Last Bond Movie You Watched.

Very well written defense, Fields. You've made me interested enough to revisit the movie. I definitely won't respond to all of your post, because I think some of our disagreements come down to good ole subjectivity. Well reasoned, and well argued.

Mr. Kiss Kiss Bang Bang wrote:

Where do you think The World Is Not Enough succeeds, out of curiosity?

I think the majority of its successes are more in the structure and the outline of the project, as it were, rather than in the execution (which, as I've mentioned, I think it often misses the mark on). However, one of the areas in which the concept and execution are married successfully comes in the character of Elektra. I think Marceau is perfectly cast, and she has a lot of work to do in the film. I don't think it all works, but considering how much she has to attend to as an actor/character -- she has to remind Bond, I think, of Tracy in some ways, she has to make him fall for her and feel protective of her, she has to pull the audience in and make them fall for her, she has to sell the "twist" to the audience around the 2/3 mark -- I'd say she pulls it off with aplomb. To strike the balance of fragility and menace isn't, I can't imagine, particularly easy for an actor to do. Even in the final scenes between her and Bond (which, I don't think, are particularly well written or staged) we still get a sense of a severely damaged person despite her power and control and violence. To sell the reverse Stockholm syndrome that nonetheless still left her with some scars that Marceau lets through in the performance -- I think that is a true success of the film.

Not to mention, a female villain in that type of role was (and remains) unique within the context of the series. Again, structurally I think a lot of the film works. I think there is a great Bond film somewhere in TWINE. The plot is fairly compelling given the benchmark set by the series, there's a potential for some exploration of Bond's psyche and character in his dynamic with Elektra, and so on.

On a pure execution level - the locations are quite nice and some of the cinematography is properly evocative. I'm not too keen on Arnold's score but there are a couple good tracks. I think if you keep the "bones" of TWINE, swap out Purvis and Wade, bring back someone like Campbell for a sturdier approach to the direction, there's a really good Bond film in there somewhere. As it stands, on my last few watches through the series (so, for the last 6~ years or so) TWINE has ranked last in the official EON canon, for me. However, I'm a true Bond fan and not the most discerning viewer, so even something like TWINE I can find aspects to enjoy. Apologies if this wasn't the most readable or well-written as I wrote it pretty haphazardly.

Thanks. I'm a proud, staunch defender of TWINE.

I like that you recognise that there are pros in this film - the fans who I've seen rate it last usually have nothing good to say at all.

Campbell directing it is an interesting thought. It would certainly seal the deal to it being the perfect companion piece to TWINE... provided he continue with the Goldeneye aesthetic.

Yeah, I don't know if Campbell would've been the best choice. I hadn't really given it more thought, but I do think with a few fairly minor pivots there's a really good Bond film in there somewhere (obviously you already think so, but I'm coming strictly from my POV of course). Little tweaks and shifts can have drastic impact.

Xenia93 wrote:

Yeah, I don't know if Campbell would've been the best choice. I hadn't really given it more thought

It's interesting to think about. Perhaps it would be purer, since Dana only joined the writing team due to her husband directing the film.

Xenia93 wrote:

I do think with a few fairly minor pivots there's a really good Bond film in there somewhere (obviously you already think so, but I'm coming strictly from my POV of course). Little tweaks and shifts can have drastic impact.

Of course they can. I do wish a little exchange between Bond and Elektra made it from Purvis and Wade's original draft:

Quote :

ELEKTRA: Cure me. Tell me why I should relent. Talk me out of it. Tell me the calvary`s on its way. All I see is one spy and a foolish girl, floundering in a city they don`t understand. You don`t know what i`m up to...and neither does M.

BOND: One thing M knows is what your father told her about you.

ELEKTRA: And what did my father tell M?

BOND: That his little girl was insane

Nice little bit of dialogue there. I could see Brosnan delivering that line and Elektra's intensity. She believes she's quite normal. I assume that would've been when he was being tortured?

Yes I believe so. It's the only real time Bond and overtly psychotic Elektra cross paths, really. I love the cynicism in Bond's line and Brosnan would have nailed it.

Though, I do wonder when King would have told M that his daughter was insane.

