Last Bond Movie You Watched.

Quite right Blunty. Gave me a curious mental image of an animated version of Keen though!

Your idea vis a vis the PTS and start of film Fields is a sound one. It is curious that they felt the need to insert Blofeld into things. I choose not to think of him as ol' Ernest but rather some crackpot who has delusions of some such. Far as I'm concerned, Ernest is still bobbing on that oil rig someplace.

If you want to see Mr Keen in something more Fields off the top of my head: Sink the Bismarck (with Kenny), Carrington VC (with Niv) and Doctor in the House (Kenny, Dirk Bogarde and JRJ).

Freddie Gray the "harrumph" grunt supercut video...

I would [maybe] pay to see that.

I might do some digging and see what he ever thought about his time with the films. He died in 2005 so must've been aware after he left (with Daylights) that he was sort of popular. I mean, some people only have been in a Bond film for a few moments and known only for that.

Licence to Kill

Not much to say that hasn't already been said. As I mentioned in another thread, Pam continues to grow on me. She's convincing enough as an agent (more so than her predecessors) and she's an effective counterbalance to Bond. Perhaps it was a mistake for her to sleep with him on the boat, as the sexual tension that could have arisen from their teaming up could have added another dynamic, and her jealousy that Lupe had got their first might have landed better. But otherwise she's quite competent, and how she is used in the final chase is satisfying.

I credit Leaving Las Vegas for my warming to her. Wasn't crazy about the movie but her brief appearance in that made me see her in a different light.

Back to LTK, I'm not big on the set up. Perhaps if it played out different it would have resonated more: the British are somehow involved (perhaps a Brit is killed while investigating and is connected to Sanchez) and the movie starts with Bond and Leiter working together. It should be in Bond's professional capacity that he discovers Leiter's mauling - not on his way back from being his best man. It's too saccharine. The trajectory for Bond could otherwise be similar, teetering between professional and personal motivation and the second half could play out similarly. Bond sowing the seeds of doubt is Bond perhaps at his most cunning, using his charisma as a weapon. The movie works best once we hit Isthmus - the shadow of Leiter's attack still lingers but not a lot of the corny setup. Felix's lighter was a great touch, though.

Curiously, looking at Glen's five films, Octopussy, A View to a Kill (arguably) and Licence to Kill all have stronger second halves. Perhaps it's the positive taste they leave in my mouth that allows me to enjoy them more and remember them more fondly. FYEO and TLD are consistent throughout.

My biggest criticism of LTK and it's been said elsewhere is that it doesn't play out like a Bond film, this is a man and it could be any man out for revenge against the person who has maimed his buddy and killed his wife, don't get me wrong it's a sound entry with very dark undertones but this could be Jason bourne or even Taken out of that taken film, the mission if you can call it that, i.e to bring down a drugs lord is secondary to Bonds personal vendetta

He is focused on vengeance, but hey ... if he gets to destroy a drug lord's organisation in the course of that, nice bonus!

I think LTK can still stand on its own as a Bond film, despite his quest for vengeance and the film makers experimenting with a new approach, because Bond's character isn't compromised. He uses his wits to achieve his goals. As such, I don't really have a problem with how Bond conducts himself in the film. The main issue is suggesting Leiter would pick Bond as his best man (side note, what would Bond's best man speech be like, I wonder.). They are pals but it's a bit sentimental. The impact of Leiter's mauling on Bond could still be felt had it occurred on a joint mission. Further, perhaps if it happened at the midpoint, and not the 1st act break, that time could be spent with the both of them on the mission to allow their friendship to develop enough for general audiences to understand their alliance.

I think there was some critical opinion around the time that the Leiter/Bond friendship hadn't been well enough depicted in the series for what befalls Leiter/Della in LTK to be sufficient 'motivation' for Bond. I guess it's possible that these thoughts were inspired by Hedison being the first actor to actually play Leiter more than once.

Of course, and I think bringing Hedison back works (though I wonder if it registered back in '89 after 16 years).

But some efficient writing highlighting their friendship (to remind general audiences) without the sentimentality would have done the trick.

I just wonder how different the film became because of the 1988 writer's strike that forced many off the films they were working on.

Diamonds Are Forever.

