The film does depend on how convincing the viewer finds David Hedison and Priscilla Barnes in the opening scenes.
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If i’m honest, I have to admit that after half an hour in the movie I completely forgot about Della and it hits harder when Sharky is killed and also joked about it by one of the bad guys.
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If you consider it from a structural standpoint, then yes the two of them are the most important victims in the series to that point. Unlike the various allies who die halfway in, are “mourned” with a moment of silence or grim remark and then we move on, Felix and Della’s sufferings drive the whole film, at least on paper.
Personally, i think this is where the film most fails me, for all my criticisms about things like music and scope and the TV feel. I don’t really care about Felix and Della as presented, so for me they exist merely to set up the “what if Bond fought a Miami Vice villain” scenario. I consider it the dark version of LALD. Both films take a character known for wreaking widespread havoc in battles against global threats and transplant him to the “real world” where those same tactics leave a swath of destruction in more mundane surroundings. In LALD that’s played for laughs (“What are you, boy? Some kinda doomsday machine?”) In LTK it’s played more for the bad-ass angle (“Brother did YOU pick the wrong guy to mess with”). But as far as Bond turning his back on duty and country to pursue a personal vendetta based on what happens to Felix and Della…okay, I’ll play along but I don’t feel it. Even the filmmakers seem to be stacking the deck with the “he was married once” reference. In the LALD novel, the attack on Felix was enough to drive Bond, but in LTK we need to pile on a dead wife and its triggering of residual grief/rage over Tracy. And with all that, I’m still in the “okay, of you say so” camp.
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I don’t disagree, for me Hedison made his pitch but Barnes didn’t - it’s a film that hopes to use a tiny piece of the film to make you invested in all of it. Dalton does do the work, but asking him to do all the work seems like asking alot.
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Yes, LTK needs us to believe Felix means a great deal to Bond, but up to that point Eon had done Jack Squat to build that relationship. The character had been played by a long string of one-timers, often seemingly chosen for no other reason than because they were older or fatter than whoever was playing Bond and thus couldnt steal his thunder. What little “Felix” did could’ve been re-assigned to a different-named character with no impact on anything. Hedison was arguably the most endearing of the lot, but by the time of LTK it had been 16 years since we’d last seen him, and his rapport was with another Bond actor. They could have called the guy in LTK by any other name and it wouldnt have made anything any more or less “moving.”
LTK wants to cash in on the “this is for what you did to my best friend” craze, but the trouble is – or at least was in 1989 – James Bond didnt have a best friend.
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For September 14:
Greetings my citizens / populace / subjects / objects / villeins / cottars / serfs / vassal to a liege lord (which is me).
My glorious period of office continues; let the good times roll as much as the heads of the official opposition and half of my cabinet (pour encourager les autres).
I have been most moved by seeing how you all weep as I come amongst you. Whenever news breaks of my imminent benevolent visit to any of the many shanty towns that are the glory of our (it’s my) nation, see how they raise a glass of Toilet Duck in celebration of my bigly health advice. You are all so very lovely, especially in a casserole.
So much has happened even in this short time I have been dominant over you. I shall prove an action-orientated leader, with my next action being a visit to the National Gold Reserve with many, many trucks and a “clean” atomic bomb.
Now get back to work. That asbestos won’t lick itself.
Second in success only to my edict that all men taller and more good-looking than me will be vivisected, which was performed remarkably swiftly by my Maiming Squads because there just weren’t that many (obviously), the rule that a word can only appear once in books or films in a series or franchise (ugh) still blooms rich rewards. For example, there is only one Lethal Weapon. It appears to be me. Bleat not; whatever I allow you to think of me, I’m still evidently more pleasant than that Gibson tick.
For Bond, it’s the turn of “Die”, and in the English language please. I am not outlawing the German feminine / plural “The”. That would be silly, whereas this is obviously completely sane. Person. Woman. Man. Camera. TV. They’re all getting banned, too.
