Alive and well…
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The scene with the CIA trawler and the hydroplane reminds me of the killing of Milena’s parents in FYEO. Where the killer also escapes with the plane. While the sinking trawler mirrors the sinking St Georges espionage ship.
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And also the fact that, like the love of his life, Vesper, he has to let go his best buddy throughout the series and can only watch him sinking down into the water.
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“Everything he touches seems to wither and die”
Blofeld and Felix literally die as Bond touches them…
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Might be overthinking it but I took Q’s description of the likely machinery in the launching room to be significant side-eye to the popular perception of overly intricate and elaborate schemes and machines of Bond films past. However, the reference to M being thirsty I thought was a definite hark-back to The Dench who was rarely without a glass in her hand.
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Not a reference to Bond or cinema as a wider field. But it struck me that, when Bond leaves Madeleine in the train, she’s shown with her hand on her tummy, telegraphing she is pregnant.
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Caught that too.
And when M is sitting before that bay window - did his office ever have bay windows before? - wasn’t there a painting of a former M in the bay?
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Judi is what he’s looking at.
Then it must be two paintings, I distinctly remember Robert Brown - or rather, I think I do.
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Presumably a homage to every other Bond’s last film that there’s at least a sideline in some sort of biological fiddle-faddle
OHMSS - Virus Omega (Lazenby doomed from the off by the choice of film; if they’d given him Live and Let Die, he’d have made nine).
Diamonds are Forever - whatever it is they’re doing to quasi-clone Blofeld, that soon-forgotten thing.
A View to a Kill - the remarkably subtle Dr Karl Nazi.
Licence to Kill - Milton Krest’s fish (OK, that’s blown out of all proportion, but it’s Krest, so…).
Die Another Day - the DNA replacement therapy… unlikeliness.
No Time To Die - the DNA targeting non-therapy… nanobot… unlikeliness.
Frankly, if you’re the next Bond and you’re reading this rubbish (which I know you are - hi), and then you read the script (…script…ha!) and it’s bio-anything - you’re basically doomed, missus.
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While watching that scene with Q giving specific instructions while Bond presses every button on the console I did think “The Man With The Golden Gun”. I don’t believe for a second it was a deliberate reference (why would they??), but at least we were spared the image of Bond opening the shutters by pressing a big red button with his arse
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Chalk that up as a loss.
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I saw paintings of both Judi and Robert Brown. Imagine Bernard Lee must have been there as well, but if it was I missed it
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Yes, was there to the left of Gary M - but then as Brown M regularly invited Gogol to his office for drinks ‘n’ nibbles, he was to the left of everyone.
Bang goes my theory that he and The Dench were the same M. Hey ho.
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The title sequence seemed like a gold mine of references. The dots at the beginning emulating Dr No. The hourglass being a nod to OHMSS. Pretty sure I saw a Thunderball-esq SCUBA girl at one point. Will have to watch it a few more times to find more.
Also spotted that, and assumed that when Madeleine initially said to Bond: “There’s something I need to tell you”, when they got into the DB5 to escape, that was also about the pregnancy.
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Oh, and I thought
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Craig and Connery having different touches…
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It’s all in Craig’s little finger…
Anyway, it seems when Q inquires about the wherefrom of the data stick and then puts it into the ‘sandbox’ it picks up some criticism they got for shoddy security (read: writing) in SKYFALL.
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