I realy can’t remember a victim in No time to Die, except for the viewer, who had to endure it all.
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The victim was Bond. Therefore NTTD got my vote since his demise, while not entirely satisfying from a dramatic standpoint, was definitely welcome as a means to move us the heck on to greener pastures at last.
I was surprised how hard it was to choose my least favorite Bond girl here, or least memorable villain.
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September 4
Ah, the 1980s! I started it a child and ended it… well, still technically a child, but oh! the experiences. Oh! and… urr, really?.
Anyway, with a largely consistent production crew, not least those writing the things, the churning out from the Bond Factory gave us a “new” Bond film every couple of years and in no way contributed to creative nor audience apathy.
Thematically curious, though, on the basis the first film of the decade tells us how naughty and potentially soul-eroding revenge can be (taken from Fleming) and the final film of the decade shows us what cathartic and explody fun revenge can be (it’s so, so…Fleming?).
Accordingly:
Villain
- For Your Eyes Only
- Licence to Kill
0 voters
Film
- For Your Eyes Only
- Licence to Kill
0 voters
Song
- For Your Eyes Only
- Licence to Kill
0 voters
Bond
- For Your Eyes Only
- Licence to Kill
0 voters
Woman
- For Your Eyes Only
- Licence to Kill
0 voters
Hench
- For Your Eyes Only
- Licence to Kill
0 voters
Titles
- For Your Eyes Only
- Licence to Kill
0 voters
Victim
- For Your Eyes Only
- Licence to Kill
0 voters
FYEO is probably my least favourite film in the Moore era, and if we’re going down the back to basics/revenge road LTK does that in a much more exciting way. For me it wins in all categories.
Villain: Licence To Kill:
- Sanchez is really threatening and one of the best Bond villains, he’s truly menacing and maniacal.
- Kristatos wasn’t fleshed out as a character and his plans are undercooked, it’s also easy to see him as the bad one because there are many signposting like Kriegler that’s obviously working on his side, just not fully developed as a character and forgettable too, very much low key for such a Bond villain.
Film: Licence To Kill:
- Licence To Kill is a very straightforward film with easy to understand plot, sure, it’s lacking in some technical qualities like the cinematography (it felt like a generic 80’s action TV show), but the story and plot was properly made up for it.
- I don’t even know if the technical qualities of For Your Eyes Only are better either, it’s also lacking in some vibrance and often comes off as too dull (another made for TV movie style of cinematography), and it also didn’t helped that there are lots of tonal inconsistencies like Bibi Dahl, talking parrot, the Pre-Title Sequence, and the Margaret Thatcher at the end, and the plot was also a bit convoluted too with some unexplained motive from the villain.
Song: For Your Eyes Only:
- Well, I liked both, both of those songs are in my favorites, but to be specific, I’d go with For Your Eyes Only, I liked the romance feel into it (I’m only talking about the Sheena Easton song, not including the soundtrack by Conti).
Bond: Licence To Kill:
- Licence To Kill is where for me, Timothy Dalton perfected his performance as Bond, the film that cemented his own version of Bond, something that he’s still lacking in The Living Daylights (because there are some hints of it being still a Moore Bond film like the quips and one liners), but in Licence To Kill was where he found his own ground.
- This is very much opposite for Moore in For Your Eyes Only whose performance was felt a bit foreign, and unmoored (no pun intended) from his previous portrayals, I don’t also liked the fact how hypocritical was Bond in this film like him warning Melina about revenge, yet did so by himself by killing Locque to avenge Ferrara’s death, Bond in this film was conflicted on whether to go camp or serious, as there are some scenes where he’s still the campy, quippy Bond, but there are some scenes where he’s being serious and I’ve felt Moore was uncomfortable playing for.
Bond Girl: Licence To Kill:
- It all comes down to two things: how the character was utilized and the acting, so let’s get started first with the acting, Carey Lowell was a far better actress than Carole Bouquet whose acting was a bit stiff, almost going a Barbara Bach style of acting with limited facial expressions, didn’t how to convey reactions and expressions clearly and properly, she’s almost wooden, and doesn’t helped that she’s dubbed for some unclear reason (if there’s one who needs dubbing, it’s definitely Bach for her fake Russian accents), but not Bouquet, but still, it is what it is.
