Doesn't TLD feel like a Moore film?

Higgins

:v still blaming Moore for everything silly in the Bond movies? :v

Isn't it time to move on?

chrisisall

Higgins wrote:

:v still blaming Moore for everything silly in the Bond movies? :v

Isn't it time to move on?

I say "Moore film" to denote a film with Moore in it, not as in "Moore made the film". :007)

Thunderpussy

) poor old Roger, even gets the blame for films he isn't in

Pearl Harbour, Heavens Gate, Leonard part six, all Roger's fault )

Gassy Man

chrisisall wrote:

If anything, Skyfall feels like a Moore film. Silva is clearly a Moore villain, so OTT & with a totally impossible plan...

Silva demonstrates some similarities to the antics of Christopher Walken's Max Zorin, but he's a more contemporary villain. Moore still had to deal with mature villains, of which Zorin was the least. Silva has the frenetic, psychologically unhinged personality of most villains today -- a kind of high octane man-child who is somehow smarter than everyone else, or at least thinks he is, whose plans are over-complicated rather than complex.

Absolutely_Cart

I think TLD could've been a Moore film if Moore did it, but it never felt too goofy to be a Dalton movie either.

chrisisall

Absolutely_Cart wrote:

I think TLD could've been a Moore film if Moore did it, but it never felt too goofy to be a Dalton movie either.

Yeah, but with Moore they would have left the magic carpet ride in, and added Alladin music to boot. )

Absolutely_Cart

chrisisall wrote:

Absolutely_Cart wrote:

I think TLD could've been a Moore film if Moore did it, but it never felt too goofy to be a Dalton movie either.

Yeah, but with Moore they would have left the magic carpet ride in, and added Alladin music to boot. )

Of course.

In terms of seriousness, The Living Daylights (with Dalton) compared to License to Kill is like comparing Goldfinger with From Russia With Love. Neither of the relatively lighter more comedic movies were too silly to their detriment, but License to Kill did showcase Dalton's character better.

TLD, to me, was the safer of the two. It was the introduction of Dalton, a compromise.

Thunderpussy

I'd agree with that. -{

Barbel

There's a definite, and justified, transitional feel to TLD. Some parts are Fleming (the first reel after the credits), some are Glen/Moore/80s Bond (the car chase/cello sequence), some are "Daltonesque" (the fairground/Saunders death/ballooon sequence). The important point is whether the film works as a whole and I think it does with some weak points (no memorable villain) and some strong (Barry's last Bond score) but overall the film rests on its leading man- and he delivers.

chrisisall

And what TLD lacked (strong villain), LTK gave us in spades.
I'm actually fairly amazed that Glen was able to shift gears as quickly & effectively as he did between AVTAK and TLD. It couldn't have been as easy as it seems.

Thunderpussy

I remember at the time getting asked by friends, what I thought
Of this new guy and did I still expect to see Roger Moore.
I answered, No, Dalton getting set up for the sniper section, just the
Little touch, like the Velcro on the collar of his dinner jacket, to hide
His white shirt. {[] marvellous, Bond was Young and Dangerous
Again. -{ . Dalton was bloody Brilliant ! {[]

chrisisall

Thunderpussy wrote:

Dalton getting set up for the sniper section, just the
Little touch, like the Velcro on the collar of his dinner jacket, to hide
His white shirt. {[] marvellous

And I'll bet 10,000 Quatloos that much of the little moments like that were at Dalton's insistence. -{

broadshoulder

Barbel wrote:

There's a definite, and justified, transitional feel to TLD. Some parts are Fleming (the first reel after the credits), some are Glen/Moore/80s Bond (the car chase/cello sequence), some are "Daltonesque" (the fairground/Saunders death/ballooon sequence). The important point is whether the film works as a whole and I think it does with some weak points (no memorable villain) and some strong (Barry's last Bond score) but overall the film rests on its leading man- and he delivers.

You know a film delivers on its leading man and TLD delivered in spades. The "Daltonesque" scenes were like a shot of cold water over the audience.