Yes, King telling M that would surely have been prior to him being in MI6. I mean you can't see them just chatting about the old days, thanking her for the money unless it's some Roger Moore style throwaway one liner.

King goes to stand: "Well, thank you for recovering the money once again, M____. I guess now Elektra gets her inheritance after all, the crazy bitch!"

Hilly wrote:

"Well, thank you for recovering the money once again, M____. I guess now Elektra gets her inheritance after all, the crazy bitch!"

"Don't blow it all at once"

From Russia With Love

Don't really have much to add here, given how many times I've seen it over the past two decades, but I gotta say that the interaction between Bond and Grant on the train is such a highlight. It's slow (in a good way) and genuinely tense. The sad thing is, the Bond we see here is somewhat MIA from the remainder of the Connery era as he incrementally dips his toes deeper and deeper into self-parody with each film. In actual fact, I'd argue that while we may get a glimmer from time to time of this Bond in OHMSS, he's really MIA until The Living Daylights.

Interesting observation, and perhaps, sadly, rather accurate.

Watched AVTAK last night. It's certainly not a particularly well-made film. Lots of dodgy acting, and the script is weak in spots, but it's still a fun film. Tanya Roberts catches quite a bit of flack, but I think she actually did a decent job. There are far worse Bond girls. And the character itself is appealing, simultaneously plucky and vulnerable.

And unlike many Bond films that begin running out of steam about the mid-point, AVTAK is actually better in the second half. The stuff in the mine and on the Golden Gate Bridge is top-shelf.

As an aside, AVTAK is certainly among the most violent Bond films. Right up there with TB, LTK and SP.

Always a pleasure to see more appreciation for Stacey. I agree, her character is appealing and up to the challenge of being a Bond girl - that mixture of courage, vulnerability and - perhaps most of all - her resourcefulness. And Roberts, looking as she does, has all the makings of the perfect sidekick to Bond. By far my favourite of Moore's leading ladies.

Feel free to vote here if you haven't already. Have to say I'm quite surprised that 5 have agreed she's one of the best Bond girls.

After Fields' defense of it and our brief discussion I revisited The World Is Not Enough while his comments were still fresh in my memory. I like to try to be positive and give things the benefit of the doubt, and I find it is always more entertaining and responsible to approach and judge a film based on what it is attempting to achieve rather than measure it by expectations I have forced on it.

That said, I still think this is probably one of the weaker entries in the series, and I think there's a really great Bond film just below the surface. Brosnan suffers from some bipolar direction. Purvis and Wade's script just isn't strong enough - dialogically - to support the emotional/character ambitions of the film. So Brosnan is constantly forced to try his hand at gravitas followed immediately by a painfully juvenile bit of dialogue.

I'm planning on writing a much longer piece about the movie. Some aspects of it work. The cinematography is nice, and I think I underrated that aspect in the past. As you said, Fields, it has a really distinctive post Cold War look and feel that nicely matches the oil-centric plot.

I still think Elektra is perhaps the one element of the film that works nearly as well in practice as she does on paper, and that's largely down to Marceau. In any way that the movie is good, I think, it's due to her.

The main issue is that the movie doesn't have the spine to commit to its ambitions. It is torn between being a pithy Brosnan Bond (which I am fine with, and I am a Brozzer apologist) and being a more serious and complex character study. It is clear Brosnan wants to explore aspects of Bond's character that the script just doesn't allow for. The result is that it fails on both accounts, both as an ambitious and more compelling Bond as well as the escapist/fantasy/quippy Bond. The producers at that time weren't willing to commit, to take the risk. It wouldn't be until SF that they actually committed to the ambitions of the premise.

Because of this, most of the action scenes feel even more obligatory and out-of-left-field than usual. The parahawk and Caviar set pieces, especially. Also, the climax is totally DOA. The film climaxes, clearly, during the final Elektra scene, and yet we've still got 20~ minutes of film left for the dull submarine stuff (I will admit that I do like Bond having to hold his breath and swim up the side of it -- that bit is well done, I could do without everything else though).

These are some very scattered thoughts, and I apologize. I don't hate the movie anymore, but it's still low-tier Bond.