- Second, how the character was utilized in the film, Pam Bouvier’s premise was simple, act as a partner for Bond, but the film elevated more on it by having her be a strong ally to Bond who had formed a deep connection with Bond himself, not just that, she’s gave a lot more to do in the film that she almost saved Bond’s life many times, and therefore establishing her character further more, her only let down was the love triangle, but I don’t think it’s anything worse than Anya getting jealous of Naomi in the earlier film, right?
- So, meanwhile, Melina Havelock doesn’t appear that much in the film, I’ve seen her in the first act, disappear in the entirety of middle act then returned in the near climax, she’s not established as a character, it doesn’t helped that she’s given limited to do in the film because the fact that Bond hindered her from doing so.
Henchman: Licence To Kill:
- Dario possessed so much menace and threat, to the point of him being irritating that I want Bond to kill him off (that’s how effective was him as a henchman), he’s so evil, all of what he did was to do bad things and make the viewer got rid of him, that’s how Dario was great as a henchman, great job done by a young Benicio Del Toro.
- Okay, so let’s go on to the second one, who’s supposed to be the henchman of For Your Eyes Only? Is it Locque? Is it Kriegler? I don’t know, but whoever it is, it doesn’t make much of an impression to me, they have limited roles in the film (almost of a small role), Locque? He’s iconic moment was the scene where Bond killed him, but as to the individual character itself, he’d never made any memorable scenes, the film never even showed how he dispatched both Countess Lisl and Ferrara (as in actually).
Titles: For Your Eyes Only:
- Okay, I liked almost everything about Licence To Kill, but one of the exceptions to it is the title sequence, I’m not a fan of it, felt very cheap and just a patchwork of some shots in order to make a title sequence, just not creative.
- While I’m also not a fan of For Your Eyes Only title sequence (Sheena Easton’s appearance in the title sequence kinda distracts me everytime), but the silhouettes and the models swimming and the water motif, it’s well done, I liked it, had they just removed Sheena Easton in the title sequence and leave it to the models and silhouettes, it would’ve been so much better and great.
Victim: Licence To Kill:
- I think the victims in both films are both tragic aren’t they? Of course are there not?
(All of the victims were tragic), and at least not in the world of Bond! But break it down a little bit: impact, so, both have impact, but what Sanchez did to Felix Leiter is really brutal and it established Sanchez as a tyrant! Wicked, evil villain that makes me (the viewer) sympathize with Felix Leiter and joins Bond in his vengeance against Sanchez, well, Licence To Kill is a film about victims, that’s the main point of the film right? The victim? Felix Leiter and his wife Della, they’re the main points of the film, and the most essential part of the film, something that I can’t say the same for Countess Lisl and Ferrara, in terms of impact, Felix Leiter trumps both the Countess and Ferrara more, so that alone, I’d give the win to Licence To Kill.
2 Likes
Probably says a lot about how public opinion changed. At least, people ended up being honest about their basest instincts.
Did the Brosnan era negate anything it set out to do?
Nah. Mixtape excess all around.
The Craig era? Short life-expectancy for 00‘s… and, already said everything there. Only extended for two decades.
1 Like
It’s one of my favourites, but I’m aware it was the second Bond film i saw.
September 5
It’s International Charity Day! Not something I have ever actually celebrated before, in my mendicant-maiming life, but I am asking for your help on this occasion.
It’s nearly time for the draw for “Hench” / “Henchbod” / “Henchthey” for the Deathmatch round, and I recall a little bit of tickle last year on deciding quite who was the Henchperson (or perhaps, primary Henchperson) for some films. So that’s today’s vote, and yes please give me your personal email address, your PIN and all your of your meagre funds.
Some are decided by being pretty much undisputed; some are decided by being seeds for the Deathmatch so won’t change regardless of snivelling. I also accept antique silver.
OK, so:
Dr No - last year Professor Dent. Could be Miss Taro? The Three Blind Mice? Vote below.
From Russia with Love - obviously there’s a crumbling school of thought that it’s Grant, but he had a go in the main Villain match. Kronsteen it is because he’s ectually 9th seed; did well last year. And it’s all his plan anyway.
Goldfinger - Oddjob. Is third seed. And also - obviously?
Thunderball - Fiona. Fourth seed. Do not argue with this lady,
YOLT - Helga last year, given that she’s basically the same character as Fiona, with similar hair. Some consider it to be Blofeld’s boyfriend Hans, but he does nothing other than let Blofeld touch him on the hip. Still, open to vote…
OHMSS - Bunt is 8th seed, so no change there despite any snivelling to the contrary.
