That's a strange scene, because the concept of it is humourous but the execution is very serious. It doesn't bother me one bit.
They actually had shot slightly more violent scenes but were later left out (probably to align the film to Moore's style) .... The scenes are available on special features
- Great gunbarrel score.
- Aerial acrobatics in PTS are incredible.
- Title song and title sequence is fantastic. IMO, it's Maurice Binder's best work.
- Chase after Gonzales killing, incredible driving and great twist to have an underpowered 2CV with Bond's better driving.
- Elektra line (2nd pre-TWINE shoutout).
- Identigraph while dated by today's standards, is a cool scene with Q. "A nose, not a banana Q."
- Cortina, and all espionage elements including the message on the mirror and meeting Ferrara.
- Bibi Dahl is an odder character for the series, but played realistically and well - something that entirely would happen. To me she brings the film a liveliness.
- Ski-chase is awesome.
- Sequence in Greece when Bond meets back up with Melina is beautiful - it's nice to see everyday type scenes.
- Casino, Lisl, dinner with Cristatos - all fantastic, especially Roger talking about wine. Death of Lisl is brutal.
- Columbo/Bond relationship beginning and awesome sequence at Locke's warehouse. Moore kicking car off cliff - epic moment.
- Recovery of ATAC scene is tense and beautifully shot. Great use of the Bond theme.
- Dragging behind the boat/sharks is one of the best sequences in the entire series.
- Rock-climbing is tense and well done.
- Finale is wrapped up nicely without a massive dragged out fight. Detente.
- Overt romance between Melina and older-Moore is avoided by a nice skinny-dip.
- Moore, while being a bit older, looks great and moves well. His acting is amazing in this.
- Temporary M puts in a decent job, plays the 'stand-in' well with good support from the MoD.
- Carole Bouquet is beautiful and plays the part well. The chemistry between the two works well because there is no forced love story.
- Topol, Julian Glover put in excellent performances.
- Locque, never says anything, but is a very good presence.
- Locations are stunning, some of the best in the series.
- The cinematography and quality in each and every shot is outstanding - maintains the quality that began in MR.
- Bill Conti's soundtrack is unusual, but suits the film entirely. His use of the Bond theme is wonderful.
- John Glenn's first job at direction is solid.
Cons:
- Blofeld in the PTS, the tone is a bit off for the rest of the film and generally with Blofeld as a character.
- I don't believe the Thatcher and Dennis scene is completely out of place or unfunny - in 1981 England at one's first theatre viewing it would've been hilarious. It just is one of those elements that dates the film, plus there's a bit of political lampooning to it that IMO doesn't totally belong in a Bond film.
- The scene with Moneypenny is off. Lois Maxwell is lovely and a legend but I don't like her delivery of the lines in this - and she looks and dresses far too old.
Observations:
- One of Columbo's men looks like Will Farrell, and the captain of Cristatos' boat looks like Sean Penn! (I know they're not).
- Start of the Phillips product placement.
- Did Glenn get quite a few cues from OHMSS/Peter Hunt in terms of style?
- Quite a few nipples in this one, in the title sequence and Lisl ;%
BluRay:
Stunning.
Overall:
I've always loved FYEO and it's been by 4th favourite for a while - but this viewing has pushed my regard for the film even higher. It is excellent. Everything comes together in a similar way to OHMSS. Roger Moore takes the more serious aspect of the film, grabs it, runs with it and smashes it out of the park. It's a stunning performance.
The pacing of the film is immaculate and IMO Bill Conti's score pushes the quality of the film even higher - it gives it more feeling and suspense and his use of the Bond film is great - especially during the sub dive and at the end of "Run Them Down".
My opinion of Carol Bouquet's performance has lifted too, she plays the role of a woman who's just had her parents killed very well. She's mourning and seeking revenge but craves Bond's influence.
A back to basics Bond that is done with the same level of care and attention as OHMSS is - for me because Roger is in this - it makes it even greater
I think FYEO is the best Moore Bond, keeping plenty of the Fleming
elements and I think Sir Roger gives a sterling performance as 007.
