Struck me that I hadn't done a thread and not entirely sure this year of anniversaries warranted it but here we are.
Though I watched this with Brosnan other week, I wanted to watch it properly.
I was almost 10 when this came out and I remember the blaze of publicity. The cast press conference thing hosted by Brosnan ("Her name is Bond, Samantha Bond") the Z3 reveal and bits and pieces. By the time my parents rented it from the local video shop (ah, halcyon days) I had spent at least the past five years of my life with James Bond chiefly in the shape of Sir Sean and Sir Roger. Certain moments from that night are etched in my mind. Bond's line in the toilet, Onatopp with the admiral (one of my parents saying to the other: "What rating is this?" and I was closest to the plain blue VHS cover. "It's a 12..." says I. My brothers were 8 and 6) and the Ferrari/DB5 scene.
I earned a legend on old MI6 that passed onto here as loathing the film and in hindsight it might well be down to a mixture of factors. I was 10 when I first saw it, looking at films vastly differently to I do now (perhaps only I can watch Citizen Kane the same day as Lewis Collins' Who Dares Wins, a few years of DAF, VTAK seemingly constantly and not quite appreciating, being a child, that this was a new Bond (I have no recollection of being aware this was in fact the first film in six years. I was almost 4 when LTK was released and as I say grew up on older films, to me they were as new as GE) and a new Bond actor. The one overriding factor is the music. Film music is as much a part of a film's matrix as the lead actor, director, producer et al. It's okay in the PTS, the song isn't bad but not my favourite (floodgates open) and then you get "Ladies First". It might as well be done on his keyboard. The soundtrack veers, it detracts or isn't enough, it was okay in places but not in others. As Sam Malone once said prior to his rap: "That's just one guys opinion". I appreciate that others have opposing views.
But I'm almost 35 now, watching it with Brosnan made me look anew and so I will here.
Strap yourselves in lads, it's going to be a bumpy ride (and someone make a cuppa.)
[two viewings in three weeks after that many viewings in 7 years!]
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One thing that GE has etched throughout time as I've gotten older is the look. It's mid-90s, two years before the seeming flash of TND and from the off it has this engrained Cold War film. Granted the PTS is set in the good old days (indeed, during the Dalton era) but even after the PTS the Russian scenes have a slight grittiness. When you consider how much was filmed over here as well as over there it's impressive. To the point the Cuban scenes are almost jarring in their brightness.
The PTS hits us over the head. In ten minutes we have two incredible stunts at the dam and precipice, we have another 00 on screen in focus (until now only 009 has had more screen time) and then he's blown away. We have an one-liner and that's your lot gunga-din, time for Ms Turner.
It's hard to say. Coming after LTK there is a feeling of a step down but that's only because I like Dalton massively [as Bond]. Throughout the film Brosnan does his best to make it his own. You have to go in after four other actors who each did their thing and find a niche. Some website I saw this past week suggested Brosnan brought back the Moore humour and Craig was bringing back the Dalton or some such (might be the article I read about how Robert Davi said Dalton got there first, not Craig). Brosnan's humour here throughout the film is not Mooresque as such. I'd say it's parallel to FYEO/OP maybe. He's taking it seriously with the lines, so it's almost Connery-ish. At the same time he's not gone as far as Dalton did. Dalton's Bond was 90% serious-faced, grim and worn down. Brosnan hits us with grim faces but at the same time, along the way, a slight smile and twinkle of the eye. So he has the best of both worlds.
And there we have it, "Ladies First". Where the dam moment makes me pine for Dalton doing that (if it had been a Dalton third film, the reveal of Bond of course would have been different) this has flashes of Moore. The first use of the DB5 in any shape or form since Thunderball. Brosnan is a more natural fit to it than Craig. Might help that Brosnan has dressed for the occasion. Good to see he has the Bollinger chilled (I mean, if he hasn't you might as well listen to...er, the Spice Girls without earmuffs). So early on Brozzer has claimed his first lady. Not too shabby. That's the era already, Bond being evaluated for a return to work. Not quite Sir James Molony but hints of the Craig era. Caroline should've tried word association first.
"Home."
"Britain."
"Not Skyfall?"
"What's Skyfall?"
"A house, where you count to 10..."
The Onatopp/Bond contact is decent enough without verging on a laugh. The straight up with a twist line continues to set the tone humour-wise. First Bond woman since May Day to be on par with Bond in a slightly menacing, physical way. Which, er, brings us to thighs. It's obviously a scene you wouldn't have gotten in the Moore films (I could see it happen if both were clothed say) and maybe in Dalton's. But then perhaps LTK being the first 15-rated Bond raised the stakes with the mine massacre in VTAK hinting at the world to come. Michael Parkinson seemed to make a big deal of the sex scene in DAD between Bond and Jinx at Cuba with Brosnan looking awkward. I assume Parky hadn't watched GE. The scene here forces home, not in a bad way, that this Onatopp is a character. Attractive, sensual but also violent, quite physical and maybe even psychopathic.