Positives:
- I'm an Arnold apologist as well. Going through the score now, I think it's pretty solid actually. *ducks*
- The PTS, while overlong, is pretty great. The boat chase is the only truly exciting action sequence in the film.
- Sophie Marceau as Elektra.
- Jones' white T-shirt during the finale.
- The Elektra/Renard/Bond/M angle, which works way better on paper than it does in execution, is still compelling enough.
- Zukovsky.
- "She's waiting for you" is maybe the only one-liner that works in the movie. I also hate that I don't hate "First things first," either.
- Cinematography nicely matches the atmosphere. Evocative.

Articulate write up, Xenia93.

While I don't agree it's low-tier Bond - and we've spoken at length about its balance already - it's always good to read differing opinions and good on you for giving it another go. Best case scenario is that you don't hate it anymore!

Arnold's score is very good. It's one of my favourites in the series, actually. He really lends a classical, evocative feel to the film, while still providing the fun and colourful action cues as well.

I think quite a few one liners work:

"No I think they're perfectly rounded"

"I don't know any doctor jokes"

"See you back at the lodge!"

"If you're Q does that make him R?"

"He seems well suited for the job!"

"I'm giving you the opportunity to walk out with your life"

"I came prepared for a cold reception"

"Story of our relationship. Close, but no cigar"

etc.

Also as mentioned, Bond's use of the family motto in the torture scene. Also some of the other lines like "I usually hate killing an unarmed man. Cold blooded murder is a filthy business". And I still don't know if the final line of the film is brilliant or tacky.

Still, I'd be glad to read your extended coverage on TWINE when you have it ready.

Also, found this to be very sensible:

Xenia93 wrote:

I find it is always more entertaining and responsible to approach and judge a film based on what it is attempting to achieve rather than measure it by expectations I have forced on it.

Perhaps I should try harder with CR06.

I'll post a link when it's done! If I remember.

Goldfinger, in honour of Honor.

In every regard deserving of its high praise. From the cast, to the script, Ken Adam and John Barry, everything clicks together to form supreme entertainment. My only niggle would be Tanya Mallet talking through her teeth when she declares she's avenging her sister, but it could have been so much worse had she played Romanova in the previous film, given she auditioned for her.

And what a rack on Dink.

Onto Pussy Galore. The producers were so right in casting Blackman. It's said Cubby declared that UK audiences will love her because she's Cathy Gale. The US audiences will because she's so good. And so damn good she is. A formidable character, an excellent actress, sizzling chemistry with her leading man, and gorgeous to look at. In a series populated by beautiful women, it's rather rare for such a combination. And that name. Credit to Fleming, naturally, but credit to the filmmakers for sticking to their guns and keeping it. No doubt Kitty would have been successful with Honor in the role, but there's a relish to the filmmakers and Honor herself embracing the cheekiness so integral to the series' DNA.

I say this not as a criticism, but because I know how well she would have done with it: close your eyes and imagine, in the closing frames of Goldfinger, Honor saying: "I've never met a man before."

Honor Blackman cements her place in James Bond iconography and is by far one of the very best James Bond girls ever.

If not, the best.

I did too, by way of tribute ... simply the epitome of 'Swinging Sixties' pop-culture chic entertainment joy, due in no small part to Honor's brilliance.

I 'bookended' it with the first 2 episodes of the mid-80s Doctor Who story she appeared in (Terror Of The Vervoids) and the 'Bond Girls Are Forever' docu ('06 edit).

A few guest spots on some TV shows after the 60s and a mere handful of movies (some made for television). She should have had more of a career. Hamilton should have cast her in one of his Agatha Christie features. What a talent Blackman was. Suppose an actor can only ask for one iconic role, and between Pussy, Hera and Cathy Gale, she did alright.

It is a shame didn't get more prominence in movies. I think she did alright with the Avengers on TV but in film she didn't get much in the way of leading or very prominent supporting roles. In A Night to Remember she's one of several in that film for example.

But, doing my aimless wandering of the net, found a film on YouTube called "Account Rendered" (1957). A review says a largely forgettable film but the best bit, essentially, is a "pre-Bond Honor Blackman".

Still want to check out A Night to Remember. So many of these movies just don't make it to Australian shores, and I'd rather not watch it illegally.

