1989-2019- Thirty Years of Watching the Birdie, You Bastard

Blunt Instrument wrote:

As far as I remember, Craig-Bond's history is meant to be military-to-SAS-to-MI6.

The SAS thing was just a guess on Vesper's part.

When CR came out the 007.com website basically put out an updated dossier for Craig's Bond. It was basically just an updating of the Fleming novel service record, like with Bond having done combat in the Gulf War instead of WWII.

MI6-HQ copied and pasted it on their site for preservation.

History
Military Record
Psychological Report
Service Record

And then we got this with SKYFALL.

Some reason can't see his Bond as a three-ringer like the others were (and all Bond's will be). More a junior rank like Sub-Lieutenant (had we still had that rank) or regular lieutenant.

I'm sure if we bring our heads together Hilly we could come up with a thesis to explain why.

Because he doesn't fit your idea of Bond?

There, I did it for you.

Makeshift Python wrote:

Blunt Instrument wrote:

As far as I remember, Craig-Bond's history is meant to be military-to-SAS-to-MI6.

The SAS thing was just a guess on Vesper's part.

When CR came out the 007.com website basically put out an updated dossier for Craig's Bond. It was basically just an updating of the Fleming novel service record, like with Bond having done combat in the Gulf War instead of WWII.

MI6-HQ copied and pasted it on their site for preservation.

History
Military Record
Psychological Report
Service Record

And then we got this with SKYFALL.

Ah, I misremembered ... I thought the 'updated' service record on the dossier now had Bond having served in the Army as opposed to the Navy, and then chosen for the SAS.

I do think Paul Haggis wanted to revamp Bond's background in how he was brought up and having a different military record, but EON wouldn't have it.

Makeshift Python wrote:

Because he doesn't fit your idea of Bond?

There, I did it for you.

Ha, I dare-say so.

The anniversary prompted me to stick the LTK Blu on last night ... Bond goes rogue, back when that was still a novelty.

As CJB once pointed out, it's extraordinary to think that in just 4 years we'd gone from an aged Moore's typically jocular finale to the first (and to date only) Bond film to receive a 15 certificate in the UK ... from Cubby's 'sadism for the family' to somewhere darker.

Speaking of which, this is probably the Bond with the nastiest deaths of the whole series ... we have death by shark, (probable) suffocation in an airtight maggot/coke storage drawer, electric eel, decompression chamber, coke grinder, impalement on a forklift's 'prongs' and immolation after being soaked in petrol.

It holds up well ... Dalton is good-to-great, Davi is brilliant, Lowell can take care of herself but is still feminine enough to be jealous, Soto is admittedly more decorative than anything and of course Llewellyn's expanded part is a joy.

Can't disagree with that, BI. Though curious about your 'good-to-great' wording when talking about Timbo.

There are little niggles. For example his cry of 'Della!' when discovering her body has always sounded not quite ... there, if you see what I mean.

Yeah, always thought that line sounded odd when delivered. Can't quite place it.

Glad it's not just me. Another strange little verbal moment is his East Midlands accent slipping through at the end of 'Things were about to turn nasty' at Sanchez's place, and Bond suddenly sounds like he'd be happier supping a pint of bitter in a pub than taking coffee on a sea-view terrace.

A similar thing happens with Sean Bean's Sheffield accent in the Goldeneye PTS with the 'Blow them all to hell!' line.

Ah ok. I've become so accustomed to those niggles that I now find them endearing. But yes, I'd agree. Something more understated would have worked better for that 'Della' line.

His delivery of "Della" unintentionally sounded like Homer Simpson.

D'ohlla?

Blunt Instrument wrote:

There are little niggles. For example his cry of 'Della!' when discovering her body has always sounded not quite ... there, if you see what I mean.

Yep. It has always felt weird. I don't know if it was the sound recording and/or the fact that he was in motion and trying to be emotionally shocked when saying it but it always feels weird. it may be also the way in which it interacts with the music at that particular moment.

