Last Bond Movie You Watched.

I'd say she had her share of close-ups. Age sadly perhaps more noticeable in the last two films.

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Having exhausted the early era, ventured back into the dark age. I'm only joking Fields.

Tomorrow Never Dies/Lies

I keep mentioning in my tour guide job after the historical stuff about it, that Bond drives into Somerset House in TND and so, well here we are.

I have to say, I've always loved the PTS. After the Cold War/postCW grimness of GE, there's something almost fantastically enjoyable at times here. I always love M in this PTS -such as her "His job!" snap -she might not approve of 007's methods but he's her man. There's some good Bond liners ("Filthy habit"), there's something cool about Bond spraying bullets from the cockpit in his leather jacket (and previously, single handedly shooting across the field to get to the plane). Even the way they mention the decoder -something so integral to post credits but mentioned almost offhandedly.
Arnold's score, after the Serra outing, is quite brassy here, it's good to get the Bond theme exploding into life even if we have Pain Face in the jet.

So, yes.

Then it segues into 90s stuff. This is deffo one I skip the song for. Being a chap who always has followed the Royal Navy in history and stuff, as I've always said I like any involvement of it with Bond. When I first saw TND it did my mind in that a ship was sunk in this manner (and always when it kicks off "Green 3-0, torpedo, torpedo, torpedo" there's a moment of, bloody hell). So poor, fictional Devonshire, is sunk. A favoured shot in the film is where you see the crew in the control room start getting up and Arnold's music gets all choir and the crewmen and women are in sort of shadow and light. At the same time, Stamper from the off is good. Typical Bond bad guy, he enjoys himself.
I dare-say one reason why in my fanfic's on the old place I managed to weave in the RN getting a bashing a couple of times.

Now I do like Geoffrey Palmer, I sort of grew up with him and Dench in As Time Goes BY and it’s a touch guilty pleasure to see them squaring off. The balls line is classic, M/Moneypenny’s don’t ask/don’t tell and the dark dinghy look of whatever Somerset House is meant to be used for (MI6? Or it’s old purpose, as a base for the RN in London outside of the Admiralty?). But what I find a little jarring (only a little) is Roebuck’s explaining what GPS stands for. I guess it’s for our benefit but surely these guys know (and as much as Simon is alright, I wish Michael Kitchen made more outings as Tanner, I reckon he’d have had a good time in it) what GPS stands for.

And is it me, or in spite of GE, Dench’s M always like a good drink?

And then we’re off to Germany. Interesting expression of Bond’s as he looks at the papers –as if to say, my old mob is down a ship and he’s lost brother officers. Or Brozzer is thinking of volcano films. A favoured scene of Q to be honest –not quite LTK. Brosnan always seemed to be great in these scenes, I know he was a big fan of Bond prior and perhaps it shows here. He’s with the guy that gave Bond all his gadgets (except for OHMSS of course…).

The party is alright. I personally think the “gun under your pillow” line would work better if it didn’t immediately cut to it being re-played by Gupta or Bond’s naval/sea lines (“adrift, at sea”) it somehow doesn’t sound right out of his mouth. But Teri Hatcher, I’ve had a thing for since the New Adventures of Superman (as we knew it) and she does do alright. Man, back in the day. She’s almost like a brunette Jill St. John. Even if it’s a little weird she’s so into Bond’s MO (“He’s onto you”). But then they did shag back in the day. (I must, er, slap down Brozzer for the way he delivers his I wondered how it’d be if we met again kind of thing or that grunt/moan whatever when he’s told about a phone call and yet it comes with a slightly chilling piece of music. Coincidentally the party piece is Barryesque, no Try or Kiss Kiss Bang Bang but there we go).

Before “Vesper”, Arnold had “Paris & Bond” and it’s not bad. Good little scene. Presumably their fling came after Tracy…(oh the Bond timeline. Moore and Dalton’s respective Bonds got a little touchy in their way about a mention however subtle of Tracy and Brosnan’s had Paris…)
However, the fight scene is to me a top Brosnan moment. It’s him getting the living tar out of him with these Aryan air heads and then when he turns the table. That long shot of the guy watching the TV with Bond laying into them from behind the screen. The way he hefts the ashtray and his station break line. Random thought, Dalton TND…hmm. Well…hmm.

At least in this film, Brosnan’s Bond is seen waiting for Carver’s goons. Already, from the off, he’s set Carver off and though perhaps a riff on Connery in Dr No, it’s not bad for his Bond.

The film, however, seems to start sliding unintentionally away from a relatively good start. The weird but sometimes enjoyable Kaufman seems to herald it, even if the car park bit isn’t too bad. “Argh, Stamper!”/”this is very embarrassing”. Bond at least has the good grace to seem tickled. As much as I hated Bond driving Beemer’s, I once wished if I had a car it had all that gadgetry. Like Brosnan’s little smile as he slides about at one point. The second half after Germany does have some things I like, like Arnold’s All in a Days Work, Bond in uniform making that third link to his past, the Royal Navy coming to the rescue a la Thunderball with dear old Michael Byrne and a pre-huge fame Hugh Bonneville (or indeed the old days of the Falklands a little). Bond suddenly turns into Rambo, toting two machine guns, everything explodes all over the shop, carnage, Stamper with his machine gun (and that weird "Follow me!" that sounds...off),…can Germany really make that much difference? There’s blazing away at the Carver building with Wai Lin, the helicopter goons (I know in most Bond films you get that kind of gun action but in TND it sometimes feels a bit much), the Bike Chase isn’t too bad (musically it’s good enough but bloody hell Bond says ‘elevator’ but kind of like how after they burst into the office she moves to stand alongside as if there some kind of couple and then they end up doing almost as much damage to the neighbourhood as Bond does Paris in VTAK) Wade was okay in GE and not past okay in TND, the goodbye line is tickle worthy if not for the reactions he gets. Man, Dalton gets Hedison and Brosnan gets JDB. I mean the chemistry is kind of there but there we go. I guess if Felix had returned for Brosnan’s films, it would be the Felix mauled in LTK, i.e prosthetic leg