In celebration of Connery and St John's recent birthdays. How I wish Jill St John had Fleming's Tiffany Case to work with. She'd have done a terrific job. Along with the dialogue, she's definitely the best thing about that movie.

I still go into these films looking for greater emphasis on story. It's so light, yet muddled here it's hard to engage. But when you have Connery, Adam, Barry, the humour and sense of bizarre, along with St John and Wood, it's an easy way to spend two hours. It's such a shame the Vegas chase wasn't more dangerous. There's a couple of shots that demonstrate how thrilling it could be but these camera angles are too far and few between. It's such a gorgeous backdrop and there's a perfect getaway car in that Mustang.

Also, Charles Grey does have quite a palpable villainous relish, doesn't he? Never quite picked up on it but when he tells Bond to replace the tape, he means business.

I did Moonraker a few weeks back.

So Michael Lonsdale. What a villain he made. He'd certainly feature in my top 10 villains in the series. Such a talent. RIP.

As for the rest of the film, it's highly enjoyable for reasons we've discussed many times here. It's undemanding without compromising Bond's character. I realised my engagement started fading after the Carnivale sequence, but it picked up again during the Amazonian boat chase until the end. Bond shooting down those globes is one of the tensest scenes in the Moore era. The lighting change to red and Moore adjusting the belts are little details but add so much.

And Holly. Having explored (sometimes inadvertently) Lois Chiles' filmography gave me a greater appreciation of her performance this time round. There are still lines that grate ("hang on James!" or "Something must have gone wrong with the controls") but overall she's ok. She's matured as an actress here, having seen her in The Way We Were and The Great Gatsby recently. Is she one of the greats? No. But I think she's worthy enough to carry the great name that is Holly Goodhead.  

And Live and Let Die tonight.

It's become a bit of a tradition to revisit this as we approach Halloween (the only thing I really do to mark the occasion as well as the odd house party that might pop up).

I still fail to see how it's considered one of the strongest entries in the series. I'm sorry HGTB! It's continuous action that's light on story, and rarely do characters have a chance to truly shine. Perhaps there are too many characters. Usually a fan of Kotto, I was left a little more indifferent this time round, but it's not entirely unexpected considering it's a film I used to like the least in the series, and given I've seen it so many times. I was really focusing on Jane Seymour this time round. She's wasted here. It's not her fault - the writing isn't up to scratch. And is her handbag moment unmotivated? It never gelled with me. Wish she was saved for Octopussy.

It also occurred to me as to why it's not nearly as compelling as it should/could be: we don't see the effects of Kananga's plan. That's an issue.

That said, it's very entertaining. It's only when one considers it alongside a great many others in the series, it doesn't hold up.

By her 'handbag moment' I take it you mean when she seems to be taking a swing at Bond as Mr Big's goons are about to put them onto the plane? Yeah, have never quite understood that bit myself.

Correct. Yeah I've always found it odd. Was she legitimately pissed at Bond for breaking his promise to keep her safe, or was she trying to pretend that Bond kidnapped her so she wouldn't be punished? It's perhaps the only moment in the film she has a bit of spunk and Seymour is great, but it feels out of character which, to me, reiterates that she was wasted in LALD.

It plays a bit like it was something Bond and Solitaire cooked up to wrong-foot the goons, but of course they're never left alone to have been able to do so.

That's Solitaire trying to give Bond an opening while practicing cover because she wants to act like a kidnappee so Kananga doesn't kill her etc. That's sort of from the novel with Bond and Solitaire running away on the train and her recapture by Mr. Big.

LALD has that grittier and lower scale feel sure, but it also does do a pretty good job of having the narrative story drive and chase aspects of the novel I'd argue.

hegottheboot wrote:

That's Solitaire trying to give Bond an opening while practicing cover because she wants to act like a kidnappee so Kananga doesn't kill her etc. That's sort of from the novel with Bond and Solitaire running away on the train and her recapture by Mr. Big.

I feel it's too left-of-field and ambiguous for something like that. It's not a big problem, but it sticks out like a sore thumb.

Well starting tribute proceedings with a rewatch of DAF

I've long since ceased to put any serious thought into it or critiquing it. It's the most watched Bond on account of it being my dad's favourite and so it's long since lost an edge but it's not a dead loss.

