Your favorite serious/light moments

Great idea from JCreath, slightly altered:

What is your favorite serious moment/line from the Bond actors? What is your favorite light moment from them?

I‘ll start with my recently re-watched Bond actors (and will continue after finishing the Brosnan and Craig eras)

Sean Connery

  • serious: discovering golden Jill
  • light: hopping on the elevator roof of the Whyte building

Roger Moore

  • serious: telling Anya he did indeed kill her lover
  • light: torching the snake - and then using the same after shave bottle as after shave

George Lazenby

  • serious: waving at Moneypenny at the wedding
  • light: reading Playboy while waiting for the safe combination

Timothy Dalton

  • serious: reacting to Kara after Saunders‘ death
  • light: „They will save you for their hareem.“
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I’d pick these today. Tomorrow you might get a different answer.

Connery

  • serious: down on his knees, hands in his pockets, realizing Grant’s outmaneuvered him and things look BAD. His eyes show how desperately his mind is working for a solution.

  • light: “Looks terribly difficult.” BANG! “No, it isn’t, is it?”

Lazenby

  • serious: many moments from the Piz Gloria escape, but especially when he’s trying desperately to throttle the enemy skiier quietly to avoid detection. He’s still the only actor to convince me Bond could be seriously scared.

  • light: with only seconds left to abscond from Gumbold’s office undetected, he still can’t resist the temptation to steal the centerfold out of the Playboy magazine.

Moore

  • serious: at Tracy’s gravesite, the priest tells Bond there’s “some sort of emergency” and 007 acknowledges, “Yes, it usually is.” It’s a rare instance of quiet reflection between adventures and the first of several low-key moments in a film about a Bond who’s starting to feel the weight of years and the endless demands of his job.

  • light: As if I could choose! Let’s go with using the machine gun to blast the knob off the handrail on Khan’s stairway before disaster strikes. My grandfather was a late convert to Bond, but as a Benny Hill fan, this gag won him over to my side.

Dalton

  • serious: “You should’ve brough lilies.”

  • light: “We’re not going back for the cello.” And then doing it.

Brosnan

  • serious: Arming the bomb at the end of GE while bullets hit near his head, and not flinching

  • light: “I don’t need a damn wheelchair!” “You do now!”

Craig

  • serious: the silent, low-key knife fight in the middle of a crowd at Body Worlds

  • light: “You know the worst thing about you?” “My timing?”

What surprised me here was just how hard a time I had coming up with a fun “light” moment for Brosnan. I expected there to be limited candidates from Craig, but Brosnan is a gifted comedic performer, and it’s a huge shame there’s almost nothing from his run that I found amusing or fun. Partly that’s down to the atrocious dialog, I guess, but still. This is an aspect of the Brosnan era I should probably examine more closely when pondering my curious disaffection.

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SEAN CONNERY
• Serious – Bond gets the jump on R.J. Dent and casually interrogates him until it’s assassination time whereupon he coolly and efficiently does the deed. (DN)

Bond is strapped to the table as a castrating laser inexorably inches towards his groin, yet despite being noticeably uneasy with his predicament, he nevertheless manages to plant enough seeds of doubt to get Auric Goldfinger to spare him and keep him as his prisoner. (G)

• Light – Bond out-cheats Goldfinger on the golf course and informs the billionaire that he must have played the wrong ball on the fairway and thus lost their match. As Goldfinger slams the ball down and storms off, Connery allows an amused, winning grin to form on his face. (G)

While battling Emilio Largo at the gaming table, 007 keeps winning, which makes Largo declare that he looks unbeatable. Connery merely waves his hand as if to say, “this happens to me all the time.” (T)

GEORGE LAZENBY
• Serious – As he realizes his new bride has just been assassinated with a bullet was meant for him, Bond slowly falls to pieces. Lazenby’s crowning achievement. (OHMSS)

• Light – As he waits for his safecracker/photocopier gadget do its thing, a bored Bond peruses Gebruder Gumbold’s reading material until he comes across something that catches his eye. A knowing smirk followed by the revelation of the recent edition of Playboy Magazine. Bond pauses in his reading to finish his mission and then caps it off by removing the centerfold. Lazenby is still admiring the photo when sounds of the workers arriving back from lunch hit his ears and he quickly puts it away. (OHMSS)

ROGER MOORE
• Serious – Bond plainly and honestly answers Anya Amasova’s question about whether he killed her lover. He doesn’t deny it, mince words, or make excuses. He simply lays it out matter-of-factly. It is arguably Moore’s best acting scene in the series. (TSWLM)