And the kung fu stuff (though Carver’s bit is funny)…I know it’s there for a reason but reminded me of Golden Gun. Even if Brosnan taking out the idiots on the street is good…I’m not saying this whole second half is bunk but it just feels like it kind of went out of steam in parts. And yet, damn it, the navy part is a favourite scene out of the era.

Good lines in the press place…but anyone else find it funny that idiot in the red blazer who decides he can help out the black guy? I mean he looks a prat as he jumps about and goes at Bond.

All through the film, Carver is a delicious villain. Arnold’s music when he kisses Paris makes such a ‘romantic’ act so dark. Pryce plays with a joy. His death is fantastic, Bond’s line about giving the people what he wants.

As I say, I don’t mind the score. Coming after GE, it’s quite colourful. Yes, maybe he does the theme too often but that makes Bond sometimes.
Hence why I liked Skyfall’s score, the theme in the PTS prior to Bond adjusting his cuffs, in Breadcrumbs etc… Surrender works so well as an instrumental. The techno whatever stuff doesn’t always work though. Hamburg Break-Out is kind of okay, more shots of Brosnan’s Bond powering at speed arms pumping (Goldeneye PTS, when being shot out later, TWINE at the caviar factory, DAD in the PTS…). Parts of “Bike Chase” amp up things (such as when they watch the chopper come at them), A Tricky Spot for 007 is good, Backseat Driver, Kowloon Bay…but parts sometimes fall.

It’s quite quotable. The delicious line I work in a bit, the “you brought it, you paid for it” line as I worked in retail, some of the one-liners…let’s do it the old fashioned way…

So yes, not a bad film just not the best sadly. Coming after my Dalton binge, it’s hard.

I know TND is a timeless entry - I can see why you think it's a modern Bond film, alas it's still not part of the Craig era.

One of the reasons why TND feels like the last hurrah of the Bonds of yesteryear, only with a contemporary spin - is because M's attitude toward her best man. She has faith in him. After DAD, the next time we really see that (with such conviction) is in Skyfall, when she allows him to "kidnap" her.
Her response to Roebuck - "His job!" - is great. So simple yet encompasses so much.

Mute the song if you must, but surely you don't skip Kleinman's fine work? Still can't see how you skip it at all, though. Part of getting into the groove of the film is the music, including the theme song. Power of association, and all that.

I'm glad you mention some of the dialogue in your write up. It really is one of the most quotable, perhaps since DAF. Fucking love Feirstein's work. Roebuck is one of the great supporting characters in the series, in my opinion, and Palmer's casting is a stroke of genius, especially on the back of As Time Goes By, as you you.

I'm sure when we get to TND's 25th anniversary (if not sooner), the disembarking personnel would definitely be one of your submissions for the "favourite frames". All the production elements really do come together.

Similarly, I'd love for Kitchen's Tanner to have been in TND, as good as Salmon's Robinson is, it would have just made for greater continuity between GE and TND.

I really do love that moment prior to the Q scene, where we see the impact/scale of Carver's reach, and Bond's reaction to it. He's onto him straight away, and there's (assumedly) disgust/contempt of Carver's manipulation of power. You could almost read Bond's internal monologue written by Fleming about a madman behind the destruction of Her Majesty's fleet-- and more importantly her loyal soldiers. About Bond's patriotism. As a kid I used to get excited that we'd see Q soon, but as I grew older (and read the novels) I really appreciated the moment's reflection.

--Duty calls and I must sign off. But I'll be back to happily comment on your rather happy commentary.

I'd have to look back on that "gun under your pillow" line and cutaway. Never jarred from memory so hopefully it doesn't on my next viewing. Gee, thanks Hilly.

The "He's onto you" is great. Remember, he left her. She didn't get any closure so she's harbouring feelings. And she knows Bond showing up is because of his duty, so clearly Carver is implicated in some way. Her letting Bond know that he may be in danger because of her husband is because she understands the bigger picture. I've read in various places that some consider Paris to be a "grown up" character. I'd agree with that. Her own personal bitterness is put aside because something bigger is at stake and knowing Bond can solve it reignites her attraction to the alpha male Bond is. Great character!

I like his 'uh huh' regarding the phone call. He's onto them straight away. And his first line to Paris is a way of baiting her in my opinion. Testing the waters to work out his best approach. Don't think he's really that sentimental (unlike myself, who's feeling quite nostalgic bashing the keyboard away as I discuss TND to death!)

Not sure one can compare the sanitary 'Vesper' to the gorgeous, sexy 'Paris and Bond' track. I like how you acknowledge how Arnold's music makes something so romantic so dark. Combined with Hatcher's "I missed you"... Gold standard. Not sure about Paris coming after Tracy. Not that it matters, really, but I always imagined it before Tracy. Still, Brosnan's Bond had Tracy - always thought his evading of Elektra's question "Have you ever lost a loved one" alluded to Tracy and not Paris. After all, Bond left Paris. He married Tracy. Agreed about the fight scene. No need to bring Dalton up. Brosnan is excellent in it.