Only one can survive. The rest, well, die. Close contender Never Dream of Dying I have alread banned because I am kind, it is rubbish and I abhor cruelty. Also, it didn’t get through the “Never” vote anyway. Pay attention when I am crushing you. Tchoh! I shall have to have a leeeedle chat with the Re-education Minister. Pray for him, if you think that will actually do any good.
Always Dream of Dying
- Live and Let Die (novel)
- Live and Let Die (film)
- No Time to Die
- Win, Lose or Die
- Tomorrow Never Dies (novelisation (and I must get round to banning that word))
- Tomorrow Never Dies (film)
- Die Another Day (novelisation… won’t bother banning the word here, hardly worth the bother)
- Die Another Day (film)
- Double or Die
- Heads You Die
0 voters
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There really has been a lot of Die(s)/Dying in the titles hasn’t there? Six with Die and one each with Dies and Dying (combining the novels/novelizations and films of the same name). They really do need to stop using them for awhile. (Kill isn’t far off either with six titles, including short stories, containing the word.)
But as for the vote, I went with Tomorrow Never Dies (film). I like it better than any of the novels/novelizations, and it’s my favorite film of those listed (sorry Live And Let Die, you would have been my second choice). Too bad TND didn’t stick with its original title Tomorrow Never Lies. It’s a better title, and it fit the film’s story better too–and Jim also wouldn’t have had to throw it into his survival of the fittest survey. C’est la vie.
I had to search my memory for traces of Heads You Die - and finally resort to Google - I’d entirely forgotten about that continuation of Young Bond. Which is a little less alarming considering I didn’t read any of these.
In the end I went with Double Or Die, a paperchase with steampunk appeal and more ‘adventure’ than recent Bonds turned out to feature.
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Facetiously I’m going to save DAD. EON needs a lighthouse to warn it of a path that should not ever be trod again…
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Actually, Heads You Die is Steve Cole’s best Young Bond novel and worthy of Charlie Higson–in my opinion.
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For September 15
Now that the henchbod Deathmatch is done and Jaws has gnawed his way to the top, to tidy things up for next year, the following are open to vote (although a vote on who the lead woman in Skyfall would be threw up (as t’were) M, so voting… dun’t always work) - but perhaps just to tidy up for next year:
Dr No
Principal henchpeep(s)?
- Professor Dent
- Three Blind Mice
- Miss Taro
0 voters
From Russia with Love
Is Grant a main villain (along with Klebb) or “just” the henchman. A vote for him as “just” henchman will knock the mighty Kronsteen out of consideration.
- Grant - main villain
- Grant - henchman
0 voters
You Only Live Twice
Who is the principal henchbod?
- Helga Brandt
- Osato
- Hans
0 voters
OHMSS - principal hench?
- Irma Bunt
- Grunther
0 voters
Moonraker - principal hench?
- Chang / Charrrrrrrrrr or whatever they eventually decide to call him
- Jaws
0 voters
Licence to Kill - principal hench?
- Krest
- Dario
- Killifer
0 voters
Die Another Day (if you can bear to think about it) - principal hench?
- Miranda Frost
- Zao
0 voters
Casino Royale - principal hench?
- Dimitrios
- Kratt
0 voters
Quantum of Solace - principal hench?
- Mitchell
- Medrano
- Elvis
- Beam
0 voters
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At QoS I would even say: unfortunately it’s Elvis… 
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Depends on how you count henchman - the literal henchman is Elvis, but if you mean secondary threat it’s Medrano.
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Freudian slip, heh. But don’t get me wrong: I love Lower Decks and all of the other new Trek shows as well.
Peter Hunt was ROBBED of that second film.
For September 16:
Insofar as tenures of Bond actors go, the Craig films have gathered the most Academy Awards; super. It’s still not a huge amount overall, although one could argue that as they have mass public appeal already, they don’t really need the push an award can give, although it’s nice to have.
This one’s a basic Yes / No
Question: over the course of the film series, is there anything else unrewarded / overlooked by the Oscars that really should have received a golden emasculated suspiciously phallic well-done-you? And if Yes, what was that and why is it more deserving that whatever won instead?