A decent Barry score, not bad locales really, a knockout Bond girl and so on and so on.

Always tickled that Tiff had that fingerprint thing in her room. Considering her wigs, endless wardrobe I can assume she had some sort of Q Branch somewhere.

Though not Connery's best Bond, I enjoy his performance here. The script helps, endlessly quotable and perhaps him knowing that this would be his last Bond. Some moments are still quite good like the lift fight (Bond's look of surprise when he clips his elbow prior to the fight kicking off) and well, it doesn't feel real that a great legend has moved on.

Mr. Kiss Kiss Bang Bang wrote:

hegottheboot wrote:

That's Solitaire trying to give Bond an opening while practicing cover because she wants to act like a kidnappee so Kananga doesn't kill her etc. That's sort of from the novel with Bond and Solitaire running away on the train and her recapture by Mr. Big.

I feel it's too left-of-field and ambiguous for something like that. It's not a big problem, but it sticks out like a sore thumb.

I dunno. I've never not seen it that way and even when I was a kid I loved how Solitaire got to act out her "performance" for the henchman to give that opening.

Hilly wrote:

Well starting tribute proceedings with a rewatch of DAF

I've long since ceased to put any serious thought into it or critiquing it. It's the most watched Bond on account of it being my dad's favourite and so it's long since lost an edge but it's not a dead loss.

A decent Barry score, not bad locales really, a knockout Bond girl and so on and so on.

Always tickled that Tiff had that fingerprint thing in her room. Considering her wigs, endless wardrobe I can assume she had some sort of Q Branch somewhere.

Though not Connery's best Bond, I enjoy his performance here. The script helps, endlessly quotable and perhaps him knowing that this would be his last Bond. Some moments are still quite good like the lift fight (Bond's look of surprise when he clips his elbow prior to the fight kicking off) and well, it doesn't feel real that a great legend has moved on.

It'll never feel real. I still don't feel Roger's gone either.
Sean has so much fun in DAF but there is that sort of awkward/sad innate quality because this is a one off final fling and goodbye to the EON camp. But I think the fresh energy and engagement of Sean makes it the masterpiece it is that gets forever misread because people don't take Bond seriously. YOLT has all the spectacle and iconic elements but is the weakest of the films that Sean did. DAF is a stronger film overall that does manage to pull off a regrouping for the series to establish itself in a new decade after what many thought was the disappointment of OHMSS. It also ushers in a new era for Connery's performances where he pushed extraordinarily hard to break out of the casting mold and made really interesting choices starting with his free films under the UA deal. There's a bit of the free flying cavalier attitude of his DAF performance in the greatly underrated Anderson Tapes-which you see from his first appearance where he's just said f*** it I'm not wearing the toupee!
(Not to mention the oddity of seeing quirky weird gone to seed Bond + very young weird Zorin in early 70's NYC)

I've been aching to check out The Anderson Tapes. I believe my online blu-ray retailer hasn't got a region friendly version for me but I'll double check.

Good write up about DAF, Hilly and Boots. Can't say I agree that DAF is the stronger film. Certainly Connery is stronger because of said renewed energy and his relishing the exceptional dialogue, but YOLT wins out in terms of its grand and graceful scope in addition to a (more) coherent story.

And well... when one points to YOLT as having a tighter narrative, you know there's an issue somewhere.

So for me. First Bond film up in tribute to Connery:

Thunderball

A thought that occurred to me again when watching was how the visual style of TB is so closely related to Hunt's in OHMSS. Since Hunt ended up taking over post-production when Young left, I wonder if he made a conscious effort to align his film with Thunderball for the sake of continuity. After all, in terms of production design at least, Ken Adam didn't work on OHMSS so perhaps there was a directive to Syd Cain to draw inspiration from that.

Domino has always sat just outside the top 10 for me in terms of Bond girls. I put it down to the voice-over work but I think it's much stronger here than in DN and YOLT anyway. I think Auger's performance is otherwise great and the back and forth between her and Bond is fantastic. Such electric chemistry. A curious moment where she tells Largo of Bond's questioning as they leave the casino, but that final shot of her on the boat, looking back says so much about her character. Tragic. Hopeful. Lustful.