I read that Brosnan really wanted to smoke in that scene to give the full effect but didn't because they had to "think of the children". His passion for the character is so strong that it doesn't sound like his words when he says it. It's a shame he didn't smoke in that scene, but still, highly effective moment anyway. Oddly enough, he's smoking a cigar just two films later anyway in what is probably the Brosnan film most targeted to children anyway.

The Kaufman scene is fantastic. Wouldn't have picked you not to be tickled by such a scene. Bond shooting off two weapons isn't a huge part of the finale. Granted, it could have been handled a little better, but isn't Bond's intention to let it show up on radar? Not only is he trying to put a stop to Carver's operation but to summon the Navy. Not as "dumbass" as some make it out to be. Where's the "Follow Me!" bit? Can't quite remember that. Not sure I agree that Bond does more damage to the streets since AVTAK since most of it seems to be because of the hot pursuit of Carver's goons.

Yeoh's much more a convincing fighter than the TWMTGG nieces, c'mon Hilly. Glad you take to Carver. He really is one of the best in my opinion, though I wouldn't imagine you'd regard him as highly.

Don't think Hamburg Break Out has all that much techno stuff. Not like Backseat Driver anyway. There's more electronica in Hamburg Break In I imagine. Still, I quite like Hamburg Break In and Out.

I'm sure your comments are about as positive as we'll get on this forum, so I'll take what I can!

FieldsMan wrote:

I'd have to look back on that "gun under your pillow" line and cutaway. Never jarred from memory so hopefully it doesn't on my next viewing. Gee, thanks Hilly.  

ha, sorry Fields. I wouldn't say it's abrupt as such. Just I'd have let the scene play out and then later, as we do, have him show Carver the tape. Or perhaps pan out of the shot to show Gupta watching and see the rest of the lines 'on screen'.

I guess Vesper isn't Paris & Bond in a fair comparison but some of his CR stuff seems a shadow of stuff he did for Brosnan.

My Dalton thought was what if he had done TND, say early 90s. (Though again, had he lasted without MGM's problems, he'd have done Bond for what, ten years by 1997).

Stamper's Follow Me is towards the end, during the battle before I think it cuts to either the Bedford or shells falling on the seacat, you have Stamper crouched, he starts beckoning and you hear a disjointed "follow me!" just as the scene cuts.

Sorry Fields, I do skip the credits entirely. But yes, Yeoh is better than the nieces but sometimes it's just in the mood for it. Ha. This is what you get watching it on the back of a four day stint of 9hr shifts and a day where I only had 4hrs sleep. My excuse and sticking to it.

Otherwise you have good points as always. If we all went the same way on things like say OHMSS or whatever, it'd be a dull forum. (As it is I think we happy few crack on...)

If it helps, I'd sooner watch TND than some of the other Brosnan films or post-Brosnan.

“Darling, I give you very best duck”

YOU ONLY LIVE TWICE

Apparently back in the day I gave this a score of 9 on IMDB, judging by what cropped up when I went to check the cast list.

The PTS has it all. Fantastic (for the day) special effects and models, John Barry’s sometimes chilling score (nothing like being cast adrift in space to rattle you), some somewhat dodgy lines or dubbing (the duck line!) and a bevy of faces who did the rounds on British TV in the 1960s/70s –i.e David Bauer, George Murcell, Ed Bishop and Shane Rimmer. Now all of them were favourites of ITC (all, bar Murcell of course, being typical ‘Rent-a-Yanks’. Bauer did the psychedelic Prisoner episode Living in Harmony for example, Bishop UFO, Protectors etc, Rimmer of course the Anderson works…and here, essentially is a live version of Scott Tracy -"it blew up!") Murcell has always been a favourite, I knew him first for the villain in a couple of Saint episodes (Vogler I think) but when I read Plummer’s memoirs, it turns out he was such a character outside of acting and indeed a close friend of ol’ Plummer.

I never really skip this song. I know people don’t like it but I love the score for the film. It’s one, in parts, you can take out of the film and listen alone. Like say Journey to Blofeld’s Hideaway, strip it from OHMSS and it’s a beautiful alpine piece. Thus YOLT has some very good moments. Slight shame the CD version of Little Nellie isn’t as is in film. Yes, it’s the 007 Theme mostly but disjointed from the film.

And then there’s that link to the Royal Navy. I always like the touch of M in uniform because he was after all strictly speaking an admiral and in the Fleming books at least, one who rose quite high in the hierarchy. Though I do wonder, such as my mind works, how the RN can have a sub with such an interior structure (offices…).

Poor ‘Penny, even when she relays a password, Bond won’t play ball. Now for a man who was bored,
Connery keeps some classic expressions. When expressing the code at the wrestling match. Or "impregnable!?"

I do like Charles Gray but though Dikko here isn’t bad, I think it’s wholly the opposite of Fleming’s Henderson (but then he was based on a chap who was larger than life!). His death is at once shocking and yet…odd. I mean the method…I don’t know, I can’t elaborate.

Always like the fight scene with the heavy or Bond sort of cocks up by slapping the wall with his gun hand as he escapes the office.