Diamonds are Forever - Wint and Kidd. Second seed. Can they win this year?
Live and Let Die - Tee Hee last year. Open to vote against THE BARON and some others. It’ll still be Tee Hee.
The Man with the Golden Gun - Nick Nack. Albeit not seeded I can’t think of anyone else save for Hai Fat, who is more of an employer than a hench, or that lonely molester in the solar power station, and he’s awful.
The Spy who Loved Me - Jaws. Top seed.
Moonraker - last year Jaws but open to a vote whether it should be Charrrrrrrrrrrrrrrr or Chang or whatever he is meant to be called.
For Your Eyes Only - Locque is 10th seed so not changing this year.
Octopussy - was Gobinda last year (and didn’t do that well) Khan and Orlov had a pop at main Villain (and didn’t do that well), so the vote will be Gobinda vs Knife Twins.
A View to a Kill - May Day. Fifth seed.
The Living Daylights - Necros last year, can’t really think of anyone else. Koskov & Whitaker were in the main Villain game and were a bit… poor. Without any obvious challenger, Necros it is
Licence to Kill - Dario last year. Likely to win the vote but Killifer in with a shout. Or a scream. The others are basically anonymous.
GoldenEye - Xenia. Sixth seed.
Tomorrow Never Dies - Stamper last year. Can’t really think of anyone else. Gupta? Does nothing then dies. Dr Kaufmann? Funny, but there’s bare seconds of him. Still Stamper. No vote.
The World is Not Enough - Renard. Renard is a henchman. There are all sorts of other no marks kicking about but it’s Renard, so cope.
Die Another Day - Zao last year, but Miranda Frost possibly? Mr Kil? The Fabricant-haired geek man? Open to vote.
Casino Royale - This one’s a bit dfficult, tbh. It’s so “not to formula” / they forgot. Anyway. last year Dimitrios, on the basis he does actually have a fight with Bond, and Bond takes his money, car and wife. Kratt? Yeah him, the baldy bloke. Anyway, vote.
Quantum of Solace - Elvis. The King. Beam? Vote.
Skyfall - going with Patrice on the basis he appears to be working for Silva, at least part-time. Cannot think of anyone else.
Spectre - Hinx. Is seventh seed.
No Time to Die - Primo/Cyclops last year; will put in lovely buttermilk-fed blond lad for the vote.
After all of that:
Dr No
- Professor Dent
- Miss Taro
- Three Blind Mice
0 voters
You Only Live Twice
- Helga
- Osato
- Hans
0 voters
Live and Let Die
- Tee Hee
- Baron Samedi
- Whisper
- Adam
0 voters
Moonraker
- Jaws
- Chang but AKA Cha when they realise the bloke they cast isn’t Chinese.
0 voters
Octopussy
- Gobinda
- Knife Twins
0 voters
Licence to Kill
- Dario
- Killifer
- Professor Joe
0 voters
Die Another Day
- Zao
- Miranda Frost
- Mr Kil
- Vlad Fabricant
0 voters
Casino Royale
- Dimitrios
- Kratt, who needs a hatt
0 voters
Quantum of Solace
- Elvis
- Beam
- Mitchell
- Medrano
0 voters
No Time to Die
- Primo/Cyclops
- Logan Ash
- Obruchev
- Dou-Dou (is dirty and evidently lures mosquitos (what was that mosquito bit about, anyway?))
0 voters
September 6
The Camp Bells are ringing! Two films, two debuts - but which Martin Campbell film do you favour?
Villain
- GoldenEye
- Casino Royale
0 voters
Film
- GoldenEye
- Casino Royale
0 voters
Song
- GoldenEye
- Casino Royale
0 voters
Bond
- GoldenEye
- Casino Royale
0 voters
Woman
- GoldenEye
- Casino Royale
0 voters
Hench
- GoldenEye
- Casino Royale
0 voters
Titles
- GoldenEye
- Casino Royale
0 voters
Victim
- GoldenEye
- Casino Royale
0 voters
Opinions of course, but I just think for an artist CR was an opportunity to make something that “seemed” more original than something that was, to be generous, a greatest hits; to not be generous - a pastiche.
