"The bitch is dead now" suits Fleming's Bond as the chilling final line in the novel. In the movie, it doesn't quite sound right with Craig, and M qualifies it with her response/diffuses its effect.
I agree. As perfect as the "Bond, James Bond" ending is, I sometimes wish they'd ended the movie on that line.
The title song repeated again in the end credits—I absolutely love the song, but surely they could’ve put another piece there. I guess it was only a short bit though.
Replaying the title theme over the end credits (as we also have here) was also traditional (like GF, YOLT etc). Better that than an 'Experience of Love' or even an 'If There Was A Man' type thing.
Critics and material I don't need. I haven't changed my act in 53 years.
Thunderbird 2East of Cardiff, Wales.Posts: 2,818MI6 Agent
CR-06...
Sometimes whether a stand alone film, or in a series, there is one that comes along, where all the pieces just slot into place and it works. Every dept has their A game at exactly the same time, from scriptwriters to stunt coordinators, from casting to composing. In the Bond album, Casino Royale (2006) is that film.
I have waxed lyrical about makes this film great before, but what makes it have punch, is it knows where to indulge It’s present, compared to the literary past. Everything up to and including Miami Airport is pure post 9/11. It’s contemporary and present, from Bond’s pursuit of Bomb makers, getting grilled by M in her Canada Tower style apartment, to saving the Super Jumbo at Miami. They even provide accurate time stamps with the Ocean Club security camera disc, July 2006.
I can’t recall one of the films timestamping itself like that before.
But from the moment Bond and Vesper meet on the train, we are given classic Bond in the present, with the classic trappings. The heavy use of what are laughably dated mobile phones and the layout of internet pages are the only blatant clues. Everything else has a golden age of cinema feel and that adds to tension in the poker scenes, and light fun in the lovers on the boat stuff.
It also makes dark scenes such as the stairwell fight and the torture scenes all the more frought.
Like Alfred Hitchcock’s best, our imaginations fill in the worst. There are some clunkers of dialogue in places, but they are minimal and don’t detract from the story. Even M-Penny and Q’s lack of appearance is acceptable considering how many other factors are so damned good.
This film is now 14 years old, but it still feels fresh and contemporary. The other thing I like, is the mish mash action and casting errors of QoS, moodiness and contained style of SF, and the convoluted ring fencing desperate exposition SP, that desperately tries to pull all of them together, has not spoilt CR-06 for Me.
Indeed, the closing scenes where M shrewdly highlights Vesper sacrificed herself to save Bond out of love, the ‘loose end’ of White and the money can be wrapped up as a neat conclusion within itself from the closing moment.
Daniel Craig said it right.... The name’s Bond. James Bond. In this film he got closer to Flemings books than the House Of Eon has done since Sir Sean was in YOLT.
The descendent efforts suggest it may be a while before the pieces click together in that way again.....
This is Thunderbird 2, how can I be of assistance?
Sometimes whether a stand alone film, or in a series, there is one that comes along, where all the pieces just slot into place and it works. Every dept has their A game at exactly the same time, from scriptwriters to stunt coordinators, from casting to composing. In the Bond album, Casino Royale (2006) is that film.
I have waxed lyrical about makes this film great before, but what makes it have punch, is it knows where to indulge It’s present, compared to the literary past. Everything up to and including Miami Airport is pure post 9/11. It’s contemporary and present, from Bond’s pursuit of Bomb makers, getting grilled by M in her Canada Tower style apartment, to saving the Super Jumbo at Miami. They even provide accurate time stamps with the Ocean Club security camera disc, July 2006.
I can’t recall one of the films timestamping itself like that before.
But from the moment Bond and Vesper meet on the train, we are given classic Bond in the present, with the classic trappings. The heavy use of what are laughably dated mobile phones and the layout of internet pages are the only blatant clues. Everything else has a golden age of cinema feel and that adds to tension in the poker scenes, and light fun in the lovers on the boat stuff.
It also makes dark scenes such as the stairwell fight and the torture scenes all the more frought.
Like Alfred Hitchcock’s best, our imaginations fill in the worst. There are some clunkers of dialogue in places, but they are minimal and don’t detract from the story. Even M-Penny and Q’s lack of appearance is acceptable considering how many other factors are so damned good.