Tiger is a delight. The dubbing of course is a thing but so be it- it works. Though that moment he actually speaks Japanese in the bath tickles –dub, dub, actual voice, dub, dub, dub…

Oh the MeToo would have field day if the bath scene was done now. All these women sitting around Bond and Tiger in silent servitude, the somewhat bold stance of the woman before she drops her towel or maybe…

Now Karin Dor might not have been a natural redhead but always felt a certain way towards her. Sort of a German Diana Rigg. In looks. Outside of YOLT I only recall her in a two part episode of Ironside ‘set’ in Quebec. She plays an old flame of Raymond Burr’s and it just doesn’t sit. (You have to like Bond as he watches Helga open the hidden bar –as if the goon he left behind would still be in it!). Notable death scene, chilled me when I was younger and that last cry of ‘Osato!’

Osato being a bit of an idiot.

Hans, quiet but steadfastly loyal. I wouldn't say he's a top 10 henchman but certainly there's something about him.

All that fight on the roof, all that fancy jumping and he gets bonked on the head so easily at the docks.

Like TND, infinitely quotable. The healthy chest line (Bond’s reaction to it…), things I do for England etc

It has some good moments in it. I still like the rooftop fight and Barry’s music even if there are factors against it that Python mentioned lately. Osato predating Zorin’s scan of Bond’s x-ray with one of his own. A drop in the ocean (Barry’s score! But “arrange usual reception”…so the Japanese SIS drops enemies into the ocean often!?), idiot driver still trying to steer the car. Aki’s death is always a kicker –just the way it looks and sounds. Bond becoming Japanese as such sort of is okay, it happens in the book, but afterwards the film has moments that seem sluggish and dragging things out. Then of course it goes all out at the end, to set up the kind of film that was parodied much later but it’s a great spectacle. The huge lair climax is more suited for Connery’s Bond.

I’m torn as to Connery in OHMSS. Let’s say there’s a world where he gets talked into it by Cubby or even Peter Hunt and say it’s the same cast/director we get for ‘our’ 1969 film bar Lazenby and we insert Connery into it all…I just don’t know. Usually I’m alright at counterfactual stuff but it’s 50/50. On one hand, I think if we had Connery he’d have been as bored and rigid as he is in YOLT. The proposal scene could’ve been quite bad by accident. But then on the other hand I’m tempted to think with say Hunt as director and that man’s attitude of bringing Bond back to basics (i.e less reliance on gadgets) and with Rigg as his leading lady, he would have gotten going and been good. Yes I believe Bardot was touted as his Tracy but what if it had been Rigg? Scenes like at Piz Gloria, with M in particular (Connery having already done six films with Lee) would’ve been fantastic –not that I don’t think those scenes weren’t already. I imagine Connery at the end and it’s…tantalising. I don’t see him crying as Lazenby does.

If only we could cut into parallel worlds. As a final film for Connery, OHMSS would’ve been a nice sign off.

Now, is the President (Knox)'s codeword IMMINENT or is it merely imminent as in coming? I mean...it sounds like it's IMMINENT...

YOLT to OHMSS ... from the biggest, maddest Bond at the time which strays pretty far from its source novel (which itself is pretty bonkers at times) to one of the most faithful Fleming adaps with a never-acted-before Aussie as the quintessentially English 007, and an unhappy ending to boot.

It's a magnificent sort of lunacy .

Hilly wrote:

If it helps, I'd sooner watch TND than some of the other Brosnan films or post-Brosnan.

That's all one can hope for.

Can't disagree with much of what you say regarding YOLT. Many a favourite frame in this film, but you referenced two of them:



The low angle, the way she and her healthy chest perk up when she mentions it, Karin Dor herself (she should have had an extensive career, also)... One of the best moments in the film.



A shot of Bond between the legs of a woman is iconic Bond imagery. The FYEO poster, one of the frames in LTK...

RE: Connery in OHMSS, I'd lean toward the other hand: Hunt's direction and back to basics approach, along with an exceptional cast to work with, surely would have inspired him. Plus I'm sure he wouldn't have passed on the opportunity of working alongside the Angels of Death.

BI wrote:

YOLT to OHMSS ... from the biggest, maddest Bond at the time which strays pretty far from its source novel (which itself is pretty bonkers at times) to one of the most faithful Fleming adaps with a never-acted-before Aussie as the quintessentially English 007, and an unhappy ending to boot.

It's a magnificent sort of lunacy

Reading Rog's making-of diaries at the minute put me in the mood for an Easter Monday watch of LALD.

On the one hand, a fairly low-key intro for Moore's Bond (the villain plans to dominate the US heroin 'market', rather than the world). On the other, blaxploitation and voodoo add unusual flavours to this particular brew (especially the movie's final shot).

It's felt that it took until Spy for Moore to 'nail' his Bond ...  and yet here we have the likes of our first sight of him being in bed with a popsy, him using his wits in tight spots (the 'snake in the bathroom' and 'alligator-hopping' scenes in particular), suavity and snappy one-liners, the 'necessary coldness' with Rosie, driving-seat and firearm skills. About all he doesn't do is exasperate Q and wear a tux.  

It has its flaws ... the only fisticuffs that present 007 with any sort of challenge are the ones with Tee-Hee at the end, the Sheriff Pepper comedy can be too broad to say the least and the boat chase being largely unscored is an odd decision. But overall, pretty decent.