I find it intriguing the French decide to flog their 'copter in Monaco. Money I suppose. Somebody said during the Brosnan viewing that the other pilot with Onatopp is Ouromov. I suppose it makes sense. But then might well be Trevelyan.
Now, here we are, deepest darkest Russia. This was the era of Yeltsin, of economic hardships. I vaguely remember the news reporting on Russia up to 2000 and the images coming out of Moscow of boarded up shops, dark shopping centres etc stayed with me. I had to explain to a friend from the job (I'm furloughed so am in/out) who Yeltsin was other week. Sheesh.
Here's GE in a nutshell for me. Sure Boris was lovable as a kid, we all shouted "I'm invincible!" on the playground or when we played the N64 game (I still have the game AND the console. Huzzar) but he's mildly, I stress the word, mildly irritating. Sure he's clever with computers, thinks he's big balls but just in moderation.
Natalya conversely, is a solid Bond girl but I can never bump her close to my top 5 or whatever. Perhaps it's a childhood of trying to get her through levels and losing my mind or seriously, there are others I rate above her. She has the bird with a wing down aspect, she has intelligence and she mostly resists Bond, so she's not a bad girl. But like some say about Kara or others, I don't quite feel it at the moment but assuredly, the opinion has changed since the last few viewings so all is not lost.
And indeed, that scene in the satellite control is a classic case of the computer game being dominant in my mind. If Onatopp wasn't as fruity as a nutcake already, her orgasmic joy at massacring everyone is proof. Even Ouromov is bewildered. That's something else, the performance of the late Gottfried John. Nothing overblown, classic example perhaps of the Soviet hierarchy existing in the post-glasnost era.
Ah, the one and only Ms Bond with long hair. Complete contrast to the previous two Penny's. A hint of the world we've now entered and will be slapped about with by M soon. Sexual harassment and yet we still can get some exchanges in like the old days. Michael Kitchen fits the bill as Tanner (no pun intended). Like Fleming's you could imagine that he and Bond are friends, might have a stiff drink on a rough day in their office(s) and a stern word sometimes. Naturally Kitchen is an opposite physically to Fleming's (you can't picture his Tanner being a Sapper in the Royal Engineers) but he's the best Tanner on screen. The shame is he never reappeared in DAD especially. Tanner could've worked quite well with the situation.
The model-work on this is classic Meddings. Something carried on into TND and not something I'm all too aware off afterwards. Aside from the jet fighter that crashes into the dish seemingly being the same size as the building (I figured it'd be a little smaller), it all looks realistic. (TND has towards the end especially some fantastic models for the Bedford that you're none the wiser which is the ship itself, HMS Westminster, or the model).
After a lifetime of male M's we have our first female M and quietly Dench goes about it properly. At the time she was still doing the sitcom As Time Goes By and so many in this country would be looking at her in that regard. Actress that she is, she separates the two of course. Another contrast is the office. By 1995 SIS had of course moved into their neo-classical, neo-Egyptian or whatever they've said over the years and gone seems to be the austere interiors of Bernard Lee/Robert Brown's respective M's. No naval fixtures but monitor screens, computer tech and reasonably stylish interiors. Funny how she changes. Goldeneye might well be Dench's best film as far as character goes. The Craig era feels quite different. She is no different to any M -if you are M you have a clean head about sending men or women to their prospective deaths. The 00 section is not for wimps.
The dark feel is back in the Russian scene. I've forgotten the name for the post-Soviet government. Presidium is floating in my head but that's not right. It is intriguing to think about Rhys-Davies' Pushkin here. I always forget Mishkin's name as the actor reminds me of Molotov.
Q Branch always changes film to film it seems and yet it stays the same in terms of what we see happening. Ah, it is a pity we never see most of this stuff in action. Imagine a couple of spin-off films (if Disney owned Bond probably likely) about say, 0011, and he employs the gadgets Bond doesn't (something that Spectre had going was that you do see that there are other agents needing other Aston's). Though how you employ the telephone box with airbag intrigues me as much as anything. Brosnan appears to relish his scenes (big fan that he was/is) with Llewellyn and I think ol' Desmond reciprocates. In thirty-two years he's worked with four Bond's in all locales, so he'd have an idea of a Bond by now. The car never thrills. Meh.
So, no Felix, we have instead Felix's mate Jack Wade. Joe Don Baker is a great actor (I think immediately of Edge of Darkness) and in GE it's a more rounded character than TND. Clearly working with Bond was a good luck charm as in TND he's clearly free of his long-term Russia gig. The car Bond gets into might well be the naffest one since the 2CV, only difference is Bond leaves it well alone. Say it before, say it again, Brosnan knows how to work his suits. In his Wade/Zhukovsky scenes Bond looks like a City banker. Moore was probably the best for suits in that he was doing so as Simon Templar/Brett Sinclair/ all of which made him Roger Moore. Man had class.
Brosnan's Bond has class. Though photos I've seen, the man still knows how to work a suit.
Craig I'm sorry to say looks awkward as fuck in his suits. Maybe he needs a word with his tailor.
A favourite Natalya moment is the IBM scene. Half expect her to snap: "I am timing you".