He certainly does. It helps that it is exquisitely filmed and the locations are amazing. Something that OP and AVTAK miss, is that some of the locations are a little dour.
Agreed -{ , I can't think of another British actor who could have taken the roll over
and made such a success. ( I know there might be a few names mentioned )
"I've been informed that there ARE a couple of QAnon supporters who are fairly regular posters in AJB."
Agreed -{ , I can't think of another British actor who could have taken the roll over
and made such a success. ( I know there might be a few names mentioned )
To quote another famous franchise: I have a bad feeling about this
They can't remake the film (was wasn't entirely Fleming), but they may be able to adapt the short stories that made up the film. Now, if they took the parts of "For Your Eyes Only", "Live and Let Die" and "Risico" and the EON film was made from and placed them together the same way, I wonder if that would be legal.
I watched FYEO for the first time in a while last night and found what has until recently been my favourite Moore film to be lacking, dropping from a top tier film to a middling one. Here's some observations:
The action sequences are fantastic. John Glen's experience as a second unit director really pays off here because most of the action sequences are thrilling. The ski chase and the climb to St Cyrils stand out in particular.
The realism and return to a traditional Fleming spy story is refreshing. Bond's reliance on his skills rather than gadgets works really well. Blowing up the Lotus early on and the ensuing car chase in an under-powered vehicle is really well done.
Topol is such a charismatic actor and his character adds some much needed warmth in the film's second half. He and Moore's Bond work well together.
Carole Bouquet comes across as wooden more often than not and her chemistry with Moore in lacking. However, I like that she is focused on getting her revenge rather than being a helpless damsel in distress. And the slow progression of the relationship between her and Bond works well and seems almost mentor-like.
Sir Roger is really starting to look a bit long in the tooth here. While his performance is good, he looks too old to be a spy undertaking this sort of action.
While Julian Glover does the best with what he's given, the Kristatos character comes across as very flat and uninteresting. The double-crossing twist works well though.
While I love listening to Bill Conti's score outside of the film, in the film itself it feels out of place, although this improves as the film progresses. The film also feels flat in some places, especially establishing shots, where Barry would have used music to set the tone of the scene. For example, the scene where Melina meets her parents needed some lush music to evoke a sense of happy homecoming. Conti doesn't use any music until the gunner flies towards the boat depriving the scene of life and warmth.
While there are moments of humour throughout the film, most are sombre in tone and don't gel well with Moore's style of humour. It seems more like Connery's style of humour.
While I love listening to Bill Conti' score outside of the film, in the film itself it feels out of place, although this improves as the film progresses. For example, the scene where Mileena meets her parents needed some lush music to evoke a sense of happy homecoming. Conti doesn't use any music until the gunner flies towards the boat depriving the scene of life and warmth.
I thought I read once that Peter Hunt said it was the editor's job to place the music in the scenes. The composer delivered the score and then the editor chose what went where and when.
Maybe Barbel could confirm because I don't know the true answer?
Yeah, well, sometimes nothin' can be a real cool hand.
If it was like that in Hunt's day, that would explain why there is a lot of inappropriate music in some scenes of the earlier Bond films. The blaring Bond theme when 007 walks into his hotel room in From Russia With Love being a prime example of an editor misreading a scene. By the 70s, scores flowed organically, so I assume by then, composers wrote the music to a particular scene rather an editor imposing their lack of musical understanding onto a film.
If it was like that in Hunt's day, that would explain why there is a lot of inappropriate music in some scenes of the earlier Bond films. The blaring Bond theme when 007 walks into his hotel room in From Russia With Love being a prime example of an editor misreading a scene. By the 70s, scores flowed organically, so I assume by then, composers wrote the music to a particular scene rather an editor imposing their lack of musical understanding onto a film.
Barry always wrote his music cued to particular scenes, as film score composers have always done. It's an exception when the editor chooses not to follow what the composer wrote for a particular scene, which unfortunately Peter Hunt enjoyed doing. The difference you're seeing is that the editors after Peter Hunt showed more respect to the score composers. This has nothing to do with the 1960s vs the 1970s but due to Peter Hunt having his own ideas that weren't what John Barry envisioned.