But a good deal of Domino working as a character is how she bounces off Connery. He's as sharp as ever, oscillating between flirty (with ANY of the women) or jovial (with Q, for example) to serious (Paula's death, on the beach with Domino, street chase). It's so effortless. Nothing is forced. He isn't pushing to emote or feel what Bond is supposed to be feeling. He just is. And it's so damn good.

From Russia With Love

As I've said, a perfect Bond film. Smart, sexy and focused with a dash of bizarre and it makes for a most balanced film. Here there's more opportunity for Connery to demonstrate a greater vulnerability than usual and he proves what a master of the craft he is. That scene on the train when he discovers Grant's true identity is so perfectly pitched and everything is so subtle. But we're sweating with Bond. So many glances and looks up to that point, too. When Nash puts the cigarette case away after the codeword, Bond notices and seems skeptical. The moment-to-momentness of Bond opening the second attache case... we just know he was hoping for Grant to take, looks defeated when he doesn't, and is then relieved when he does. So many examples.

A note on Tanya: So under appreciated. From her ballet dancer backstory, her being an unwitting honeytrap, her smarts, the dynamic with Klebb.... She's the perfect love interest in a Bond film. A lot's been said about whether Bond should sleep with the Bond girl early on in the movie because it kills the tension if they do. Well what happens here is one way of effectively handling the Bond/Girl dynamic. We aren't quite sure who she's truly allied with until... the boat chase, really. But then there's Venice.

You Only Live Twice

It's such a beautiful movie it's so hard not to get swept up by it. There are little niggles throughout (more could have been done with Bond "dying", integrating the cultural elements more seamlessly, etc.) but like Moonraker (to a lesser extent) it's demanding less of the audience. There's always so much happening and so much to see that you're constantly in awe of its scope and it doesn't quite matter if certainly narrative threads aren't as fleshed out as they could be.

On Connery... Much has been debated about whether his boredom is visible. What I've started realising is it's less about what he's physically doing and more about his tone of voice... For one, a scene we debated was the "some honeymoon" scene. That exchange is probably all ADR, added in the editing process to help transition into romance. Because by that point he'd probably already figured it was his last film, so to come back into the office to record such dialogue well after shooting would have irked him. I've mentioned the Moneypenny scene as another example of his boredom being more obvious... The scene directly after in M's office he's on top form. I imagine it's a case of certain scenes feeling fresher and different as opposed to going through the motions of an obligatory Moneypenny exchange.... Though Maxwell in that uniform should have jolted him into action.

Underrated scene: the fight in Osato's office with the Rock's grandfather. Brutal and tightly edited. And a nice bit of bizarre to return to it the following day with everything moved back into place.



I'll get to the other three (and maybe NSNA) soon. This has actually helped me process the news more than I was expecting. He hasn't gone. The legacy he's left behind will continue to endure and entertain and that's where he'll live on.

EDIT: there are many other posts I want to respond to here (a few threads in the music section, for instance!) but it's late where I am and this post took a little longer than anticipated. So I'll get to them ASAP!

Popped TB on the other night myself as my last Connery tribute rewatch ... what hadn't really struck me before was the departure from the 'structure' of the previous 3 films. Yes, there's the pre-credits action sequence ... but then we have Bond coming across nefarious goings-on (that turn out to be part of the latest SPECTRE scheme which he must foil) at Shrublands quite by accident. The mission briefing isn't until about 35 minutes in.

DR NO

Kicking off a tribute to the late, great man over the next few weeks with his first 007 foray.

Connery steals every scene with sheer presence and magnetism. I mean, even that introductory scene was something else and it was made before "Bond, James Bond" was even a catchphrase. You can understand why an old money type like Fleming was initially hesitant about a working class Scot playing Bond and, equally, why he flipped his opinion very quickly once he saw the performance.

What's unique about DN is the way it starts fairly slow, almost detective-like as Bond picks up pieces of a puzzle in the Colony of Jamaica and rapidly moves to a pulp-ish, fantastical climax in the villain's extravagant island lair. It works well somehow.