BI wrote:

we have the likes of our first sight of him being in bed with a popsy, him using his wits in tight spots (the 'snake in the bathroom' and 'alligator-hopping' scenes in particular), suavity and snappy one-liners, the 'necessary coldness' with Rosie, driving-seat and firearm skills.

Yeah I'd say Roger was mo(o)re Bond-esque in LALD than TSWLM for the quoted reasons. Probably the best scenes in LALD. I'd like to hear HGTB's opinion on this, actually.

Is it your first time reading the journal? I got about a quarter the way through but put it down a while back as I had some reading to do for work and forgot to get back to it.

Aye, first time reading it. It's last year's republished version, as opposed to an original print from eBay or the like.

Still no clearer on exactly who leaves Bond the Queen Of Cups Tarot card with his breakfast to tip him off about Rosie .

Speak for yourself, I intend to be around forever

out of nowhere I got myself Die Another Day on Blu-ray. For two quid and thereby my first Bond on Blu-ray (looking back, DAD was my first on DVD actually).

Anyway, I will blame Fields for this (chortle) as his detailed Bond rankings made me want to revisit DAD. I decided early on perhaps to treat it like DAF or even VTAK. Guilty pleasure or whatever.

It's a good seven or so years since Brosnan first stepped into the tux. From the off he looks to have matured into the role a little. Gone is the fresh face of GE, he seems almost on par with a LTK Dalton.

The PTS sets the tone of course, Bond surfing into North Korea after a CGI bullet comes whipping at you and the villain is a typical nutjob. Albeit he's an actual nutjob like Orlov, belonging to an authentic state. There's a bevy of flash cars, there's the hovercraft and there's Arnold's score.
In fact the PTS has some of my favourite Brosnan Bond moments. The slight anxious look on his face as Zao takes his time checking Bond on his phone, how he immediately grabs his PPK just as the North Koreans grab him and finally, that look on his face as the firing squad lines up to shoot him and Arnold's music builds to a frenzy.

"You will not live to see the day all Korea is ruled by the North.
-You and I have something in common."

The bell pun is neither here nor there nowadays. There's worse in a Bond film. Even Brosnan seems in a hurry to get it out and move past. But check his reaction to General Moon's line about his son being dead. Like I care.


Now I remember in 2002 being quite swayed by Bond being tortured and then seeing him all bearded up. Ignoring the song, it's impressive. The title sequences usually follow a pattern, sure you got glimpses of Moore in his sequences, Craig in CR etc, OHMSS with its montage but for Brosnan's Bond it's a little edgy. It's not sweet, it's him being relentlessly tortured, brought to the edge and back. Perhaps it underlines Bond's near superhuman qualities -any lesser man would've been dead. Bloody song though. I did like it once but it's turned full circle nearly. Damn thing.

Brosnan probably has his best performance in this film. As I said elsewhere, there's enough in the first half alone. He's weary, he's angry, he's even emotional and his swagger into the hotel is somehow glorious. His scene with M on the ship is one of his best with her. Not quite Lazenby/Lee fore and aft of OHMSS but it's as good as it gets for Brosnan.

"If I had my way you'd still be in North Korea."

It's their dialogue, knowing that perhaps because of Bond a CIA agent has been killed, that M firmly expected him to kill himself being captured and Bond, like he does in LTK, wanting a measure of revenge, in this case, for a slight against him. Forget the kiss of life line, always dig the checking out line. (Impressive feat by Bond. Tortured for months, able to slow his heart rate and then swims across Hong Kong harbour dressed in pyjamas).

His usual suite line does make me think of Moore's remark about how Bond can be a secret agent if every bartender knows his drink. I'm tongue in cheek here. In TLD it's the case in Vienna, in OHMSS at the hotel etc.

So far we're still cooking with gasoline. Brosnan keeps it up into his scene with Chang ("...I'm not here to take it back."), the expression on his face not faltering. I wouldn't say he's hamming it up, just Brosnan really seemed set on keeping it going which isn't a bad thing. Bond's still pissed, he's out to get the bastards who turned him over.

"If you find him, say goodbye from us."

Cuba. I've long come to think Bond should've stayed put. Once he hops on that 747 it starts sliding away from him. To me there's a break there. I'm not suggesting the rest of the film could've been kept on Cuba or whatever, but literally feels like the 747 is bringing the film into a different avenue. Raoul is a good ally, after Zhukovsky he has good moments with Brosnan.

The damn clinic though.

Though when Bond throws liquid, is it not piss and therefore does he not thereby grab a piss covered gun? Ahem. (And you guys want me as admin!)

But got to like Bond's face after he's just been blown over by the explosion and sees the dead surgeon. A WTF face.

I get bugged by the hamming of the goons on Zao's helicopters. Their mannerisms seem exaggerated.
Perhaps Tamahori said: "Go for it...you have things exploding, you're being shot at... just do what comes naturally."
And we get Jinx.

Once back in Blighty, we have one of the rare cases of a second song during the film (even if it's not an original one), the soon to be villain dropping in (I can only imagine how the Palace were about them filming right on top of them. Those who work for HMQ don't always have patience) and bloody Madonna. The tip line is alright -about average for Brosnan's era. (How many times can we have a 'what's the point' pun or any point pun in a film though?) Though ol' Brozzer does seem proud of himself with the tip line, ha. I mean this is from someone who still quotes "she always did enjoy a good squeeze."