Comments
"Better make that two."
Its over in a minute - Ferreras slow strangulation has more impact
That's a strange scene, because the concept of it is humourous but the execution is very serious. It doesn't bother me one bit.
They actually had shot slightly more violent scenes but were later left out (probably to align the film to Moore's style) .... The scenes are available on special features
Pros - there's a heap of them:
- Great gunbarrel score.
- Aerial acrobatics in PTS are incredible.
- Title song and title sequence is fantastic. IMO, it's Maurice Binder's best work.
- Chase after Gonzales killing, incredible driving and great twist to have an underpowered 2CV with Bond's better driving.
- Elektra line (2nd pre-TWINE shoutout).
- Identigraph while dated by today's standards, is a cool scene with Q. "A nose, not a banana Q."
- Cortina, and all espionage elements including the message on the mirror and meeting Ferrara.
- Bibi Dahl is an odder character for the series, but played realistically and well - something that entirely would happen. To me she brings the film a liveliness.
- Ski-chase is awesome.
- Sequence in Greece when Bond meets back up with Melina is beautiful - it's nice to see everyday type scenes.
- Casino, Lisl, dinner with Cristatos - all fantastic, especially Roger talking about wine. Death of Lisl is brutal.
- Columbo/Bond relationship beginning and awesome sequence at Locke's warehouse. Moore kicking car off cliff - epic moment.
- Recovery of ATAC scene is tense and beautifully shot. Great use of the Bond theme.
- Dragging behind the boat/sharks is one of the best sequences in the entire series.
- Rock-climbing is tense and well done.
- Finale is wrapped up nicely without a massive dragged out fight. Detente.
- Overt romance between Melina and older-Moore is avoided by a nice skinny-dip.
- Moore, while being a bit older, looks great and moves well. His acting is amazing in this.
- Temporary M puts in a decent job, plays the 'stand-in' well with good support from the MoD.
- Carole Bouquet is beautiful and plays the part well. The chemistry between the two works well because there is no forced love story.
- Topol, Julian Glover put in excellent performances.
- Locque, never says anything, but is a very good presence.
- Locations are stunning, some of the best in the series.
- The cinematography and quality in each and every shot is outstanding - maintains the quality that began in MR.
- Bill Conti's soundtrack is unusual, but suits the film entirely. His use of the Bond theme is wonderful.
- John Glenn's first job at direction is solid.
Cons:
- Blofeld in the PTS, the tone is a bit off for the rest of the film and generally with Blofeld as a character.
- I don't believe the Thatcher and Dennis scene is completely out of place or unfunny - in 1981 England at one's first theatre viewing it would've been hilarious. It just is one of those elements that dates the film, plus there's a bit of political lampooning to it that IMO doesn't totally belong in a Bond film.
- The scene with Moneypenny is off. Lois Maxwell is lovely and a legend but I don't like her delivery of the lines in this - and she looks and dresses far too old.
Observations:
- One of Columbo's men looks like Will Farrell, and the captain of Cristatos' boat looks like Sean Penn! (I know they're not).
- Start of the Phillips product placement.
- Did Glenn get quite a few cues from OHMSS/Peter Hunt in terms of style?
- Quite a few nipples in this one, in the title sequence and Lisl ;%
BluRay:
Stunning.
Overall:
I've always loved FYEO and it's been by 4th favourite for a while - but this viewing has pushed my regard for the film even higher. It is excellent. Everything comes together in a similar way to OHMSS. Roger Moore takes the more serious aspect of the film, grabs it, runs with it and smashes it out of the park. It's a stunning performance.
The pacing of the film is immaculate and IMO Bill Conti's score pushes the quality of the film even higher - it gives it more feeling and suspense and his use of the Bond film is great - especially during the sub dive and at the end of "Run Them Down".
My opinion of Carol Bouquet's performance has lifted too, she plays the role of a woman who's just had her parents killed very well. She's mourning and seeking revenge but craves Bond's influence.