Bond confronts Orlov on the train. One can see the wheels turning as Bond begins to understand the scope of Orlov’s and Kamal Khan’s plans. And I love how upset Moore is with the scheme and his determination to halt it. I love how he says, “On your feet General. You’re going to stop that train…You can stop it at the border!” (O)

• Light – Bond notices a poisonous snake crawling toward him and he cleverly turns his aerosol aftershave into a flame thrower aided by his cigar. After dispatching of the snake, he merely shrugs and then nonchalantly sprays some aftershave into his hand to apply to his face as if nothing had happened. Classically cool 007. (LALD)

Bond ups the ante on his backgammon game with Khan and then, like in Goldfinger, manages to out-cheat the cheater. Then, while gazing straight at Khan and without looking at the dice, he knows and calls the outcome–“Double sixes. Fancy that.” Another great Bondian moment. (O)

TIMOTHY DALTON
• Serious – Bond welcomes being fired for disobeying orders and not killing the inexperienced sniper while also allowing a subtle smirk of amusement at his having scared her. Nicely done. (TLD)

• Light – Bond, all business, interrupts Linda’s phone call on her yacht to alert exercise control of his situation, only to be quickly convinced to put off his reporting for an extra hour, which allows him time to sample Linda’s hospitality. Probably Dalton’s best delivered one-liner in the series. (TLD)

PIERCE BROSNAN
• Serious – A melancholy Bond waits in his hotel room with a bottle of vodka for a Carver goon, only to be surprised by Paris Carver’s entrance. Bond continues drinking as he and Paris reminisce over the past before rekindling their passion. (TND)

Bond chases down Elektra King and, at gunpoint, demands she call off Renard’s mission. She challenges his ability to kill her, believing he loves her too much to stop her. But Bond calls her bluff and instantly shoots her in perhaps the coldest kill since Bond assassinated Dent in Dr. No. (TWINE)

• Light – While undergoing an evaluation with Caroline in his DB5, Bond races and flirts with Xenia in her Ferrari on the twisty, winding roads of the French Riviera. Brosnan is clearly enjoying himself in this scene. (G/E)

After escaping from a British warship, Bond swims ashore on Hong Kong harbor and, dripping and hirsute, dressed only in pajamas, confidently walks into a swanky hotel and casks for his usual suite. Only Bond–and Brosnan sells it perfectly. (DAD)

DANIEL CRAIG
• Serious – Bond gets the drop on Dryden and calmly allows him to reveal his being a traitor before effortlessly executing him. Great introduction. (CR)

Bond gives sound advice to Camille Montes about killing her sworn enemy before they infiltrate Quantum’s meeting with Luiz Medrano. (QOS)

• Light – Bond reveals Vesper Lynd’s humorous alias during their drive to the Hotel Splendide. That, and his response to her reaction is probably Craig at his most easy-going and funny. It is the closest he ever came to the series’ humor before his tenure. (CR)

And Bond not happy with the slummy conditions of Strawberry Fields’ hotel accommodations, pulls an audible and reroutes them to an upscale hotel where he announces with a twinkle in his eye to the concierge that they are school teachers on holiday after having won the lottery. (QOS)

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I could also choose other moments on different days of the week, but right now I’m going with these.

Connery
Light: Waving to the guard and escaping his cell. (GF)

Dark: Killing Dent (DN). A smooth operator who is in complete control, unbothered by his prey and dispatching him when he feels like it. A standout moment in the series and for Connery’s Bond.

Lazenby
Light: “Business or pleasure? Mystery tour, eh? I think we’d all enjoy it more without that.” I like how flippant and cheery Bond is here despite his predicament.

Dark: It’ll take more than cutting off your earlobes Blofeld to turn yourself into a Count.” Bond is defiant but also vulnerable as he’s taunted by Blofeld. You sense Bond agrees Campbell didn’t get the chance to report back his location data to MI6. Bond regains his confidence and humour when asking about Blofeld’s ransom, and attempts to punch his way out before being restrained.

Moore
Light: So many examples to choose from here, but I’m going with his winking at the guard inside the ambulance (MR). His facial expressions during the Octopussy PTS (urging the guards to look at Bianca) are also hilariously good.

Dark: Interrogating Anders in the hotel room (TMWTGG). Slaps her hard, talks with menace and means everything he says. This is Moore Bond fearing for his life and wanting to get on the front foot as quickly as possible.

Dalton
Light: At the fair with Kara (TLD), on the rides and smiling possibly more than any Bond actor before or after. The Ferris wheel is also peak romanticism.