Give the billionaires more shiny things?
- No
- Yes
0 voters
My votes for the main henchmen:
Dr. No – No’s 3 “Blind” Assassins aka the Three Blind Mice. They were No’s main assassins. They killed Strangways and tried to kill Bond both while outside his hotel and while they were chasing Bond in the hearse with the driver. Dent, along with Miss Taro, are just No’s moles into Kingston government house’s goings on both socially and in the office, respectively.
From Russia With Love – Donald “Red” Grant. Grant is the muscle whose sole purpose is to follow, observe, protect if necessary, and then take out Bond at the precise right moment. Klebb is the operation leader and order giver while Kronsteen is just the planner–no more, no less.
You Only Live Twice – Hans. He’s Blofeld’s personal bodyguard as well as his most trusted ally as the keeper of the Bird One key. He’s with Blofeld clear to the end even as the crater lair is being overtaken all around him. Helga Brandt is the secondary assassin. The only real attempt she makes on Bond’s life is a poorly attempted plane crash which is not very effective. Osato is just a second in command type giving some orders, not an assassin-type henchman.
On Her Majesty’s Secret Service – Grunther. Although he never goes mano-a-mano against Bond (though he does tussle with him briefly along with Felsen before Bond gets locked up in the wheelhouse) he is the physical henchman-type threat in the film. As I mentioned earlier, Irma Bunt is more like Blofeld’s partner in crime or at least very personal second in command. She may be Blofeld’s main and best ally, but she is not his main henchman. She does get credit for Tracy’s death, but only because Blofeld’s men are all gone and with his neck in a brace all he can do is drive–he can’t aim and shoot. Also, it’s Grunther that Blofeld calls to knock out Bond when he sees Ruby the second time. It’s Grunther who escorts Bond to the aforementioned wheelhouse. It’s Grunther who chases Bond on skis (seen in closeups although which one is actually him skiing I’ve never been ever to figure out), it’s Grunther who alerts Blofeld of the approaching helicopters, and it’s Grunther who Blofeld calls on to grab Tracy–although that doesn’t turn out well for him. All very henchman-like stuff to do, so Grunther is the real henchman in OHMSS.
Moonraker – Chang. Chang is Hugo Drax’s original primary henchman. He is in the movie for half the film (same as Jaws give or take a minute or two). He has the best fight with Bond. He comes the closest to killing Bond (with the centrifuge), and he is creepy spying on Bond and unleashing Drax’s Dobermans. Besides, Jaws already got a previous–and better–film in The Spy Who Loved Me–AND which he was better in. Plus, Jaws turns into a good guy at the end of Moonraker. Better to keep the henchman who stayed on the bad side a la Chang. And to top it off, Chang was more successful at his henchman duties than Jaws was. He discovered that Corinne betrayed Drax and he got the dogs to kill Corinne. Jaws can’t compete with that record.
Licence To Kill – Dario. He’s the most threatening of Sanchez’s stable of killers and he’s got the best scenes. Milton Krest is like Osato in that he is more of a second in command type of henchman who gives occasional orders rather than being a physical threat. And Ed Killifer is just a hired traitor.
Die Another Day – Tan Ling Zao. Tan-Sun Moon’s (aka Gustav Graves’) best friend, ally, and henchman. He is Moon/Graves’ enforcer. Miranda Frost is the number two hench(wo)man. She is more Moon/Graves’ mole in MI6 than personal hench(wo)man.
Casino Royale – Kratt. He is always by/with Le Chiffre. He’s his number one man. He digs the tracker out of Bond’s arm and he cuts out the chair seat to prep it for Bond’s torture. Alex Dimitrios is just a middle man supplying bad guys and terrorists for whoever will pay. Plus, in a deleted scene, we learn that Le Chiffre and Dimitrios meet for the first time in Casino Royale as they match up their half of a previously torn playing card, which would show that Dimitrios is NOT Le Chiffre’s henchman, rather just an ally.