This film is now 14 years old, but it still feels fresh and contemporary. The other thing I like, is the mish mash action and casting errors of QoS, moodiness and contained style of SF, and the convoluted ring fencing desperate exposition SP, that desperately tries to pull all of them together, has not spoilt CR-06 for Me.
Indeed, the closing scenes where M shrewdly highlights Vesper sacrificed herself to save Bond out of love, the ‘loose end’ of White and the money can be wrapped up as a neat conclusion within itself from the closing moment.
Daniel Craig said it right.... The name’s Bond. James Bond. In this film he got closer to Flemings books than the House Of Eon has done since Sir Sean was in YOLT.
The descendent efforts suggest it may be a while before the pieces click together in that way again.....
I agree. That is other than the obvious mistype "since Sir Sean was in YOLT". It should have been " since George was in OHMSS" or possibly "since Dalton was in LTK". Happy to help.
Thunderbird 2East of Cardiff, Wales.Posts: 2,818MI6 Agent
edited June 2020
I chose Sir Sean deliberately, because as great as Lazenby was as Bond, OHMSS has a lot of narrative props to make it work. A good portion of Lazenby’s scenes are dubbed by George Baker, and he is slightly overshadowed in scenes with Diana Rigg and Telly Savalas.
Its understandable, they were already well established veteran thesps in 1969.
Dalton? Brilliant actor, and wonderful as Bond. But TLD is still stuck with its feet in the tail end of the Cold War, making the film seem indecisive in places, and the plot is very convoluted. Goldeneye is brilliant because it’s the very first thing the film addresses.
LTK is caked in lots of eighties tropes, so although it has Fleming moments, it’s marinading in its own this is right here, right now. Plus like QoS, Bond gone rogue never translates very well. - This film is a revenge saga, and that has fallen for the trapping of the time.
Compared to these points, YOLT has some surreal Flemingesque moments, Bond’s fake murder, Bond meeting Tanaka, the set ups with Aki and Kissy. Plus the lethal gas in the volcano caves.
These aspects are within comparable spectrum of CR-06.
This is Thunderbird 2, how can I be of assistance?
I like it too.
Have you noticed how our commentary gets better on the more questionable movies? When we watch movies like CR we get lost in watching and the comments are mostly "I love this scene!"
If I'm not mistaken the location for the car chase is the Millbrook Proving Ground in Bedfordshire, not far from where I lived at the time of filming.
Yes, I've driven that road a couple of times and it's an absolute hoot. Never got the car to take off though: there's a tight bend right after that jump!
The stuntman who did that car roll stunt actually posted on this forum a few times.
I like it too.
Have you noticed how our commentary gets better on the more questionable movies? When we watch movies like CR we get lost in watching and the comments are mostly "I love this scene!"
Quite a few times during the rewatch I completely forgot about the live commentary, I was just so engrossed in the film!
I like it too.
Have you noticed how our commentary gets better on the more questionable movies? When we watch movies like CR we get lost in watching and the comments are mostly "I love this scene!"
Quite a few times during the rewatch I completely forgot about the live commentary, I was just so engrossed in the film!
No 24. Categorically! Another reason I find CR‐06 so damned compelling. Every scene, every moment, every piece of the score is absorbing.
JTM - I get round that by having my IPad handy. Trying to comment mid film on my Mobile or laptop would be a practical knightmare! Even so, there were moments I was engrosed with the screen.
Even for a Bond, it is just so much more of a film.
This is Thunderbird 2, how can I be of assistance?
Another reason why AJB commentaries of the lesser Bond movies are better is that post like "This is fantastic!" aren't fun. There are so many more things to discuss and make fun of in films like DAD than CR.
Thunderbird 2East of Cardiff, Wales.Posts: 2,818MI6 Agent
Another reason why AJB commentaries of the lesser Bond movies are better is that post like "This is fantastic!" aren't fun. There are so many more things to discuss and make fun of in films like DAD than CR.
Monday night may run to 40 pages before 24 hours pass then!
This is Thunderbird 2, how can I be of assistance?
Comments
I agree. As perfect as the "Bond, James Bond" ending is, I sometimes wish they'd ended the movie on that line.