Hilly wrote:

A review says a largely forgettable film but the best bit, essentially, is a "pre-Bond Honor Blackman".

Pre-Bond Pussy, no less.

Ha, that's one way of phrasing it, yes.

She wasn't too bad in it but the film was...not the best.

No, as you say, you need to watch that film, A Night..., properly and not illegally. Downright shame you can't get a lot of movies over there. One of my favourite cinema experiences was seeing the film at the British Film Institute in a small screen that held about 60 people (not even that, maybe 40), as part of the 100th anniversary of the Titanic sinking. Brilliant. It was the proper version too, little bits have been trimmed since for home releases.

You tease me, Hilly.

Well, Goldeneye

I won't do a proper review as I will likely be revisiting this when I kick off my Bondathon soon but I think it's gone up in my estimation a touch. It was gradually doing so but probably helps going through it with the man himself. Albeit...in Hawaii.

Good to hear you've found a new appreciation for it.

In Hawaii. And to think I was only there a month ago, and we drove to the North shore, where he said he was. Did we drive past him, the mind wonders... Hawaii is only so big.

Five years after the last one, the much touted in lockdown-circles Bondathon is on. I likely will be zipping through these at a rate of proverbial knots (considering on the quiet how many films I have watched this month). Also, I'll be skipping OHMSS having just watched other week and at X-mas, I want to keep it...well, fresh-ish.

--

Before I launch, give you chaps my Bondathon rankings after the last in 2014-15.

(ranking change in brackets)

On Her Majesty's Secret Service (0)
From Russia With Love (0)
The Living Daylights (0)
Licence To Kill (0)
Dr No (0)
Thunderball (+3)
For Your Eyes Only (0)
Octopussy (0)
Skyfall (-3)
Spectre (New Entry)
Goldfinger (-1)
Diamonds Are Forever (+3)
Moonraker (-1)
You Only Live Twice (0)
Live and Let Die (-4)
Goldeneye (-4)
Casino Royale (0)
The Spy Who Loved Me (-4)
A View To A Kill (+1)
Die Another Day (+1)
Tomorrow Never Dies (-4)
The World Is Not Enough (-4)
Quantum of Solace (-1)
The Man With The Golden Gun (-1)

looks worse in aspects but a lot sit on the same /10 score.

10/10- On Her Majesty's Secret Service
9/10- Dr No, From Russia With Love, The Living Daylights, Licence To Kill
8/10- Thunderball, For Your Eyes Only, Octopussy, Skyfall, Spectre
7/10- Goldfinger, Diamonds Are Forever, Moonraker
6.5/10- You Only Live Twice Live and Let Die, Goldeneye, Casino Royale
6/10- The Spy Who Loved Me, Tomorrow Never Dies, The World Is Not Enough, Die Another Day
4/10- Quantum of Solace
3/10- The Man With The Golden Gun

Launch when ready.

Dr No

All legends have a beginning. How different a beginning had Thunderball been the first as planned. Imagine a late 60s Dr No swallowed up by gadgets, length and Bondmania at its peak...

If anything tells you it's the new swinging era, the title sequence. As well we weren't entreated to an 80s dance number or two in the titles of a Moore film or 90s techno full on.

Decent start to the film, there's a lot early on in that first half at any rate that makes Dr No feel very much in tune with most films of the late 50s early 60s. It's still reasonably that staid era when things were done at a more gentler, easier pace to modern films. This is seen at the card game, the communication room (love seeing this, fits in with the image of SIS HQ in Fleming's books) and the club/casino. I can't explain it accurately but something about the chap in the coat coming to get Bond and the very appearance of that club encapsulate that late 50/early 60 era. Gradually in the year or two after Dr No, cinema changed too.

The introduction of Bond could well have been from the pages of Casino Royale, the way we don't see Bond fully first, angles of his hand, the cigarette case and of course the intro remains legendary. The way the Bond theme creeps in. Trouble is in these first two films the theme got knackered, jarring with what was on screen (Bond checking his room in FRWL for example).

Weirdly never noticed the signs on the wall as Bond leaves the lift to the outer office (one is for a solicitor, one is UE and the last is a James Reid). Again, right in with Fleming's SIS HQ and I dare-say the real-life 1940s/60s SIS HQ.