The sword fight some might feel goes on too long but it's excellent. Quickly the two get drawn into something more than professional. Vaguely on par with Drax in Moonraker -how the villain is already in on who Bond is and Bond soon is drawn into the orbit (Moore's Bond has him shooting the would be sniper, Brosnan the sword fight and dialogue beforehand). The savagery of the fight as it goes along, Graves' slight immaturity ("Of course I bloody want to continue!"), Bond's goading (prior to the continue line) but even with him giving the diamond to Graves. The fact they punch, push and hit each other as they go all the more driven along by Arnold's music.

The abandoned station scene is a good one. Brosnan's Hemingway's House almost, albeit in reverse -returning to the service. The holodeck thingy is not bad, it sort of makes sense that the SIS would one day use VR and it's a good test of Bond. And good to have Cleese return, but what a short season hey.
(The Vanquish...well...I love Aston's and am divided. It is good in the ice fight and palace but vanishing...?)

The one-liners keep up in earnest when we reach Iceland, a couple are good -"I intend never to go at all". The "if you can spare it" one.

Gone now is Bond's edge, that angry one. Brosnan seems to enjoy himself and though Bond can't have that edge all through the film like he does in LTK, it's as if he's put it beneath the skin until he has that moment with Zao or whoever really did sell him down the river. The way he saunters in the ice palace for example.

Ah, Icarus. It's reminiscent of the device in DAF. Meh. The scene has more of Graves' delightful prodding of Bond. From the off he knows of course who Bond is because he is Moon and still Bond is clueless that it's really Moon. So that look Graves gives Bond as he talks about Icarus.

Maybe like Bond in Thunderball, Brosnan's Bond starts to get lost in a sea of gadgets and in this case, CGI tricks. Vanishing cars, VR, trick rings etc. I'm not saying he's completely lost but by this point in the film it's all go.

Bond's confrontation with Graves/Moon is jarred at the start by the melodramatic "at last" Stephens' does. I will skip past the die another day line as quite honestly film's titles have been used to varying effect in Bond films. I mean, Pleasance's "you only live twice, Mr Bond" for example.
Brosnan when Frost levels the gun at him. Fuck, I'm a bit of an idiot wasn't I? But he still has to try shooting her though he knows it's no good. And now, from here on in, Stephens goes full ham. Good little moment with Bond going full tilt as he's shot at and the music flaring up. Though Zao shooting down straightaway, I like to think he's not too fussy about hitting Frost for some reason.
But an idiot line by Stephens. Kill him quietly! And then goes on to use Icarus...

"Hey boss! He beat your time" good line followed by classic Stephens sneer.

Again, when I saw the film in 2002 I did like the moment you last see Bond on the iceberg. The camera panning past, the Bond theme going like the blazes, his near desperation and my thought being -Crikey, he might actually cop it kind of thing. But I do like the global warming line more than I should.

The car chase/fight goes on a little long. Though good to have a villain have a car that matches Bond at last, it's so-so. I'm not sure why I get tired of it but needless to say, there's a delightful savagery to how Bond just smashes into the snow-mobiles to get into the palace. I am for some reason tickled that both Bond and Zao use their wipers in the palace -as if it matters with that deluge.

Zao's death is satisfying as is Bond's curt look down as he drives on.

Final act. M has a disdain for whathisface that I quite like. Maybe the classically trained actress Dench was, bridled at being in a scene with Madsen(!). Now if any scene needed Kitchen's Tanner, this one would've done nicely. Perhaps replying to some of Madsen's stuff with a certain look or dry one liner.
I find it funny they reuse the shot of HMS Chester launching a missile in TND for the American missile. I don't know why, maybe because *I* know it's a British ship or what.

Curiously, the only time I don't mind Jinx is when her and Bond are at the airfield lining up a shot.

And a case of things getting away from us, the robo-suit. I'm not sure it was ever needed even in DAD. Even if the "armed and dangerous" line still makes me chuckle for some reason. I mean, it looks silly and the reveal when General Moon enters is just stupid. I say this...the sound that comes as Stephens wheels about, the fact he has those bloody goggles on...(but dig the guilty looks of the North Korean generals when Gen. Moon looks at them).

Weirdly I do rate General Moon in this film. Sure, if he was real, Kim Jung-Un would've surely had him killed in his regime but there's something about the performance.

Intriguing how Frost has a change of wardrobe on the Antonov. Or there's fencing equipment but then I guess this was North Korea's Air Force One...?

The final fight isn't bad. Bond is getting his revenge effectively, now it's a case of going all out to get Moon/Graves. I do like how they fight amidst this carnage caused by Icarus. And as below, the Bond theme ramping up at the right moment. Again, Stephens' goes full ham and almost delightfully so ("Oh look! Parachutes for the both of us!"/"My dreams can kill you!, Time to face destiny!")
But Bond's reaction to Frost's body.
I do like M's look when Falco lights up in the bunker once Icarus has packed up. There is something about Bond's reaction to "we're gonna die rich" line, as if "what? I'm trying to save us...oh right, diamonds..." and the wag of the eyebrows after "something about going down together".

And so it ends in a sea of CGI, falling cars, choppers, diamonds and VR.

_-

I can't settle about Jinx. Ripping off Ursula Andress' entrance, the lines, the delivery (Yo momma, read this, bitch)...nothing against Berry but I sometimes think Bond could've done without her in the film. I remember when Parkinson interviewed Brosnan when the film came out, saying about the sex scene. Is it the way ahead kind of thing and Brosnan seeming a little uncomfortable as if saying, you know there's more to this film than a slightly more detailed sex scene.

