But jetset the cradle was cool looking! The final showdown on the dirt roads of Mexico was hardly better. Also LTK had a trashy feel to it, and while you may think GE looked cheap, it certainly did not look as glum and awful as LTK.
I will admit to liking A View To A Kill, but the film's look is its weakness. It is mostly grey and white, and there is nothing striking about its cinematography. It also looks cheap in places and has a t.v. movie feel to it. I hope you are not such a fanatic over it that you cannot see this fact.
I am such a fanatic. I don't believe AVTAK's cinematography is weak at all. Zorin's chateau is one of the most beautiful setpieces they ever used in a Bond film. San Francisco City Hall is also pretty nice. The shots of the Golden Gate Bridge are also pretty good. Perhaps its all in the eye of the beholder, but AVTAK's cinematography isn't a problem, for me leastways. The biggest AVTAK flaw, for me is the lack of screen time for Jenny and Pan Ho.
Cheers for that post BestBondSean. Sums up a lot for me. Craig's the saving grace of CR, not because he's so good, but because he's so different, he conceals the fact that it's mostly very formulaic. A Brosnan type wouldn't hide that it's a card game, double crossing dame, showdown with M, lacklustre villain, more auto product placement; we've seen it all before and recently.
Good point, NP. I agree with you and BestBondSean both. I never really tried to imagine what CR would have been like if Brosnan was in it. Putting the reboot concept aside and just assuming that it acceptable to see Brosnan at Bond's roots, CR would have been incredibly weak. Craig does a great job, and his performance is the strongest point of the film (although I feel the way the character was written was not at all like Fleming's Bond in the novel).
Cheers darenhat. Coming back to JFF and AVTAK, yes, the scenery is very lovely for much of it, but that's not cinematography as such. I take it to mean the colour palette of the film. AVTAK is less than sumptous, though it has a sort of realism to it.
The guy who lensed DAD, for instance, also did that rubbish Jim Carrey 50s-style film and the new Star Wars. It's a sort of fantasy, dense blue look that gets on my nerves a bit, overcolourful hence DAD's satuated look, Nothing to do with where it's filmed.
The guy who did NSNA worked with Powell and Pressburger and also lensed the remake of The Lady Vanishes and Rambo and Indy and the Last Crusade and The Italian Job. It has a look to it, but again I find the palette too colorful, works better on the red terracotta look of the Indy films and Rambo, but not in European locations.
And then, MR, was lensed by the guy who did The Day of The Jackel, which starred Drax (Michel Lonsdale). And that is a lovely looking film, whereas TSWLM looks a bit thin to me.
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I am such a fanatic. I don't believe AVTAK's cinematography is weak at all. Zorin's chateau is one of the most beautiful setpieces they ever used in a Bond film. San Francisco City Hall is also pretty nice. The shots of the Golden Gate Bridge are also pretty good. Perhaps its all in the eye of the beholder, but AVTAK's cinematography isn't a problem, for me leastways. The biggest AVTAK flaw, for me is the lack of screen time for Jenny and Pan Ho.
Good point, NP. I agree with you and BestBondSean both. I never really tried to imagine what CR would have been like if Brosnan was in it. Putting the reboot concept aside and just assuming that it acceptable to see Brosnan at Bond's roots, CR would have been incredibly weak. Craig does a great job, and his performance is the strongest point of the film (although I feel the way the character was written was not at all like Fleming's Bond in the novel).
The guy who lensed DAD, for instance, also did that rubbish Jim Carrey 50s-style film and the new Star Wars. It's a sort of fantasy, dense blue look that gets on my nerves a bit, overcolourful hence DAD's satuated look, Nothing to do with where it's filmed.
The guy who did NSNA worked with Powell and Pressburger and also lensed the remake of The Lady Vanishes and Rambo and Indy and the Last Crusade and The Italian Job. It has a look to it, but again I find the palette too colorful, works better on the red terracotta look of the Indy films and Rambo, but not in European locations.
And then, MR, was lensed by the guy who did The Day of The Jackel, which starred Drax (Michel Lonsdale). And that is a lovely looking film, whereas TSWLM looks a bit thin to me.
Roger Moore 1927-2017