To think this is our first film, our first for everything and thus, our first M briefing. For Bernard Lee this was merely the latest in a long line of films from postwar to now (a quick look to IMDB shows he was credited with 152 TV/film appearances by his death). Dr No could well have ended up being just another film based on another popular novel/series. M's office is fantastically decorated, the  numerous paintings of old naval vessels all over the place is right in line with Fleming's M. Makes me wish we saw more of Quarterdeck in OHMSS -there was as much naval memorabilia there as in the office. Poor Peter Burton, the one time Armourer. Another actor for whom Dr No was merely the latest in a long line of films.

Nice to note Bond's hospitalisation for six months. This Bond has cocked up prior and is a creature of tradition i.e his gun. M is on fine form in his scene down to his "forget the usual repartee" line to Moneypenny. For all his spy-knowhow, Bond's flat seems frightfully easy to get into.

A touch that this and FRWL has, is the control tower at Jamaica airport informing whoever that their 707 has landed. And what is good about this film that not all films had in 1962, was the amount of location filming. Dig Connery's face as he hangs up the phone after checking on whether a car was sent for him.

Bond sometimes was a detective more than most things and it's seen best in Dr No.

It proceeds at a steady pace, Quarrel is a fantastic character right from the pages of the book and then there's longing look the receptionist gives Bond. Can you imagine that now?

Spider moment never gets old. Weirdly helps knowing Connery hated spiders. The fear is partly genuine and that musical timing to the thwacking (and I like that Bond goes into the bathroom to be sick. Very human reaction).

Good ol' Jack Lord. Personification of cool in this period. The first of a few times Felix rolls his sleeves up and helps Bond out. I allow my mind to wander and imagine Lord's Leiter working with a shattered Lazenby Bond in DAF.

(Pleydell-Smith and Duff are the personification of that late 50s/60s era of film I think off above)

They say, some do, that Bond's shooting of Dent was overkill or a bit much but Bond is a killer, a trained professional killer and Dent was a target. For overkill perhaps Bond's shooting of Stromberg if we're going that way.
Dent though might not be a professional killer (there's something in his manner that yes it's a job, he's not competent at it). Like how casual Bond is when confronting Dent, lighting his cigarette and taking his time. He knows Dent's had his six and that there's no rush as such.

Another classic Connery face is after Honey describes her revenge on that fella. "It wouldn't do to make a habit of it!"

Never really twigged that at Dr No's base his goons wear different coloured protective suits for each job or section. Or that you indeed do glimpse the covering Andress wore for the showering (just as she reaches the end of the conveyor, as she reaches for the towel, she's meant to be, er, nude of course).

More is the pity Fleming was not alive in an era of film commentary on DVD/blu.

"Naturally, I suggested to Mr Young that it was not authentic. A spy wouldn't do that sort of thing. Mr Young, ah, politely told me to leave the set."

How creepy is Dr No checking Bond out in bed?

Wiseman is perfectly understated. I wouldn't say No is the best villain in the series (he's not the worst, definitely top 10) but Wiseman is a great actor and it sets a pattern for subsequent villains. Plays well with Connery's Bond who again is casual in his mannerism. In Bond's mind there's no doubt surely he'll get out of this. Though if he dies, 008 is next man in (or I guess Felix unleashes the Marines upon Dr No's lair).

Random thought: I would have been tempted to get Noel Coward in the background of Strangways et al playing bridge. And Fleming come to that, the two mates cameoing on their home turf so to speak.

If the actors and location filming sets the pace for the series to come, so does the set. Not perhaps Ken Adam's most famous piece (most focus I'd imagine goes to the YOLT volcano and TSWLM's Liparus sub pen). Classic fight to the death and the desperate last grasp of Dr No.

Not for the last the good ol' Royal Navy comes to get Bond. Quite why that little thing needed all those sailors is anyone's guess. Looks likely to sink in a slight breeze.

And so ends a film that incredible is fifty-eight years old. One down, twenty-four to go.

9/10 (previous rating, 9/10)



Hilly Does 2020 Bond

1. Dr No -presently 1st, last Bondathon final position, 5th