I like Toby Stephens but he is a chap who can do ham more than most of his roles. He has an undeniable swagger, a real cock o the walk. I think I actually first saw him in Cambridge Spies as Philby but DAD is fairly typical of some of his stuff. He chews his lines with sometimes an abandon as if Bond films are beneath him. Certainly he does sneer better than most (though the way he carries on with Zao when they are reunited makes me wonder just how close they really are, ha). He at least has a fantastic scene with the sword fight and to be honest, I do enjoy more than I should, Bond's lines at the very end.

"Look like...your friends have...bailed!"

"Time to face gravity!"

Rosamund Pike. I'm never totally mad on it, it's not an awful performance, not saying it's bad. I'll leave it there.

Michael Madsen though. Some kind of hero is as good as it gets.

It's bits like Brosnan's leap before the flamethrower in the PTS, the ice floe, some of the lines, the random slo-mo/sped up shots, Jinx and green screen (when Bond and Moon fight on the hovercraft, when Jinx stands on the fort's edge...) that bother. (And the one Bond line that bothers is the delivery of... "It was already here" pause "it belongs to another Korean" pause "it's his boss" heavy pause).

The anniversary nods are here and there. I don't quite mind the mementoes of previous missions being kept in storage (hence my Moore tribute short story) but it's hit and miss. (On this viewing only noticed the violin on the shelf which I assume is from TLD) and Q's coil of magic rope from Octopussy.
The Birds of the West Indies book wasn't bad. (I still for some reason, wish they had put OHMSS' bobsled in Bond's garage behind the DB5 in Skyfall even though it would've stuck out like a sore thumb). I always like how we have Roger Moore's daughter as the air hostess on the 747 (she previously briefly acted with her old man in an episode of the Persuaders).

According to a MI6hq article referencing anniversary nods, Arnold quotes the opening to OHMSS' theme in the car chase music. I'll have to re-listen to it properly. Similarly they say when Verity is introduced a few bars of Nobody Does it Better is heard. https://www.mi6-hq.com/sections/articles/dad_homages.php3 (they also say the diving helmet from FYEO is in Q's lab but replaying the scene I didn't see it).

Compared to his subsequent efforts, Arnold's score is not bad. Hovercraft Chase is typical -brassy Bond theme and a hefty mix of techno which seems to try its best to drown out the sound effects. Music for the Ice Palace car chase, the Bond theme at the end of Antonov (I'd like that in isolation to be honest), Sword Fight etc.

Despite some of this, I'm half tempted to slightly jig my Bondathon rankings.

So it ends, Brosnan's era. I'll give it a slightly more favourable jig out of 10. One thought I always have when watching this, is the fact that it was watched by the Queen and Prince Philip being the Royal command performance or whatever they dubbed it (I think the last one was YOLT?). I always wonder what HMQ thought of the film and Prince Philip...

Can't quite believe this film is a good 17 years old. I saw it with a friend I lost seven years ago and it seemed come Brosnan's reign would continue.

Nice going Hilly. Never thought I'd read anything as positive on here about DAD from someone other than myself, so it was a pleasure to work through. I'm glad you identify the good stuff beneath the admittedly distracting (for the wrong reasons) visual effects.

Brosnan's delivery of the "it was already here" never really stood out to me. The one that did was in that same scene. Jinx says "Our little friend with the expensive acne". The way Bond says "Zao" used to grate but I've come to realise Bond is probably really just trying to make sense of the absurdity of it all. A North Korean Colonel has just been knighted?

OHMSS can be heard in a few of the action tracks. What springs to mind is Bond's first escape from the ice palace (Just after "death for breakfast") IIRC.

I'm definitely a little warmer toward the frosty Pikelet, though.

BI wrote:

Still no clearer on exactly who leaves Bond the Queen Of Cups Tarot card with his breakfast to tip him off about Rosie

Ah I take it it's something mentioned by Moore in his journal that I haven't caught up to yet. Always thought it was Solitaire.

Nice write up, Hilly.

The overuse of "tip" and "point" in the movie was ridiculous - glad someone else noticed!

I have very little that's positive to say about the film. Cuba was good for five seconds (i.e. pre-Jinx) and the car battle on ice was a cool (HAHA) idea. Other than that, a plate of rancid CGI-enhanced bollocks.

...CGI-enhanced in about 6 scenes/sequences all up...

Also instead of getting Toby Stephens they should've just had the Korean bloke in whiteface. Thoughts?

Yeah, Col. Moon might have meant less ham. The actor was great in the PTS. Toby Stephens, going by his work in Black Sails, might have been a better Bond than villain, actually.

He actually has been, in some BBC Radio Fleming adaps.

CJB wrote:

Nice write up, Hilly.

The overuse of "tip" and "point" in the movie was ridiculous - glad someone else noticed!

I have very little that's positive to say about the film. Cuba was good for five seconds (i.e. pre-Jinx) and the car battle on ice was a cool (HAHA) idea. Other than that, a plate of rancid CGI-enhanced bollocks.

I know, right? I didn't realise there were that many variations to a pun but DAD pushed it. Cuba was good until she showed up. I sometimes think if DAD could've gotten away with just Bond. We already had him going for revenge with a woman tagging for the ride in LTK. Though I'd take Pam over Jinx anyday.