In hindsight, GE was a film that was built and while Campbell brought some touches, I’d offer half a dozen other directors would have made exactly the same film, such were the parameters of the process.
2 Likes
September 7
Spectre and No Time to Die - the relationship between Bond and Madeleine overall, across two films
Swanning around
- A good idea, well executed
- A good idea, badly executed
- A bad idea, poorly executed
- A bad idea, but executed as well as it was ever going to be
0 voters
This is oddly complicated as a question - it’s well done in No Time To Die, it isn’t in Spectre.
3 Likes
I accept the question assumes that there was some sort of plan, which there plainly wasn’t, so I suppose it is an “in hindsight” one.
2 Likes
Not a fan of this relationship at all, I don’t buy it, because for the main reason that Craig and Seydoux had no chemistry, their relationship felt forced to me, it also felt very faux, and their age gap for me was on par with Moore and Tanya Roberts pairing (that some of their love scenes are uncomfortable to watch).
It’s the relationship I don’t find interesting at all, because none of these two sparks, I find them both a bit boring, especially Madeleine (she’s not interesting at all, yes even in No Time To Die), she’s full of dread, no warmth and no shine (again, spark), she felt so boring to me, that it affects her relationship with Bond, it’s like I’m watching an ice cube slowly melting down.
They’ve said it’s only Madeleine who can understand Bond because she’s a daughter of the assassin? I think Camille understands Bond more than Madeleine, because Camille had the same experience as Bond himself, both are damaged (in an interesting way), both are grieving for their lost loved ones, both are weary of their lives, and both have suffered some pains, and both are cold hearted killers.
As a character, Madeleine was very shallow to me.
Aside from that was their relationship felt like a rehash of past romances:
-
Like how they’ve replicated their dinner train scene in SPECTRE from Casino Royale? The dinner scene between Bond and Vesper was also similar to Bond and Madeleine’s dinner scene in the train.
-
Questioning Bond’s psyche and his job within a relationship, felt like Bond and Natalya’s relationship in Goldeneye, even down to the point of Madeleine questioning Bond’s coldness and his psychological status, that deep analyzation, it’s already done in Goldeneye, watch the beach scene in Goldeneye as an example of that.
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Then the reuse of On Her Majesty’s Secret Service in No Time To Die that felt like recycling the Bond and Tracy romance into them to the point of even using the same motto and song “We Have All The Time In The World”, in which for me felt lazy because their relationship had no originality or lacking its own identity.
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The letting go of past and connecting Madeleine to Vesper in No Time To Die, have Madeleine help Bond get over Vesper, it’s also done in Quantum Of Solace with Camille helping Bond cope and move on over Vesper’s death, but again, replicated in here?
There’s no originality in this relationship at all (at least for me), it felt very lazy to me, no creativeness and no distinction when it comes to the core of their romance.
I don’t liked that relationship? Yes, I disliked it.
Is it badly written? Yes, for me.
Is it badly executed? Yes, for me.
I just don’t need Bond falling in love with Madeleine at all, it’s unnecessary.
These things are all down to different perspectives and opinions, I guess.
So, it’s hard to consider this an objective choice.
2 Likes
Really? I felt they had.
Then again, „chemistry“ - what is it really?
A subjective feeling one brings to actors because of personal preferences, experiences, expectations.
And the age gap - let me tell you, with advancing age you won‘t care anymore.
Sure, when Maddie still hits the clubs every weekend, Bond will sigh and rather go home early. And he could scream when she says „The Godfather“, isn’t that the one with The Rock? And when he gets told it happens to lots of guys he probably wishes Vesper was still alive instead. But apart from that…
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In 2005 I remember wondering if CR would reach the heights of GE, as if that was the standard for introducing a new Bond. And what we received eclipsed Campbell’s first effort just about across the board, except I think for the villains - Alec and particularly Xenia are one of the best duos in the series. But that’s not to say I don’t like Le Chiffre. He’s also one of my favourites, and Mads is a terrific actor.
CR worked so well because it had the spine of Fleming’s story while making the world contemporary and exciting. It’s a film to point to when anyone says EON should start doing 50s/60s period pieces.
3 Likes
There’s no spark when I’m watching them, think of Bond and Vesper, Bond and Tracy, Bond and Kara, Bond and Octopussy, or even Bond and Elektra, there’s a spark in the pairing, but with Bond and Madeleine there’s nothing.