Blunt Instrument wrote:

Glad it's not just me. Another strange little verbal moment is his East Midlands accent slipping through at the end of 'Things were about to turn nasty' at Sanchez's place, and Bond suddenly sounds like he'd be happier supping a pint of bitter in a pub than taking coffee on a sea-view terrace.

A similar thing happens with Sean Bean's Sheffield accent in the Goldeneye PTS with the 'Blow them all to hell!' line.  

We all love the NAHstY. I say that all the time when things get avoided to a seas of strange faces. While I can agree the Della cry is a bit off, I couldn't see the film without the NAHsteh as much as I couldn't live without the glorious "piss off."

I never saw Alec's "blow them all to hell" as weird because he is out in the center of the room under duress and thus his voice comes across differently in terms at least of recording.


My only gripe as a kid besides the silly Pam wig and super 80's drabness in stylings coming through was the fact that Bond didn't put up a better fight when jumped by the ninjas.

The blow that Bond receives to the side of the head from the ninjas with his signature gun has never seemed 'heavy' enough to me to justify the amount of bleeding it is seen to have caused during the aforementioned 'Piss off!' scene. Maybe if they'd beefed up the sound-effect of it landing or whatever.

Never thought anything wrong with Alec's 'blow 'em all to hell' line...

dug this out from my vaults. I like it, even if it might not have had people scurrying to the cinema in 1989.

When Felix is fed to the shark, Killifer has this look on his face, that seemed to say "this is so wrong, what have I gotten myself into", like he is disgusted...

But then later, when Bond breaks into the place, Killifer, tries to feed him to the shark without any hesitation. Why the change?

Leiter is a DEA colleague and friend of Killifer's who Killifer betrays for money. Bond is not, and therefore means little-to-nothing to him.

Not that hard to figure out, really.

ironpony wrote:

When Felix is fed to the shark, Killifer has this look on his face, that seemed to say "this is so wrong, what have I gotten myself into", like he is disgusted...

But then later, when Bond breaks into the place, Killifer, tries to feed him to the shark without any hesitation.  Why the change?

Merged this topic into the main LTK thread.

Two mil is a hell of a lot of dough but Killifer didn't sign up for the feeding to the sharks which explains his later: "chalk that one up to Sanchez and Krest".
His use for his own purpose is merely because it's there and convenient to dispose of Bond or so Ed thinks.

Well lads, I'll put this here.

In the same vein as Critical Drinker you might say. This is a Frank McCrae tribute watch but it's LTK, so there's the tribute and then some.

Imagine, it's 1989 and you are going to the cinema to see the latest Bond. You might be so much of a dyed in the wool Moore fan you're still disgruntled at this chap who does theatre and the odd film (Cromwell, Mary Queen of Scots etc). Sure it looks like Miami Vice, they say, but it's Bond.

Perhaps not until TWINE or even before, has so much been packed into a PTS. We accept Felix is getting married fine except it is funny that the DEA follow the wedding car to alert Felix but needs must. The actor playing Della's father is clearly "I have one line in this film and I'll milk it!"

Now, initially you see McCrae and see him freaking out over Felix seemingly on the verge of skipping the wedding but there's more.

I still like Sanchez's intro. The shadow over his face then as he whips the curtain down, light. Sure it's not Orson Welles or Hitchcock but for Bond it's impressive, for John Glen it's impressive.

You have to like how though being told at least twice not to get involved, the moment he can, Bond gets involved. First time I saw LTK, aged 13 or so, even so when Sanchez says give her his heart, you shiver and then the scream. Then the beating.

I skip the song, sorry chaps but to me it doesn't chime with the remainder of the film.

I liked Hedison ever since watching Voyage to the Bottom of the Sea as a kid and his Felix is my favourite. I like Lord, I even like Burton and Van Nutter, but something about his. Maybe it's because he did the role twice but the voice helps and though none of the Felix actors ever got close to the Fleming Texan-Leiter, he does the job.