AlphaOmegaSin

chrisisall wrote:

Absolutely_Cart wrote:

I think TLD could've been a Moore film if Moore did it, but it never felt too goofy to be a Dalton movie either.

Yeah, but with Moore they would have left the magic carpet ride in, and added Alladin music to boot. )

And Moore's Stunt Double would have been in most of the Film

Rainier Wolfcastle

chrisisall wrote:

Absolutely_Cart wrote:

I think TLD could've been a Moore film if Moore did it, but it never felt too goofy to be a Dalton movie either.

Yeah, but with Moore they would have left the magic carpet ride in, and added Alladin music to boot. )

Just like they left the goofy bicycle-racers-domino gag in GE - the writers still thought they were writing for Moore as they already had forgotten Dalton and his two films. Who could blame them?

AlphaOmegaSin wrote:

And Moore's Stunt Double would have been in most of the Film

Well, Dalton couldn't even perform the task of driving a car and talking to his passenger - he had to do that in front of a rear-projection screen ...


I never felt that TLD was very different in tone to the preceding films - often an argument that Dalton's films were too dark and brutal for the "casual audiences" and therefore didn't perform that well. This may or may not be true for LTK (but still: films like Lethal Weapon and Die Hard one and two years before LTK were much more violent - both rated R - but at the same time also much more entertaining) but TLD was pretty much business as usual, with the goofy uber-gadget-laden Aston Martin (a great car but hardly "flemingesque" as the TD fanboys claim about his films) and gags (hampered by Dalton's awkward delivery).
The transition from Moore to the next Bond would not have been that difficult for the "casual audiences". It was just Dalton's wooden (a.k.a. "intense" ) ) acting that was disturbing.

chrisisall

There's a useful four letter word... )

superado

In context of the ageing Moore, Dalton was like a shot of vitamins. His Bond was like no others up to that point, infusing seriousness and virility, and comparing that even to the future reboot, it was a freshness that did not require steroids. Because TLD was written with Moore envisioned in the role, it's been assumed that it was basically a retrofitted Moore movie, but IMO, I think that it's the other way around in that AVTAK was written for the new guy. Just judging from the details of these movies, everything it seems was dialed "younger," particularly the music and the villains.

Moore Than

superado wrote:

In context of the ageing Moore, Dalton was like a shot of vitamins. His Bond was like no others up to that point, infusing seriousness and virility, and comparing that even to the future reboot, it was a freshness that did not require steroids. Because TLD was written with Moore envisioned in the role, it's been assumed that it was basically a retrofitted Moore movie, but IMO, I think that it's the other way around in that AVTAK was written for the new guy. Just judging from the details of these movies, everything it seems was dialed "younger," particularly the music and the villains.

I think dialed "younger" (especially in relation to the music) relates more to a younger audience rather than a younger Bond. My understanding is that Roger Moore signed well in advance of A View To A Kill, so it could only have been written knowing he was portraying 007. Which makes it all the more disappointing that his age was not catered for.

Thunderpussy

+1, -{
A little nod, to an Ageing Bond, would have helped, (as I regard AVTAK) as Bond's last mission.
(Filmed out of sequence.) )

Firemass

chrisisall wrote:

There's a useful four letter word... )

Ironic that you would use a Roger Moore quote that was recycled by Dalton…

Firemass

Rainier Wolfcastle wrote:

I never felt that TLD was very different in tone to the preceding films. TLD was pretty much business as usual, with the goofy uber-gadget-laden Aston Martin (a great car but hardly "flemingesque" as the TD fanboys claim about his films) and gags (hampered by Dalton's awkward delivery).

+1

TLD feels very similar to AVTAK. The John Glen 80's Bond machine marches on. (Not a bad thing at all) Only with LTK did we get a truly different type of Bond film.

chrisisall

Firemass wrote:

chrisisall wrote:

There's a useful four letter word... )

Ironic that you would use a Roger Moore quote that was recycled by Dalton…

When did Dalton do that? ?:) Am I forgetting something??

AlphaOmegaSin

Dalton says a similar Line in TLD whilst on the Plane to Afghanistan.