Indeed, Charles’ book is a must have along with his OHMSS book as well.
1 Like
I’ve got his book on the The Living Daylights but not the one for Majesty’s yet. I agree, it’s a must read for any fan of those movies. I also like that they focus on films that need a little more attention rather than say Goldfinger.
“Overall, I think Bond from Dr No is the closest to Fleming’s Bond”
That’s a good point. As Dr. No had no other reference point to draw from than the books (there was no preexisting film template) it probably is one of the closest in both plot and characterization. I think it does lack a lot of the book’s edge but Connery did capture a lot of the essence of the character from that book.
2 Likes
“For me, the idea of a guy who’s just magically “ripped” all the time though he never seems to actually go the gym is as unrealistic as a drive through the streets of Venice in a hover-gondola.”
Thank you for this: next time I’m horrified when unexpectedly catching my reflection i’ll shut my eyes, go into denial and say hello to the double taking pigeon!!!
It’s true of all conventional storytelling. In the first half anything can happen, but the end can only be a variable of the elements included in that first half.
I think our need for such logic derives from our individual, yet common experience of our time here (on Earth, rather than on CBN). Growing up it seems that all is possible, but then our choices and the path fate lays before us provides ever decreasing exits to adventure and the unknown. Life would seem to become evermore predictable with a destination that is identicle for us all. In the end the only variables are When, How and sometimes Why?
Traditional, predictable narrative, even Bond is less fantasy than it is an affirmation of our common experience and it’s inescapable fate; and it comforts us when this fate makes sense by being the result of what happened in the first half.
Unconventional narrative, even when telling superficially non-fantastical stories are the real fantasy - the true escapism from our seemingly unavoidable fate at the end of a narrowing path by suggesting unexpected exits to an adventure may still appear before that final day. At the heart of fantasy is the hope of a miraculous abolition of that final moment itself.
…Oops, sorry to blah blah blah - getting into a bad habit of posting before my first coffee of the day 
1 Like
Don’t keep us in suspense!
2 Likes
Wow! That realy is a fantastic poster!
2 Likes
Saw that a while ago and it’s lots of fun if you don’t look at it too long. The scale and placement of Kara’s legs cannot possibly be reconciled with her head, unless there’s another, smaller gal hanging onto to Kara’s hips. Tim’s torso is also wonky. Not that some of my favorite Gouzee images didn’t show Roger with impossibly long legs, but for some reason it bothers me more here.
The colors, though, and the likenesses, are wonderful. It feels like the logical successor to AVTAK. It’s also cool how Dalton’s rig is half tactical suit and half tuxedo. Reminds me of Roger’s space tuxedo from the Moonraker posters.
3 Likes
Makes me want to watch it now. In all seriousness I’d be having the marketing team working on memorable posters as hard as anything else associated with a film early on. Because a lot of the stuff these days looks like it’s been rushed at the last minute. I get times are changing, but posters communicate the product to audiences usually for the first time. I’d be wanting Bond 26 to bring the heat across the board to show they’re serious about rebooting, and that includes promotion.
3 Likes
In the case of NTTD I think that poster would have sold the film as something it was not. I like the black and white teaser with Bond and Madeleine in the car with the bullet holes in the windshield.
3 Likes
I have to agree. I love the color and energy, and the Octopussy homage is a neat touch, but it’s not reflective of the spirit of the film even if it includes some memorable moments from it. Eventually the eye is drawn to Craig’s face, which is where everything falls apart. Connery-Lazenby-Moore posters always showed Bond with, if not a faint smirk, at least a “twinkle” promising us a fun time. Craig’s visage is grim and dour. Surrounded by images that promise a “romp,” he wears the expression of a teenager forced to don a colorful sweater to pose for a family Christmas photo. It doesn’t sell “fun” but if the artist made him look any less miserable, it wouldn’t be Craig/Bond, so it’s a no-win scenario. But whoever did it is crazy talented.
4 Likes
Indeed, and while the actual marketing tried to acknowledge the more serious tone of Dalton’s Bond the film itself actually is so great (to me) because it combines that seriousness with a typical Bond adventure. Something which apparently can be done.
5 Likes
Exactly! It is a very special film to me as well. I can remember midway through watching it the first time in the cinema and being so extremely satisfied with its approach and Dalton as the new Bond. It still had some connective DNA to the Moore era but with a more serious lead who still appeared to be having fun as a double O agent.
5 Likes
TLD was my first Bond film in the theater, and you know what usually comes with that - it will always be a favorite.
I was 9 years old and when we got to that part when the woman at the pipeline unzipped her shirt and pushed the guys head into her chest my dad covered my eyes - and I spent the next 10 years wondering just what in the hell happened 
7 Likes
I had aunts doing that to me. The chest thing, I mean. Probably explains a lot.
4 Likes
It’s a great balance. Dalton actually smiles a lot in the movie and despite the impatience he displays at times he’s very caring and romantic.
6 Likes