But bless you, Fields. I just went with the ride hence the stupidly long write-up.

Blunt Instrument wrote:

He actually has been, in some BBC Radio Fleming adaps.

Yes I need to dig them up. 10 years on from DAD and he looks the part of Bond. Maybe a little short.

Hilly wrote:

I know, right? I didn't realise there were that many variations to a pun but DAD pushed it. Cuba was good until she showed up. I sometimes think if DAD could've gotten away with just Bond. We already had him going for revenge with a woman tagging for the ride in LTK. Though I'd take Pam over Jinx anyday.

You know, I'd have loved a Wai Lin extended cameo in Hong Kong and Cuba, and then Bond's pursuit of the mole in the organisation, with Miranda perhaps ordered by both M and MoonGraves to seduce Bond in a sort of counter-espionage assignment.

Still, I'm not even too bothered by Jinx's first scene anymore. Sort of ok when you realise Bond is just carelessly going along with the her silly repartee because the prospect of sleeping with her after a dry spell is more enticing.

Diamonds Are Forever

After the disappointment of the Bond 25 announcement, plus the idea that it's in production (less chance of it being shelved) I needed some cheering up and popped in the funniest of Bond films. Cracking dialogue and laughed quite a lot throughout, so it does exactly as it says it will. And Connery is very good at comedy. Wish he did more in his career. The idea of SPECTRE hijacking an existing smuggling ring isn't explored deeply enough here. It feels as though some scenes are missing because it feels throughout that they have a very clear idea where the story is going, but perhaps some were edited out for pacing reasons. I know there are the deleted Plenty scenes, but it suffers elsewhere, too.

For Your Eyes Only
Supreme James Bond. I really liked Melina this time round. I like the growing attraction between her and Bond from the market scenes onwards. The ski chase has to be one of my all time favourite action sequences. Excellently photographed and scored. I caught myself with the biggest grin on my face the moment Runaway blasted through the surround sound. The low-key, original action scenes also feel rather reminiscent of Fleming. The beach scene, for example, feels like it's something Fleming could have written. Bibi doesn't bother me, really. The Thatcher ending always makes me smile. Topol is excellent, and Glover is much better sneering away than pretending to be an ally - which is the point I imagine.

Dr. No
This is Ian Fleming's James Bond right here - more so than Dalton. The attention to detail I'm not sure has ever been matched. For example, Bond's pause as he enters M's office is so expertly done. You can almost read the internal monologue Fleming may have written to gauge M's mood. It's beautifully atmospheric, too. All the Kingston scenes are so absorbing that you feel like you're right there. I've said it before but I love the build up to Dr No over the span of the film. From seeing his files at Strangways home, to his booming voice in the web-shadowed room, to his almost triangular silhouette as he checks on Bond. Striking villain. Had Dr No been made with a bigger budget I'd say it would be seen as the definitive Bond-- not Goldfinger.

Wai Linn in DAD would've been intriguing. Sent over by Chang to keep an eye on Bond and doing their bit to put an end to Zao.

if you like Connery at comedy or flashes of it, Fields and haven't already -Last Crusade of course, Man Who Would Be King and even Robin & Marian has its moments.

Otherwise, excellent little reviews (I should take note!). Glad to see some Melina appreciation. And some love for the beach scene. "Goodbye, Countess..."

Might have done to bump off Zao much sooner so there's greater focus on Miranda and MoonGraves. Maybe that's how Bond and Wai Lin could have worked. She's assigned to assassinate Zao but Bond needs to convince her to hold off until he finds out his next clue. Once he has, then she bumps him off, they shag, she returns to China (effectively ending her role in the film) and Bond continues on to find the mole.

Yes, seen Last Crusade, though not for some time. I'll have to check out the other two. Thanks - I was hoping someone would offer suggestions on Connery's comedy films.

Thank you sir. As much as I like FYEO I always felt Bouquet just wasn't quite up to the task. But she does alright. Perhaps I was being too hard on her. I wish Lisl was used more actually. I did think about if Brosnan has ever given FYEO a rewatch...

Ha! If you put out long commentary on the Bond films/books I'll be reading them so go as long as you like!  

I like the way your mind works. Yes, finish Zao off early and focus it on the other two. It'd have to be done, Wai Lin's departure, so we don't end up feeling short changed as Bond goes it alone.


Bless you, if I put out a commentary on the books I'd send people asleep. There is no end to this machine sometimes. Now that I'm employed as a tour guide in London it's endless. Ha.

Bouquet holds her in. I particularly like her in a French show we got over here dubbed as Spin. Plays the French president's wife. Weird to see her speak native so to speak, ha

FYEO is one of the films that gains most from a large screen and home theater system.

DAD has so many plotting issues that it is painful to even comprehend what ifs.

But I agree wholeheartedly on DN so much so that it's now neck and neck for me with FRWL as the best film in the series. Definitely the purest and many scenes are the best representation of 007 ever shot. The entirety of the Miss Taro sequence is just pure gold. The way Sean enters the room with the towel wrapped around his fist as if in a garrote: "I see you believe in living dangerously...", the "no hands", the watch glance, the doctoring of the house, the waiting for the agent of Dr. No, and finally the Dent confrontation.

Fortunately I was watching FYEO on a large screen and home theatre system!

Bond at his "purest" is a great way to describe Dr No. I've always loved the Miss Taro scenes, though strangely it seems overshadowed by the glitz of future instalments.