A back to basics Bond that is done with the same level of care and attention as OHMSS is - for me because Roger is in this - it makes it even greater
"Better make that two."
You should have added this on the top of your pros!
Dalton - the weak and weepy Bond!
things in the titles. {[]
Waiting to see the 4k transfers very soon
Dalton - the weak and weepy Bond!
Any takers for a nipples pros and cons thread?
Connery and Moore films would probably have too many pros
TMWTGG has lots of pros on the nipple front. After all both Bond and Scaramanga have three each!!!
For Your Eyes Only TP.
We're not Europeans you know.
"Better make that two."
I think FYEO is the best Moore Bond, keeping plenty of the Fleming
elements and I think Sir Roger gives a sterling performance as 007.
He certainly does. It helps that it is exquisitely filmed and the locations are amazing. Something that OP and AVTAK miss, is that some of the locations are a little dour.
"Better make that two."
and made such a success. ( I know there might be a few names mentioned )
"roll over"
The link is here: http://consequenceofsound.net/2015/11/canadian-filmmakers-to-remake-james-bond-films-after-copyright-expires/
To quote another famous franchise: I have a bad feeling about this
They can't remake the film (was wasn't entirely Fleming), but they may be able to adapt the short stories that made up the film. Now, if they took the parts of "For Your Eyes Only", "Live and Let Die" and "Risico" and the EON film was made from and placed them together the same way, I wonder if that would be legal.
The action sequences are fantastic. John Glen's experience as a second unit director really pays off here because most of the action sequences are thrilling. The ski chase and the climb to St Cyrils stand out in particular.
The realism and return to a traditional Fleming spy story is refreshing. Bond's reliance on his skills rather than gadgets works really well. Blowing up the Lotus early on and the ensuing car chase in an under-powered vehicle is really well done.
Topol is such a charismatic actor and his character adds some much needed warmth in the film's second half. He and Moore's Bond work well together.
Carole Bouquet comes across as wooden more often than not and her chemistry with Moore in lacking. However, I like that she is focused on getting her revenge rather than being a helpless damsel in distress. And the slow progression of the relationship between her and Bond works well and seems almost mentor-like.
Sir Roger is really starting to look a bit long in the tooth here. While his performance is good, he looks too old to be a spy undertaking this sort of action.
While Julian Glover does the best with what he's given, the Kristatos character comes across as very flat and uninteresting. The double-crossing twist works well though.
While I love listening to Bill Conti's score outside of the film, in the film itself it feels out of place, although this improves as the film progresses. The film also feels flat in some places, especially establishing shots, where Barry would have used music to set the tone of the scene. For example, the scene where Melina meets her parents needed some lush music to evoke a sense of happy homecoming. Conti doesn't use any music until the gunner flies towards the boat depriving the scene of life and warmth.
While there are moments of humour throughout the film, most are sombre in tone and don't gel well with Moore's style of humour. It seems more like Connery's style of humour.
8. TMwtGG 9. AVtaK 10. TSWLM 11. SF 12. LtK 13. TND 14. YOLT
15. NTtD 16. MR 17. LaLD 18. GF 19. SP 20. DN 21. TB
22. TWiNE 23. DAD 24. QoS 25. DaF
I thought I read once that Peter Hunt said it was the editor's job to place the music in the scenes. The composer delivered the score and then the editor chose what went where and when.
Maybe Barbel could confirm because I don't know the true answer?
8. TMwtGG 9. AVtaK 10. TSWLM 11. SF 12. LtK 13. TND 14. YOLT
15. NTtD 16. MR 17. LaLD 18. GF 19. SP 20. DN 21. TB
22. TWiNE 23. DAD 24. QoS 25. DaF
Barry always wrote his music cued to particular scenes, as film score composers have always done. It's an exception when the editor chooses not to follow what the composer wrote for a particular scene, which unfortunately Peter Hunt enjoyed doing. The difference you're seeing is that the editors after Peter Hunt showed more respect to the score composers. This has nothing to do with the 1960s vs the 1970s but due to Peter Hunt having his own ideas that weren't what John Barry envisioned.