Khanners once said on the old MI6 when I reviewed this why I was so passionate about it? I said, well to me this was Bond. His mate has been savaged, his wife brutally raped and murdered, Bond would do what he thought best, that is get revenge even if it meant overriding everything he knew best. PK, if you read this, I remember reacted favourably and so this is why I like LTK.

"Are you Colombian!?" by the reporter has to be one of the stupidest lines in a Bond film.

The slight nod to Tracy I still like. It's not much but then so was the mention in TSWLM.

Krest on the quiet is actually quite close to the short story. Krest was slimy, was shifty, and though this Krest died rather more spectacularly, Zerbe does the gig well. Growing up I knew Zerbe for his guest roles -Ironside or Mission Impossible (one of his episodes was brilliant) and dare I say, Star Trek Insurrection and Frasier. Zerbe is a great actor in his way and Krest is up there with being one of his best roles. His creepiness with Lupe, his revulsion at Leiter's fate and so on.

And indeed, here's Kilifer. He's a traitor, something Bond hates anyway and Felix's revulsion is key. Sanchez is brilliant at the bit before Felix is fed to the sharks. I don't ever think Davi was scene chewing but he certainly relished the role. Del Toro's rendition of "honeeeymooon" still creeps. It's enough for us to hate him, for us to feel for Felix (and Della). You imagine if done now, it'd have been show, Della's demise, I mean if Outlander's first season can end with male rape, nothing is off limits nowadays surely. Not that I want to see it.

Alright Dalton's "Della!" seems off-key but his distraught expression is enough. Look, I don't seek to bash Craig but Dalton could express. Craig doesn't always do. Brosnan just about managed (Paris' body discovery for instance). When I see Felix's body being discovered I sort of wince. Gardner when novelising this was up a creek. He was fitting this in with literary Bond and so Bond has this "not again!" moment.

I like how Sharkey knows best. Idiot Miami Voice B-cop thinks it's a chainsaw.

"Chainsaw my ass! I know a shark bite when I see it."

Also how brazen is Bond. He's just got told by the DEA bloke let it go but in view of him, within ear shot, he grabs Sharkey and says let's short this shit out.

Never twigged until now, when talking to Krest's security chap, that Bond mentions Regent's Park Zoo. Dalton says it so quickly and fluently, I only pick up on the Latin for Great White.

"Goodbye Mister...?
-Goodbye."

Damn, if only Zerbe had done a film earlier.

Shark Hunter II seems quite similar to the thing that goes after the Lotus in TSWLM. To me anyway.

Sharkey is bloody brave. I like to think he was ex-CIA long ago. Maybe he was at the Bay of Pigs and got out by the skin of his teeth then was in Nam before the pull-out. He's long been a fisherman or whatever but he's honourable, he's brave etc. Alright the shark seems to scare him but even Bond would be shit scared of a Great White.

Kamen's score might not be everyone's cup of tea but the Bond theme usage isn't too bad. First off when Bond goes fishing but then creeps into Krest's place, that quick use of the theme.

Bond's no shit starts when he kills Kilifer. On one hand you're "yes!" and then you have the moment eased by Sharkey's remark. I love still the glare Bond gives him as if to say: Are you fucking with me? This guy is why Della is dead and Felix is fucked.

Plus how cool is Bond as the DEA chap runs him through as they walk in Florida? Bond couldn't give a shit. It's not a case of I'm a Double-Oh and can do what I want but a case of my mate's been savaged and I'll get Sanchez even if it means dying.

We go to Hemingway's house and perhaps some of the most inept SIS agents going. (What's this? 33mins and only now do we see M!?)

On one hand you can see M's indignation at Bond's resignation (oooh, drama queen) but then Bond's emotions are choked. Bond scouts out the agents and boom...
...obviously from the off I think M backs Bond. Like Dench's M with Brosnan/Craig, Brown's M knows nothing he says or does can stop Bond though he tries. Perhaps he even supports Bond, subconsciously.