It’s the romantic tension, the sexual tension, or the feeling that “yes, these two are really for each other”, there’s a feeling of comfort, everytime when watching a (right) pairing on screen, like they’re really compatible with each other.
But the Madeleine (Seydoux) and Bond (Craig) pairing, there’s nothing, almost on par with the pairing of Natalie Portman’s Padme and Hayden Christensen’s Anakin in the Star Wars Prequels (although at least on paper, I know those two characters have chemistry), but in the actual film, there’s little to zero, but with Madeleine and Bond, even down to the characters, there’s just nothing, and again, nothing lively in their relationship, it’s a bit boring.
But what did you feel when you watch Moore getting it on with the ladies younger than him? Think of Bibi Dahl, Solitaire, or Stacey Sutton? Or maybe even Melina Havelock?
Let’s admit it, those are uncomfortable to watch, that’s the same thing I’ve felt towards Bond (Craig) romancing Madeleine (Seydoux), it’s just uncomfortable to watch them romancing together.
Think of it, Craig’s hair was getting more grayer in the film, he even have his wrinkles, his age was getting obvious, then paired him with someone as young as Seydoux? I’m actually hoping that they’re going to opt for Monica Bellucci as a matured partner for Craig, but no.
It’s like Bond was taking advantage of these ladies because they’re way younger than him, just a bit creepy.
Sure, maybe you’re talking about real life, but that’s not what was supposed to be here in this film.
I repeat: highly subjective. Absolutely fine if you don’t feel that way about Craig and Sedoux. But it’s just not something one can state with certainty.
As for the age gap - this is something which only came up in the last five to ten years. In earlier times we did not judge that way.
Again, if someone does not feel it’s appropriate or even considers it creepy then that’s their prerogative.
I don’t have any problem with it if both are consenting adults. And MooreBond did choose not to go for Bibi. The whole scene was played for comedy: we were supposed to laugh at Bond feeling uncomfortable about this.
2 Likes
September 8
As debuts go…
- Dr No
- OHMSS
- Live and Let Die
- The Living Daylights
- GoldenEye
- Casino Royale
0 voters
If I have to categorize it (this is really hard):
A.) For me the near perfect outings are: DN, OHMSS and CR.
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Doctor No (A perfect debut for Connery, it’s great, it might be a bit lacking in technical department like the sound of set designs or any aspects that makes Bond iconic, well not until Goldfinger, but it’s a great outing, there’s Honey Ryder emerging from the ocean and Connery’s introduction line in the Casino, those are immortal moments that defined the beginnings of this Franchise ).
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On Her Majesty’s Secret Service (Another perfect debut for Lazenby, a faithful adaptation of Fleming’s novel, showing the other side of Bond’s character in humanity and romance, also featuring the best Bond Girl of all time, with an advanced cinematography and technical aspects for a 60’s film, it’s perfect too).
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Casino Royale (a Near Perfect Bond film, often cited as one of the best, I liked how it modernized an old Bond novel (although Poker is still very hard for me to understand compared to Baccarat in the book), and great performances by the cast almost flawless regards to technical aspects too, so it’s really a fantastic Bond film.
Although it has its flaws (for me) like the rushed romance between Bond and Vesper, and the ending which should be felt emotional turned to excitement (and became bombastic) because of the shoehorned (almost unnecessary) action scene, with that sinking Venetian building, whereas I prefer the ending of the book with that silent, melancholic, ending where the sadness was really felt, but otherwise, it’s a near perfect Bond film).
B.) And I’m fond of (they may not be perfect debut outings, but still a solid, good Bond films).
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Goldeneye (the background music was a bit distracting and some transitions of scenes from the editing was a bit jarring, but it’s a solid outing for Brosnan featuring some iconic moments in the Franchise).
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The Living Daylights (It’s a solid debut for Dalton, it’s fun, and his romance with Kara was interesting, but I’ve felt the film was a bit tonally inconsistent, with convoluted plot, and some elements from the Moore Era that obviously didn’t fit Dalton, like one liners and quips, so for that matter, I prefer LTK).
The only debut that I’m not a fan of is Live And Let Die (I find it slow and nothing much happens until almost the third act, it’s a film with never ending chase scenes, almost in different forms like boat, bus and plane in runway, nothing’s interesting in it, throughout the film, Bond was just having this hide and seek from the villains and escaping them that it becomes a bit tedious).
1 Like