt that Spy is where Moore 'nailed' his lighter take on Bond, whereas in the previous 2 there was some stuff that was seen to be 'too Connery' (particularly his roughing-up of Maud Adams in Golden Gun).

Spy is also Sir Rog's personal favourite of his Bonds.

Blunt Instrument wrote:

Interesting what you say about Moore in his first 4 films, FM - it's generally felt that Spy is where Moore 'nailed' his lighter take on Bond, whereas in the previous 2 there was some stuff that was seen to be 'too Connery' (particularly his roughing-up of Maud Adams in Golden Gun).  

Spy is also Sir Rog's personal favourite of his Bonds.  

I don't imagine you'll find Moore's performance in LALD in my top 10 list. He has his moments in TMWTGG, but his portrayal jars as it switches from "charm" to tough. Moore is perhaps more vulnerable in MR than anything else, which I appreciate, but he becomes much more focused and grounded in Glen's films. I even think his work in FYEO/AVTAK are examples of the better Bond performances in the series.

I'd also have a blast if I had to spout some questionable puns whilst being the hero and bedding some gorgeous girls in Austria, Egypt and Italy. And then get paid for it. It's not a bad film at all, and perhaps my comments are coming across as a little harsh because I did have a great time watching it. I wonder how Moore feels about FYEO overall - that is his best, in my opinion.

The Living Daylights - staggering to think that this one's 30 years old now ... it sorta felt like 'modern' Bond until not so long ago even though it pre-dates the likes of mobile phones and the internet.

Of the Glen-directed 80s Bonds, I'd put this on a par with FYEO and LTK and easily ahead of OP and AVTAK. We get a story that brings back relatively down-to-Earth espionage back to Bond for the twilight years of the Cold War, decent action (the PTS and Aston chase being of particular note), real heart between 007 and his leading lady (for the first time in a while), globe-trotting to some spectacular and attractive locations and a more serious, dynamic and focused Bond from the debuting Dalton (that said, he's not without a twinkle in his eye when the occasion calls for it ... wisely, it was decided that the dodgy one-liners weren't really his style).

For Your Eyes Only.

A tremendously underrated gem. Wasn't particularly in the mood to watch Bond, but an older cousin wanted to watch a Moore era 007 film and asked which I thought was his best. I had a blast watching it, and like I said when watching TSLWM, when watching it with someone who hasn't seen it before, it's like watching it for the first time. I even appreciated the PTS more than ever, both in its humour and daring stunt work. Moore is mostly on point here, and a huge step up from TSWLM. The only scene that really sticks out is his scene with Melina in the hotel room ("You must first dig two graves"). It would have been a nice scene, and perhaps with a little more work/time, they could have nailed it. But Melina stopping by her bag to have the conversation with Bond feels unnatural, and Moore's eye fucking doesn't help either. But once Melina moves around the bed and explains her inspiration in Elektra, it improves tenfold. But a minor gripe in an otherwise excellent entry. It flows organically, the cinematography is the best of John Glen's era. It's colourful and there is lots of fluid camera movement and focus pulls which, to me, emphasises a sleekness to Bond's world. And while it doesn't pop as much as, say TSLWM or SF, there's a moodiness to it that I really like.

I could keep writing about how much I love this film. I think it's pretty telling that my cousin found a lot of it to be quite memorable and is still talking about it today, from Easton's song or the 2CV chase to Cassandra Harris, Charles Dance and Julian Glover. He's is eager to watch another that he hasn't seen, and, well, I will only oblige.

FieldsMan wrote:

Moore's eye fucking doesn't help either.

Roger Moore could eye fuck a cactus if he needed to.

Live And Let Die - by way of tribute to Clifton James.

Moore does all right in his debut (granted, he's no Connery. But they weren't going for a retread, and there is definite amusement to be had seeing Moore's suave urbanity in amongst the mean streets of Harlem) and at slightly under 2 hours, it just breezes by.

I'd like to do tribute screening for Clifton James soon myself.

Licence to Kill.

Picked up on a bit more humour this time round - again, watched it with a cousin who hasn't seen a Dalton Bond film before and it's like watching it with fresh eyes. Dalton's performance is solid and the way he delivers some of the jokes is exceptional (i.e. when he introduces Q and Pam to each other).

I don't find Lowell to be that much of a better actress than Soto, and I much prefer to look at the latter. Lowell can handle herself in the action sequences, and I buy that she is just as capable as Bond. Still, I prefer Wai Lin and Camille to Pam. The film has its moments in the first fifth of the film, but it really picks up when Bond infiltrates the Wavekrest. It didn't look as bad as I remembered, either. It's no YOLT or SF, but it's still colourful, and it seems to improve once Bond reaches Isthmus.

Lowell made for quite a forgettable Bond Girl IMO. Soto didn't fare much better with her "I love Hames so mush" routine. Still, at least she wasn't butch.

Perhaps LTK will be reappraised in light of the recent success of Narcos. Suddenly, 80's drug wars aren't all hokey pastel suits and mullets.

The Man With The Golden Gun.

As tribute to Clifton James. What a hoot! I don't think I've enjoyed this film as much as I have since it sat outside my top 10 when I was a kid. It's not without its flaws, but damn it's fun, and Moore and Lee elevate the film to something it probably wouldn't have been had they not been in it. Had the film been released in '75, I imagine it would have been stronger - more time to polish the script and create a more seamless integration of the solar energy and the Bond vs Scaramanga plot lines. Gorgeous cinematography, a suitably Oriental and lush score, and perhaps the best non-Ken Adams sets in the series all keep this film engaging.

It's downright bizarre, and not ashamed of it. And while it's highly unlikely J.W. Pepper would venture to Thailand, his wife could have dragged him along, or-- yeah I'm trying to justify it because the character and dynamic with our man James is too much fun. I like him more outside his comfort zone in the Far East than in Louisiana with the Black Russians.

Oh and Moore was better than I remembered. Perhaps John Glen sought inspiration for his take on Bond from Moore's portrayal here. Aside from a little bit of eye fucking with Goodnight before he shags Andrea, he's virtually on point throughout the film. He looks his best here, and handles himself well in the fight scenes. He's a c*nt here, and that's not a detriment to the film.

I've long held that TMWTGG was Moore's most Phleming-esque performance. Outside of the expected gags, he's a mean mofo, most notably in the scene where he interrogates Maud Adams.

I just wonder if Fleming's Bond was that much of a cunt, though.

Sir Rog is on record as never being 100% comfortable with portraying 'mean' Bond ... he had to be talked into the FYEO scene where he kicks Locque's car over the cliff, for example.

Yeah, but when he plays Bond with more focus and less flippancy, it's much more interesting to watch. At least in my opinion.

It's certainly more interesting as it gives you a sense that Bond's mission actually carries some importance and a hint of danger. Not so much the case when he merely cums off as a randy middle-aged man looking to lick some young ice cream, though we do love him for it.

They'd have arrested him if he'd came off all over Bibi. As it were.

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