Also, it's a shame Jack Lord didn't do more Leiter. Him and Hedison were the only ones that ever worked as far as charisma goes IMO. I mean Cec Linder's Leiter seemed like an OK bloke, but he looked about 20 years older than he was and felt more like an East Coast... I dunno, stockbroker... than a brash, Texan CIA cowboy.

As an accompaniment to the film, I mixed myself a Vesper martini. I recommend reducing the traditional dosage by 1/3 at least, otherwise you're chugging down a ridiculous amount of gin for one cocktail. You'll barely taste the vodka, so may as well make sure it's a nice gin (I prefer Bombay over Gordon's generally).

Anyway, a terrific film as we all know and a cracking start to the series. Though most of us never met Sir Sean, we'll always remember him as that young man playing chemin de fer.

Mr. Kiss Kiss Bang Bang wrote:

Thunderball

A thought that occurred to me again when watching was how the visual style of TB is so closely related to Hunt's in OHMSS. Since Hunt ended up taking over post-production when Young left, I wonder if he made a conscious effort to align his film with Thunderball for the sake of continuity. After all, in terms of production design at least, Ken Adam didn't work on OHMSS so perhaps there was a directive to Syd Cain to draw inspiration from that.

Domino has always sat just outside the top 10 for me in terms of Bond girls. I put it down to the voice-over work but I think it's much stronger here than in DN and YOLT anyway. I think Auger's performance is otherwise great and the back and forth between her and Bond is fantastic. Such electric chemistry. A curious moment where she tells Largo of Bond's questioning as they leave the casino, but that final shot of her on the boat, looking back says so much about her character. Tragic. Hopeful. Lustful.

But a good deal of Domino working as a character is how she bounces off Connery. He's as sharp as ever, oscillating between flirty (with ANY of the women) or jovial (with Q, for example) to serious (Paula's death, on the beach with Domino, street chase). It's so effortless. Nothing is forced. He isn't pushing to emote or feel what Bond is supposed to be feeling. He just is. And it's so damn good.

From Russia With Love

As I've said, a perfect Bond film. Smart, sexy and focused with a dash of bizarre and it makes for a most balanced film. Here there's more opportunity for Connery to demonstrate a greater vulnerability than usual and he proves what a master of the craft he is. That scene on the train when he discovers Grant's true identity is so perfectly pitched and everything is so subtle. But we're sweating with Bond. So many glances and looks up to that point, too. When Nash puts the cigarette case away after the codeword, Bond notices and seems skeptical. The moment-to-momentness of Bond opening the second attache case... we just know he was hoping for Grant to take, looks defeated when he doesn't, and is then relieved when he does. So many examples.

A note on Tanya: So under appreciated. From her ballet dancer backstory, her being an unwitting honeytrap, her smarts, the dynamic with Klebb.... She's the perfect love interest in a Bond film. A lot's been said about whether Bond should sleep with the Bond girl early on in the movie because it kills the tension if they do. Well what happens here is one way of effectively handling the Bond/Girl dynamic. We aren't quite sure who she's truly allied with until... the boat chase, really. But then there's Venice.

You Only Live Twice

It's such a beautiful movie it's so hard not to get swept up by it. There are little niggles throughout (more could have been done with Bond "dying", integrating the cultural elements more seamlessly, etc.) but like Moonraker (to a lesser extent) it's demanding less of the audience. There's always so much happening and so much to see that you're constantly in awe of its scope and it doesn't quite matter if certainly narrative threads aren't as fleshed out as they could be.

On Connery... Much has been debated about whether his boredom is visible. What I've started realising is it's less about what he's physically doing and more about his tone of voice... For one, a scene we debated was the "some honeymoon" scene. That exchange is probably all ADR, added in the editing process to help transition into romance. Because by that point he'd probably already figured it was his last film, so to come back into the office to record such dialogue well after shooting would have irked him. I've mentioned the Moneypenny scene as another example of his boredom being more obvious... The scene directly after in M's office he's on top form. I imagine it's a case of certain scenes feeling fresher and different as opposed to going through the motions of an obligatory Moneypenny exchange.... Though Maxwell in that uniform should have jolted him into action.

Underrated scene: the fight in Osato's office with the Rock's grandfather. Brutal and tightly edited. And a nice bit of bizarre to return to it the following day with everything moved back into place.