We share Bond's no nonsense stuff when he boards the Wavekrest and then his horror or shock when he see's Sharkey's body. We feel for Sharkey as we have done Vijay, maybe Ferrera...and revenge is bloody instant. This precedes one of the best set pieces for me in a Bond film. Musically it's decent, stunt wise, fantastic. Bond getting the scuba gear, messing about, the music rehashing the slow mo earlier and fishing/copter but so be it. I like it when you see the actors doing stunts be it Ford and the German army truck in Raiders or even Shatner leaping onto a bus in TJ Hooker, but this scene does well enough that you *think* it *is* Dalton doing the water-skiing.
Is it far fetched? No. Look at what say Moore did in his tenure, or his stunt men. Bond, like Dirk Pitt, can do whatever the hell he wants and we buy it.

Does Dalton overplay the quietly pissed/steely expression? Yes and no. When he snakes into the cockpit we're backing him as we should. Sure, there's back projection in parts and he grunts like you know, but yes, Bond's turned the tables and gives a dollar bill a "fuck you!" kind of flick.
I like to think that the guy who he kicked out is rescued and as Krest questions him he gasps: "He just came from nowhere!"

So we go to a dive. But Hilly, this IS Miami Vice!? Yes but then...fuck it. Pam works from the off. Her tut when Bond reveals his PPK though I do wonder how she managed to get that shotgun in or out without anyone noticing.

"He's had enough!" and then there's Del Toro's repeated whip of the switchblade. In true fashion of anything be it this or Police Academy, everyone gets involved in a bar fight. As always I must credit the dancer with carrying on as long as possible. I somehow wished this had been a Moore film. Bond gets the better of the bad guys, is knocked out though by the dancer and glances up:
"Darling, you can stop now."

I can't help but think of woke types at Bond's flat out sexism once they reach Isthmus City. Would Bond's "This is Sanchez's territory" matter?

The banker makes me wish he was played by Ricardo Montalban. Just would work.

And yes, the short hair on Pam bothers me. Short hair on women alway does.

Oh look Wayne Newton pre-whatever he's had done now.

Casino Royale this place is not but it's close enough. Say what you will I do like Dalton's tone for ordering the martini. I'm skipping the hair, I try not to let it bother me. I'm a Shatner fan, I've seen worse. I do like Pam's sign language for the drink though.

Whatever her acting skills, Soto is a knockout. Apart from LTK I've sadly only seen her in a softcore thingy that Channel 5 showed on a Friday night. I don't like red as a colour but it suits her.

Got to like how usually Bond's name introduction is a key point but when he does it here, Sanchez (and lizard) blanks him. Now, even Bond surely feels deep down a little nervous. He's in the lion's den. Sanchez is a bastard and Bond has to play it neutrally.

"More of a problem eliminator."

I do like Dalton's quote that Bond is basically a Western character. He rides into town, sorts shit out and rides out. Of the two movies he did, LTK is closest. He fucks the joint up and is off.

Sanchez questions the fact Bond doesn't have references. What is this, the Apprentice? Or maybe that's like Moonraker. "Well, yes, if you can get HIM!"

I must give credit to Dalton for making the cocking of Pam's tiny winy pistol badass.

(I missed mentioning Penny. I know Bliss isn't everyone's cup of tea but do wish she had done at least one more film. LTK is pointless. Personally, Bliss is or was downright attractive).

Ah, Q. Of all the films this surely is the most Q had to do. I do love his "we must be related", clearly nothing's changed since he landed his balloon in Octopussy!

Suddenly 'realistic' with Bond having to share his room with Q. "I hope you don't snore, Q"

Bond is badass enough he can abseil onto Sanchez's ledge in a tux. I can't help but think that he should've had the TLD tux that covers his white shirt.

Sanchez is badass too. Nothing fazes him. Not now anyway.

"Watch the birdie, you bastard!"

I do think Dalton's expression is ours: "What the fuck! Fucking ninjas!"