Happy birthday for tomorrow {[]
Sometimes whether a stand alone film, or in a series, there is one that comes along, where all the pieces just slot into place and it works. Every dept has their A game at exactly the same time, from scriptwriters to stunt coordinators, from casting to composing. In the Bond album, Casino Royale (2006) is that film.
I have waxed lyrical about makes this film great before, but what makes it have punch, is it knows where to indulge It’s present, compared to the literary past. Everything up to and including Miami Airport is pure post 9/11. It’s contemporary and present, from Bond’s pursuit of Bomb makers, getting grilled by M in her Canada Tower style apartment, to saving the Super Jumbo at Miami. They even provide accurate time stamps with the Ocean Club security camera disc, July 2006.
I can’t recall one of the films timestamping itself like that before.
But from the moment Bond and Vesper meet on the train, we are given classic Bond in the present, with the classic trappings. The heavy use of what are laughably dated mobile phones and the layout of internet pages are the only blatant clues. Everything else has a golden age of cinema feel and that adds to tension in the poker scenes, and light fun in the lovers on the boat stuff.
It also makes dark scenes such as the stairwell fight and the torture scenes all the more frought.
Like Alfred Hitchcock’s best, our imaginations fill in the worst. There are some clunkers of dialogue in places, but they are minimal and don’t detract from the story. Even M-Penny and Q’s lack of appearance is acceptable considering how many other factors are so damned good.
This film is now 14 years old, but it still feels fresh and contemporary. The other thing I like, is the mish mash action and casting errors of QoS, moodiness and contained style of SF, and the convoluted ring fencing desperate exposition SP, that desperately tries to pull all of them together, has not spoilt CR-06 for Me.
Indeed, the closing scenes where M shrewdly highlights Vesper sacrificed herself to save Bond out of love, the ‘loose end’ of White and the money can be wrapped up as a neat conclusion within itself from the closing moment.
Daniel Craig said it right.... The name’s Bond. James Bond. In this film he got closer to Flemings books than the House Of Eon has done since Sir Sean was in YOLT.
The descendent efforts suggest it may be a while before the pieces click together in that way again.....
I agree. That is other than the obvious mistype "since Sir Sean was in YOLT". It should have been " since George was in OHMSS" or possibly "since Dalton was in LTK". Happy to help.
Its understandable, they were already well established veteran thesps in 1969.
Dalton? Brilliant actor, and wonderful as Bond. But TLD is still stuck with its feet in the tail end of the Cold War, making the film seem indecisive in places, and the plot is very convoluted. Goldeneye is brilliant because it’s the very first thing the film addresses.
LTK is caked in lots of eighties tropes, so although it has Fleming moments, it’s marinading in its own this is right here, right now. Plus like QoS, Bond gone rogue never translates very well. - This film is a revenge saga, and that has fallen for the trapping of the time.
Compared to these points, YOLT has some surreal Flemingesque moments, Bond’s fake murder, Bond meeting Tanaka, the set ups with Aki and Kissy. Plus the lethal gas in the volcano caves.
These aspects are within comparable spectrum of CR-06.
Well I couldn’t use DAF could I? The House That Eon Built deserves some credit!
In my opinion Connery is probably the best and the worst bond actor. Early on he's wonderful, but in YOLT, DAF and NSNA he isn't. That's why I asked.
Have you noticed how our commentary gets better on the more questionable movies? When we watch movies like CR we get lost in watching and the comments are mostly "I love this scene!"
Oh I've just realised after 15 years: is that supposed to be a pun on Austin Montego?
Yes, I've driven that road a couple of times and it's an absolute hoot. Never got the car to take off though: there's a tight bend right after that jump!
The stuntman who did that car roll stunt actually posted on this forum a few times.
Quite a few times during the rewatch I completely forgot about the live commentary, I was just so engrossed in the film!
https://we.tl/t-pPBXmVfPN0
Dalton - the weak and weepy Bond!
No 24. Categorically! Another reason I find CR‐06 so damned compelling. Every scene, every moment, every piece of the score is absorbing.
JTM - I get round that by having my IPad handy. Trying to comment mid film on my Mobile or laptop would be a practical knightmare! Even so, there were moments I was engrosed with the screen.
Even for a Bond, it is just so much more of a film.
Monday night may run to 40 pages before 24 hours pass then!
Adverts give Higgins more time to write more crap.