Quantum Of Solace – As much as it pains me to say: Elvis. The weakest AND worst henchman of the series. Dominic Greene’s cousin and ally is his de facto henchman. Ugh! As for Gregg Beam, he’s just a bad American agent who misreads Greene and the Bolivia situation entirely. He’s not at all with Quantum, he’s just looking to benefit himself and America. Craig Mitchell is just a Quantum mole in MI6 who only acts to help Mr. White escape. Edmund Slate would be more henchman worthy as he is actually assigned to kill Camille before Bond gets to him, though he’s hardly in the film.
Luiz Medrano is interesting. It’s almost as if he is another villain entirely. He has his own men. Quantum and Greene are doing what they are doing to benefit Medrano as he is paying them for their skills, and it is obvious that they have an unstable, if not unfriendly, working relationship. But it’s not really a partnership. They also have separate goals. Medrano’s is destabilizing the Bolivian government and taking control. Quantum’s is making millions by controlling the country’s water supply. Additionally, you could even say that Carlos is Medrano’s henchman. Medrano’s men are Lt. Orso, the Bolivian pilot, and the corrupt Bolivian motorcycle cops. Everyone else are Quantum’s people. So you could say that Quantum Of Solace has TWO separate villains–Greene and Medrano as they are not really partners. I’d liken it Raymond Benson’s High Time To Kill, which I see has two separate villains: Paul Baack, leader of the Union plot to obtain the Skin 17 microdot and sabotaging the mountain team’s climb, and Roland Marquis, out to get the microdot as well, but for his and his pals’ own financial ends. But back to Medrano as Greene’s henchman. I don’t see it, no, no way. At best, he’d be like an Osato/Krest type.
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Should EON have won more Oscars? Yes. Do they need more shiny things? No.
Live And Let Die lost the Oscar to The Way We Were in 1974 but the Paul McCartney and Wings song was the better song and has lasted the test of time better. Likewise, For Your Eyes Only losing out to The Best That You Can Do (Arthur’s Theme) in 1982. Sheena Easton’s song was better.
Other than those, I’m not sure what else to pick. The Spy Who Loved Me’s production design was arguably the series’ best, but it was up against Star Wars that year so I can’t say TSWLM was more deserving. Casino Royale should have been–and deserved to be–nominated for Best Picture in 2007, but I don’t know that it was more deserving of winning the award than The Departed. As a Bond fan I say yes, but I won’t make the case here.
Oftentimes, Bond films weren’t even nominated in many/all categories regardless of how good the film or the artists’ product/effort was, but then action films (and comedies) have long been under-appreciated in Hollywood awards shows.
But ultimately, awards, aren’t what matters. What matters is putting out an entertaining, quality product. That is what EON has done longer and better than anybody over the last 60-plus years. They keep doing it and the fans keep coming and the producers’ pockets keep getting stuffed. Everybody wins. THAT is what EON should concentrate on now. Forget trying to earn the praise of critics and the Hollywood elite. EON tried that with the Daniel Craig films and not a whole lot changed–certainly not awards-wise. Go back to the tried and true. Like Bond told Elliot Carver in Tomorrow Never Dies: Give the people what they want–a quality product that entertains the fans. EON will never go wrong if they go by that strategy.
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Connerys performance was overlooked at awards ceremony, deserved some recognition, I would suggest FRWL as his most complete performance , more deserving than Gregory Peck in To Kill a Mockingbird; perhaps…
That neither Adam or Barry won for Bond is astounding to me. Barry especially, and that he won multiple Oscars for other work only reinforce the idea that the Academy has an inherent bias against “action” entertainment. Adam too - his wins both in “period” pieces. Cinematic history will be much kinder to the fact that their work (and a lesser extent Hunt’s editing) changed the game, though that phrase “changing the game” alone is anathema to the Academy when you see what has been honored over the years.
On a one-off level, while I still believe Deakins should have won for SF, it’s even more of a joke that he still hadn’t won up to that point, and had to wait another half-decade before he did.
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