"We're Hong Kong narcotics you bastard!"

Fuck it. I'm here for revenge, I don't care.

Smith as shit Bond is at Sanchez's. Cigarettes, coffee...but, well..."Cream sugar?" or whatever. Seriously?

Have to like everyone at Sanchez's place is shit scared of him. The waiter, the security guard...

Quietly great is Bond and Pam in the room. He's pissed, he thinks she's sold him out but then he realises he's fucked everything up. Revenge has blotted everything else out.

And this serves to narrow Bond's focus, involve Q and Pam much more directly.

Further 'normalising' of things, we have Sanchez sceptical over Bond's escape from Wavekrest.

Krest's demise is still one of the most shocking ways to go if not THE most shocking and all the while, Bond watches impassively. This is Dalton's Bond in a brilliant nutshell.

Always like how Bond wakes up back in Sanchez's place as Sanchez walks in as if nothing has happened. In a way Sanchez is quite gullible.

Poor Q, tries to comfort Pam and "Bullshit!"

But then it's almost Mooresque in how Q is masquerading as a Mexican.

Tempting to imagine a John Barry score for the cocaine factory.

As someone once remarked, Dario is probably the only Bond villain/henchman to twig who Bond is. The little shit isn't that stupid.

(Carey Lowell does the innocent very well with Wayne Newton)

As I've said before, I do like how Sanchez is with loyalty. Kilifer was a man he never met and when he did, when he showed he was willing to help him, Sanchez rewards him. He was quite keen on Bond and this is all makes his anger real.

Of all the times in a Bond film, Bond sliding towards the end of the conveyor is one of the most realistic fates he faced. No laser between the groin or whatever.

Dare I say Dario's demise is satisfying?

It might not be a Ken Adam set but the whole cocaine factory set-up feels somehow epic.

Now in TLD Bond's one-liners were, personally, hindered by things happening. Monkeys leaping, mountain tops appearing. His delivery of "came to a dead end" is brilliant. It feels off the cuff and it harks back to Moore and Connery.

Again, the stunts here feel quite realistic in the sense you think it's Dalton for some of it. Leaping onto trucks etc. By now Bond is committed. It's him or Sanchez, preferably Sanchez.

But, but, LTK sucks, it's Licence to Bore! Really. Come on, the truck stunt alone is worth the ticket price plus Sanchez's goons all confused as to which way to go (and the Bond theme playing in bullet form).

Bond should've been in the Italian Job. He swings the truck's arse over the edge and rescues it.

You have to like Truman Lodge's accelerated mental breakdown. I imagine by the time we meet him in LTK his nerves have long frayed but when it all goes to shit, with the cocaine factory blowing up, he looses it. I personally like the sound he makes as Sanchez kills him. Feels realistic as Bond deaths goes.

That explosion that flares up over the road, I did it as a favourite frame, it's bloody impressive.

And Bond powering through the flames. They did that more or less for real. Now it'd be green screen etc. The goons are proper plebs. Flames don't matter...well, yes...

Whereas QOS et al had swirling camera work, you can do the job by 'calm' camera angles. Man, I wish Dalton directed a Bond.

At risk of repeating myself, got to love how when Sanchez stops the truck, Bond is flung into the back of the cab and down. Whereas Moore stayed on a fire truck for ages, there's none of that here. And here we have Bond v Sanchez. It's there with Dr No v Bond, Largo v Bond, Blofeld v Bond on the bobsled, etc.

Imagine, you've made it this far and Sanchez, out of nowhere, whips out a machete against Bond's nose. Surely Bond is done, this is it!?

"Don't you want to know why?"

Brilliant, just brilliant. It's enough. In a second, Sanchez sees why, knows why.

Now, if he returned it'd still work but Dalton's Bond sat there briefly, head sagging, music quiet. It's done. All of his endeavour has been realised. He's got the bad guy, he's got revenge and he's made it.

Blinking fish aside it's a good end to a good film.

I'm off to grab another pint.