Just twigged that the exterior of the church Natalya enters is Old Brompton Cemetery (London). Hmm. Well, what I do with films.
Always regard the Zhukovsky scene as like others before him, Robbie Coltrane hits the ground running with a touch of charisma and effortless charm. Zhukovsky isn't a nice bloke in what he's presumably done but he's done so well.
The dialogue is at once funny ("strangling the cat"/"take a hike!") as well as sharp ("I hear the new M is a lady"). Sign of the times. Cold War is over, bit more friendship. Interesting how they'd be now, with Russia back to the old days almost.
I do like how Bond when Onatopp is in the changing room is not taking chances as such. On the defensive from the off. He doesn't look amused or that he has the time. Elements of Bond and Fiona in the hotel. And how about the instinctive bucket to the face of the guy who comes in? (Strikes me that Bond doesn't bed Onatopp in this film. Somehow I have it in mind they did). Her bitchiness in the car is superb. Please, if the tables were reversed you'd not hesitate to kill Bond.
The sets and locales make me think of the first three Bond's when, despite the money behind it, despite going overseas, they still utilised Pinewood (down to the house that was headquarters) or whatever to hand, economically. Thus the graveyard scene here in GE. Suspend belief about the Lienz-Cossack aspect (Bean is too young to make that work. Historical ed.) Music doesn't feel right for this scene, feels intrusive. Not sure. Hmm.
Of course, Bond's first encounter with Natalya and she's gone batshit. Understandable of course but imagine waking up to that, ha. Bond literally uses his head for once.
Classic exchange between Mishkin and Bond. Takes Natayla to throw cold water on the debate. She provides more than Bond does. John's masterclass in acting continues as Ouromov bursts into the room. Changed a bit since the council meeting, the dishevelled appearance, the sweat and a slight mania creeping in.
Now this is where the computer game overrides memory. Ah, the RCP-90, my favourite gun in game. Could've worked in game where Natalya spins Bond round as the soldiers come upstairs.
I read that MGW and Babs replaced Serra's piece for the tank chase as he was going off the deep end or some such. The final product is the best piece in film. (Further reading says John Altman, who did Tank Chase in St. Petersburg, did the orchestral stuff whilst Serra the synthesiser...)
As set pieces go, the tank chase is up there. The scope of the location, a tank being flung about it, the desperation creeping into Ouromov, Bond looking classic as he works controls and that grim expression that comes along. One could, jokily, argue that Bond has as much regard for St. Petersburg as Bond did Paris in VTAK.
(Doing some googling on how much of the tank chase was on set or location, just seen that where Wade's car breaks down is Somerset House. I figured only TND filmed there...fantastic. They manage in GE to make it look huger than it is and make it look en route instead of it's courtyard reality).
Another case of the computer game. I remember being twitchy trying to use the watch-laser to get out of the train. That's my first thought as I see the train burn furiously prior to Bond confronting Trevelyan. If he was stunned, shocked at the graveyard, Bond is now in firm 'I'll get you, you bastard' setting. Shame Ouromov brought it but there we go. Classic example of a changing world, Bond's reaction to Natayla explaining she'll use the computer to find where the bad guys are going. "Oh? You can do that?"
Occurs to me as I write that this film must be one of the few where Bond (might well be charming) isn't going full boar to laying a woman other than the therapist. He and Onatopp flirt but there's no suggestion or proposition and it takes a while with Natalya.
The beach scene is good, clearly Dalton's Bond has lingered and Brosnan does a good job. Sort of falters a little as we head into Cuba, not massively but that dreamlike sequence as Xenia turns up feels a touch off. Maybe just me. Not detracting. Indeed, Xenia's death prompts one of my favourite Brosnan lines: "She always did enjoy a good squeeze". It's the kind of line that Vanessa Kensington would say; "Let's get going" to.
Brosnan confirms his patented run as he tears after Trevelyan. Fists pumping, determined face. Forget painface, this is Brosnan. Again that punch-up in the room (control room?) is as savage as Brosnan's Bond can get. It's a relatively confined space, they're crashing into stuff, they're trying to reinvent their style (massive contrast to Moore/Dalton, foreshadows Craig) to outwit the other and there's personal stakes involved not just world stakes. Bond's desperation is as such he's prepared to drop, possibly to his death, on that ladder.
The conflict with Bond is perhaps symbolised by the fact that he immediately goes to grab Trevelyan when he goes to fall (and even then, lets him go. Revenge, personal vengeance, supplied).
Trevelyan otherwise can be a forgettable villain. Bean gives his all but in the pantheon of villains it's middle row. Not trying to be scathing but unlike say Ouromov or Zhukovsky, it's not the most memorable of male characters.
And the end. He's stamped his mark on the role, the Brosnan era has begun. Bond might well have missed half of the 90s (oh...if only a film when the wall came down/USSR collapsed). Those Marines are lucky. I mean if that helicopter pilot had been a few feet over Bond and Natalya would've planted their boots on them.
So yes.
Goldeneye is 25 gents. If you don't feel old now, you should.
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