“I was assistant director on the third man, I was assistant director on the African queen, and i’ll handle it”
As I seem to recall DAF’s dvd documentary quoting.
It’s kind of like the finale of Spectre, yes, it’s a noticable drop in quality to what came before, but I get why that’s the case.
With DAF, I can understand it, with Spectre I cannot. The finale in Spectre didn’t work on any level and I can’t for the life of me understand why it needed to be kept the way it did.
You’re welcome 
That fact is part of my argument that DAF is a failed Bond film (though a success as a queer Bond film)–even the actual production did not come off correctly–the big climax is muted/queered. Also why there are frogmen in the poster who never appear in the film proper, though there is some footage of them on the blu-ray extras if I recall. The ending of SPECTRE is a garden-variety failure–the failure in DAF contributes to the film’s overall success of being an othered Bond experience.
Basically it was Sony not knowing what they wanted, but kept insisting on re-writes anyway. The kind of behaviour that would alienate you from everyone, but as they were the ones paying…
Edit: see what a true horror show can happen under an indecisive studio by looking at DCEU…
Thanks, SAF 
For me the finale of SP is the greater disappointment. DAF is a daft cocktail of fun throughout and as such the anti climax is not quite as jarring (and it does have your wonderful namesakes up its sleeve to make up for it a little).
Whereas, imho SP is a fantastic psychological action thriller throughout (save for moneypenny’s fridge), so the absolute nose dive it takes in the writing in that last act is more of a shocker and far more of a let down. It feels as though previous to that finale Mendes was making the movie he wanted and for the finale he was making a film he’d been ordered to make.
DAF is the first Bond film that wholeheartedly acknowledges its own ironic nature, its own parody: ‘You killed JAMES BOND!’
Killed and rebooted him in the same film. All previous films can be ignored at will, nothing is really of any consequence, not even the death of a wife. And all future films can likewise be seen as comments on their own ludicrousness: the gadgets must be in department stores in time for Christmas and the references to previous entries pop up with increasing frequency, even in places where they had no right to be.
As if the conventional Bond ending is hurried through to get to my namesakes not giving up even though they have no reason to continue (and once they are dispatched, Bond and Tiffany can be on an endless cruise while in another Bond universe 007 is rebooted with Sir Roger [following Dustin’s lead]).
Sir Roger then offers us the ultimate parody–MOONRAKER–but a parody that takes its commitment so sincerely, it comes out the other side as a successful film (at least for me). If in DAF James Bond can get killed, in MR he evades all attempts at succumbing to an amusing death (MR has always seemed like the movie where Bond escapes death the most number of times).
And finds a way to finally retrieve those diamonds for Tiffany.
What if there’s a deleted scene in which Moore dons a spacesuit and jet pack, buzzes across the heavens to Blofeld’s abandoned satellite and Jemmys out the diamonds, zooming back in time to press that button on Drax’s airlock.
Who says there’s no continuity?
I’ve always thought that Drax’s station laser should have been the DAF satellite - that would have answered Tiffany’s question.
I love the analogy of Connery Bond cruising endlessly with Tiffany Case on a giant boat going nowhere dressed in blue velvet, actually even the choice of a velvet tuxedo is an inspired , camp choice perfect for the film.
Isn’t it amazing though, that these films nearly 5 decades on retain their magic on their own terms and not as museum pieces.
I might add: what is considered camp now was high fashion then.
True though Connery Bond is only truly fashionable in DAF, in the other films his style is noticeably conservative, which reads into the queer narrative presented by MrKiddWint
Two words: pink tie
I just searched for pink shirt and surprisingly it turns up images from THUNDERBALL and YOLT - I really didn’t remember those.
The pink tie though is legendary.
Only a few more years and Craig‘s haircut and his tight fitting suits will inspire new readings.
The thing about the pink tie is it makes the suit more of its time, i.e. fashionable the same suit is much more conservatively dressed in the PTS, again the reading can be he’s still not DAF Bond yet, he hasn’t gone through the looking glass.
Cream shirt , brown tie, very timeless
White shirt , Pink tie, very VERY
True. I actually like DAF and I now feel bad for criticising it! TMWTGG and SPECTRE also have Bond offering himself to the villains at their respective lairs. I guess a big trait of Bond is that he has confidence in himself and makes something happen. It’s cinematic.
Exactly! And of course, the villains always greet Bond in an overly civilised manner, showing off their evil plans and the grandeur of their lair… whilst plotting Bond’s imminent demise. And Bond being Bond goes along with it just showing his effortless cool and generally outdoing the villain with his knowledge of the finer things in life. I though Spectre got this aspect of Bond utterly spot on… best one of those moments in aaaaaaages!!!