Dark: “You earned it, you keep it, old buddy.” As cold hearted as it gets. (LTK)

Brosnan
Light: Testing the remote control BMW 750iL in front of Q. One of the biggest showcases of Bond being a reckless schoolboy but also a fast learner adept with technology. “I think we understand each other.” (TND)

Dark: “I never miss.” Self explanatory. (TWINE)

Craig
Light: “Good evening” after parachuting away from the DB10. (SPECTRE)

Dark: Grimly accepting his fate, shooting Safin without even looking at him and limping away to open the blast doors. (NTTD)

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Nice! Here go mine:

Connery:
light: “I don’t know, is it the doorbell?”
serious: “that’s a S&W, and you’ve had your 6.”

Lazenby:
light: “this never happened to the other fellow.”
serious: “we have all the time in the world.”

Moore:
light: “yes, well, you get your clothes on and I’ll buy you an icecream.”
serious: “Brilliant. I’m almost speeches with admiration.”

Broznan
light: “the next girl”
serious: “you don’t seem to pleased to see me.”

Craig
light: “skewered, one sympathies”
serious: “I miss you.”

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Whoops forgot Dalton. Sorry, TD.

light: “salt corrosion.”
serious: (agree with sharpshooter) “You earned it, you keep it. Old buddy.”

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Yes, that is a great line.
Than Sharky says: "What a waist!
Dalton/Bond looks at him with a face like: Are you realy feeling sorry for that bastard?
With Sharky folows with: “…of money!”

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I was very nearly going to choose the scene with Bond interrogating Pam on the bed, storming in there like a wild man.

In terms of lightness I also like this exchange, especially the look on Dalton’s face:

Bond: “Do you like it?”
Kara: “For princess or wife of commissar?”
Bond: “Let’s buy it.”
Kara: “Don’t joke, who will pay?”
Bond: “Georgi, of course.”

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Connery - light - the shoes scene in Fiona’s bathroom.

Connery - dark - putting on his sunglasses before telling Domino her brother is dead/demanding she betray Largo. Has to do something nasty and knows it, and that he cannot look her in the eye. We do not need to be told this on the script.

Lazenby - light - the absolute bafflement on his face when Blofeld is hypnotising Ruby and banging on about the loveliness of the chicken.

Lazenby - dark - the ending, obv.

Moore - light - oh, most of Mooraker save…

Moore - dark - the centrifuge and immediate aftermath

Dalton - light - putting Koskov in the pig thingy

Dalton - dark - death of Saunders

Brosnan - light - mucking about on the back seat of the remote BMW

Brosnan - dark - never really up to it but I suppose the end of the Dr Kaufmann scene. There is much more chemistry between Bond and Kaufmann than Bond and Elektra.

Craig - light - “Another child?” Made me laugh

Craig - dark - Mr Slate fight. A highlight of his tenure. He has gone from the flappy inefficient brutal scrapper of Casino Royale to being totally in control of this.

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It’s the obvious choice. The scene from the book is translated faithfully, like most of the film for that matter. I deliberately chose something else to show Lazenby had more range in this category. When his Bray disguise is unmasked he raises his voice, looks vulnerable, jokes around and tries to get physical.

I like how he’s cycling through a variety of moods in a short space of time. But what shines through the most is the sense of vulnerability. Whether that’s mostly from acting inexperience or not doesn’t bother me - it’s there and it works really well.

Good choice. I remember being taken aback by this as a younger viewer. The loveable Moore Bond shaken up in such a visually striking way, staggering out like he’s consumed 100 martinis. I really wanted him to get revenge after that.

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Haven’t watched any of the films in at least a couple of years, but some that came to mind:

CONNERY
SERIOUS: Killing Professor Dent
COMEDIC: “I’ve got a brother.” “Small world”

LAZENBY
SERIOUS: The ending of the film
COMEDIC: Casually reading the Playboy magazine while waiting for the safe cracking device to finish

MOORE
SERIOUS: Kicking Locque off the cliff
COMEDIC: “You missed, Mr. Bond.” “Did I? As you said, such good sport”

DALTON
SERIOUS: Interrogation of Pushkin
COMEDIC: Waiting in the car for Kara to get her cello

BROSNAN
SERIOUS: “I never miss”
COMEDIC: The test drive at the beginning of GE

CRAIG
SERIOUS: The moment where he briefly contemplates making his “one shot” count to spare him and Camille from dying in the fire
COMEDIC: “Skewered. One sympathizes”

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