It was actually Robert Brownjohn who designed the titles for FRWL and GF.
Barry’s score for MR lends this very silly Bond film a touch of gravitas and sophistication that it almost doesn’t deserve. A very lovely and underrated score IMO.
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It did deserve it.
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100%. Just as it deserved Ken Adam and Shirley Bassey. Amazing film.
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It´s such a Pawlowian reflex to ridicule MOONRAKER: Bond in space? Impossible! And Jaws turning to the good side? Blasphemy!
For my taste, MOONRAKER really takes everything that has come before and turns it to 11, with style, self-awareness and the typically Bondian “we can and we will go further and have fun with it”.
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There’s a very self-aware joke that’s always struck me as very ahead of its time;
“A woman?”
“Your powers of observation do you credit Mr. Bond”
There arn’t many films NOW that would make a caricature of the lead characters worst trait and then mock him for it, and yet that joke is 40 this year!
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Note that I said “almost”. I think MR is silly, yes,but it is a very well-crafted film. Barry, Adam, etc. were all at the top of their game.
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Moonraker is up there with Barry’s most majestic scores…Out of Africa, Somehwere in Time, Born Free. If it weren’t a Bond film, this elegiac score would have won him many awards.
The piece he composed for Corrine DuFour’s demise in the forest is just haunting.
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Good Omens on Amazon Prime. It’s scored by David Arnold, 30 minutes into episode 4, Bond fans will recognise the music playing…
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Much as Morricone provided the ideal soundscape for Sergio Leone’s westerns, Barry had an unerring instinct for Bond scoring - ‘Capsule in Space’ from YOLT being just one terrific case in point. In the ‘60s, each new gunbarrel sequence would offer an ingenious new variation on the Bond Theme. Not so fond of the orchestral version often heard during the Moore years, but that’s just a matter of personal taste.
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Neither am I. “Here comes the clown” as it is…
As long as it is not Pennywise…
Literally what I see when that version of the Bond theme rears it’s painted ugly face…
The only time it really worked was with the aggressive drum machines in The Living Daylights, though Dalton should certainly have had the guitar back imo - but it fit the lighter approach of Moore i suppose if not the theme of a spy movie
I was probably asking for that gif.
But I have to say I disagree - I never hear the “clown”-thing. But I am a total fan of Roger Moore´s Bond.
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It doesn’t say “clown” to me, either, but I confess the “strings” version was never as thrilling as the original guitar. I think Rog only gets the guitar once – riding that camera thing in TSWLM – and he pulls the plug before it’s finished!
It’s still better than Arnold’s over-produced and needlessly techno’d Brosnan version, though.
It´s also subject to current trends, and why not? Getting always the same would be boring.
Not that I would ask for a rap version now.
Well, there was that god awful rap TV spot for Licence to Kill in 1989…
Really? I don’t remember that at all. Anyone got a link?
If you sing along Here Comes The Clown while it plays it helps or listen along with the gif Orion posted