I'll get to the other three (and maybe NSNA) soon. This has actually helped me process the news more than I was expecting. He hasn't gone. The legacy he's left behind will continue to endure and entertain and that's where he'll live on.

EDIT: there are many other posts I want to respond to here (a few threads in the music section, for instance!) but it's late where I am and this post took a little longer than anticipated. So I'll get to them ASAP!

Quite agree with TB for one. The FB group didn't seem to rate his reaction to Paula's death as it was 'him bored' but it seemed quite ideal for Connery's Bond (on par with what Dalton could do later). She's an underrated agent in that until her death she doesn't put a foot wrong, is quite competent (Penny in Skyfall within seconds drives like a lunatic, which I guess helps but then blazes away at the villain over the heads of bystanders) and does her job. Bond's gone in to help her out but finds her dead, grim expression and walks off all in seconds. She's dead, time to get out. Connery bored I don't think is an issue.

And same with FRWL. I'm not sure on YOLT anymore so can't say.

DR NO

Kicking off a tribute to the late, great man over the next few weeks with his first 007 foray.

Connery steals every scene with sheer presence and magnetism. I mean, even that introductory scene was something else and it was made before "Bond, James Bond" was even a catchphrase. You can understand why an old money type like Fleming was initially hesitant about a working class Scot playing Bond and, equally, why he flipped his opinion very quickly once he saw the performance.

What's unique about DN is the way it starts fairly slow, almost detective-like as Bond picks up pieces of a puzzle in the Colony of Jamaica and rapidly moves to a pulp-ish, fantastical climax in the villain's extravagant island lair. It works well somehow.

Also, it's a shame Jack Lord didn't do more Leiter. Him and Hedison were the only ones that ever worked as far as charisma goes IMO. I mean Cec Linder's Leiter seemed like an OK bloke, but he looked about 20 years older than he was and felt more like an East Coast... I dunno, stockbroker... than a brash, Texan CIA cowboy.

As an accompaniment to the film, I mixed myself a Vesper martini. I recommend reducing the traditional dosage by 1/3 at least, otherwise you're chugging down a ridiculous amount of gin for one cocktail. You'll barely taste the vodka, so may as well make sure it's a nice gin (I prefer Bombay over Gordon's generally).

Anyway, a terrific film as we all know and a cracking start to the series. Though most of us never met Sir Sean, we'll always remember him as that young man playing chemin de fer.

Nice one CJB, off the bat Linder does have that feel of an insurance salesman really. You expect him to be on a train to and from work, his wife cheating on him with the pool boy.

Good taste in your drink, I fear for my viewings lately it's rather average, er, lager.

Two Connery Bond viewings- working backwards from DAF (I did TB twice already this year so skipping that) and not in mood for YOLT.

GF has slipped down my pecking order in recent -athons but still has its moments. A fantastic Barry score, Bond girls that quicken the pulse, locales, a Fleming villain brought to life and title song that enthrals. As I think I said earlier in the year, the first three films had a feel of British films of the late 50s/early 60s, making a lot of use of Pinewood and nearby, the pool of talent that worked here (Cec Linder was doing work here around the early 60s) and possibly, I haven't read into it yet, keeping a firm hand on the budget. Indeed, one example is Miami Beach. I think looking at it last night, only Cec Linder was the only character/actor to be seen there. Bond doesn't feature in the location footage but the other two, Goldfinger and his victim both seem to be stand-ins.
Plus you have 'Kentucky' when Bond lands and leaves. However, the Fort Knox set is fantastic and always love how well choreographed the fainting of all those men is. I mean, surely no mean feat. And having read the making of Battle of Britain, can imagine there were moments where Hamilton shouts via loudhailer: "No! No! No! Do it again!"

FRWL. Says a lot of Robert Shaw he conveys so much without saying anything for all but the last few minutes he has on screen. As always Kerim Bey is engaging from the first second. Like Colombo later (and Draco) there feels this instant draw to him. Draco is not immediate for a minute or two until he invites Bond to sit. Still love the gypsy scenes but especially the battle. The music -007 is quite effective here-, Kerim Bey overturning the table to take on the bastards and Bond casually going through the battle helping out people along the way.