James Bond is known for women, cards, and martinis. He is always on his game, using his knowledge and training to get what he needs in order to succeed. However, there has never been a time to explore the softer side of Bond. On Her Majesty's Secret Service gives us the opportunity to explore the side of Bond that we don't normally see during his other escapades. The first scene with Bond has him saving a woman from drowning herself in the ocean. Little does he know that this same woman would be the only daughter of Draco, the head of a European crime syndicate, a man who helps provide information regarding Blofeld's whereabouts since his disappearance from Japan. Draco wants his daughter, Tracy, to be wed and offers Bond a million pounds if he is the one who becomes her husband. This allows to see a certain side of Bond we have never seen before regarding a serious romance instead of the usual one-night flings he's had on several previous occasions.
This is the only appearance of George Lazenby as Bond. It is unfortunate as you can see why the producers had chosen Lazenby to fill Connery's shoes. Despite his height, Lazenby had the attitude and general allure Connery possessed. Director Peter Hunt, his only film as well, did a wonderful job of revealing Lazenby before the pre-credit sequence. Audience-goers had to have realized that Connery would not be returning for Secret Service, so Hunt was tasked with transitioning between actors without pretending nothing had happened off-screen. After a few close-up shots of Bond lighting a cigarette, then medium shots of his back running to the water to save Tracy, Hunt finally shows us this new face of Bond and his first line is: "Hello. My name is Bond. James Bond." Flawless.
At the time, this was the longest adventure until Casino Royale topped it by two minutes. Necessary because not only was Bond trying to foil Blofeld's plan (again), but there was also needed to be an opportunity to explore the romance between he and Tracy. Bond admits he is the bachelor type and not one to settle down. However, as he becomes more and more infatuated with Tracy, Bond realizes that becoming a married man may not be so bad after all.
After the wedding, Bond and Tracy stop on the side of the road to take all the flowers off the car, but somehow Blofeld (who is in a neck brace after a wonderful action sequence involving bobsleds) and his assistant, Irma Bunt, have followed them and Irma fires several bullets into their car killing Tracy. Bond is stunned and falls into denial over he death. He mutters "we have all the time in the world" over and over again and the final shot of the film is the bullet hole that has penetrated the windshield. On Her Majesty's Secret Service is not only another formulaic Bond outing, but it is also one of the very few times we get to see Bond's emotional side instead of the physical, gun-toting agent we have seen several times before. C+
Monday, March 15, 2010
Wednesday, March 10, 2010
Day 9: You Only Live Twice
You Only Live Twice was the first Bond film that gave us a gap in years. That's because producer Albert Broccoli wanted to give the franchise a fresh look. Think of it in terms of a reboot, though not entirely forgetting what had been established for the first four years. The first major change was bringing in a new director, Lewis Gilbert, who was nominated for his work on Alfie. The second was giving writer/adapter Richard Maibaum some time off and handing the reins over to children's author, Roald Dahl. The same Dahl who gave us Fantastic Mr. Fox, BFG, and several other classic stories. Building off what had been established in earlier films, Dahl decided to allow us a look at Blofeld's face and give him a secret lair that would become a Bond necessity for villains later in the series.
However, this would also become the film that would put the series over the top in terms of plausibility. Granted, there needs to be a sense of disbelief when it comes to Bond himself, but if you put Bond in a locale that is well known for something, it must be included in Bond's adventure. So Bond goes to Japan. What does he encounter? Ninjas of course. These ninjas, however, will be at Bond's disposal as he befriends Tiger Tanaka, one of the best Bond allies thus far.
From what I can recall, this is also the first instance that Bond actually goes undercover by using an alias. Posing as Mr. Fisher when he enters Osato Chemicals, Bond does what he does best by grabbing as much information as he can through conversation instead of slinking through the halls stealing valuable information from the enemy. Something we've come to expect from spies in general is not only using brawn but using brains as well and Bond does this quite nicely until Osato decides to kill him on his way out.
The women involved during Bond's mission were both sexy and alluring, yet for some reason, two women were needed. First, there is Aki, who is Tanaka's right hand girl helps Bond during his escape from Osato's building and is always in the right place at the right time. She is essentially the person who happens to know everything before it happens. She develops a crush on Bond and they eventually consummate their relationship, but she is unfortunately killed halfway through the film. A drop of poison intended for Bond's mouth ends up in her instead all because they are restless during sleep (another instance of implausibility). Second is Kissy, the woman Tanaka wants Bond to marry to keep him undercover. Kissy seems to be essentially useless other than the ability to call upon Tanaka's ninjas for the assault on Blofeld's lair. To me, Aki is the real Bond girl.
Blofeld, himself, is the epitome of an evil villain. He has a menacing scar across half of his face, his world domination plan is completely flawless (until Bond stops it), and his voice is cool and collected. No actor has played Blofeld more than once (except for the two films that just had Blofeld's body), but this is the first film that we see his face and director Gilbert does an excellent job of finally revealing the face that made Bond jump through so many hoops to foil his plans.
The climax is a long and loud one, one that should be included in every Bond film and will be as the series progresses. Blofeld's escape does not make us sigh in regret because the bad guy didn't get his just desserts. Our minds are fixed on ninjas and henchmen battling it out in a hollowed out volcano. And if that isn't part of the formula of a perfect Bond film, I'd stir it in somewhere. B-
However, this would also become the film that would put the series over the top in terms of plausibility. Granted, there needs to be a sense of disbelief when it comes to Bond himself, but if you put Bond in a locale that is well known for something, it must be included in Bond's adventure. So Bond goes to Japan. What does he encounter? Ninjas of course. These ninjas, however, will be at Bond's disposal as he befriends Tiger Tanaka, one of the best Bond allies thus far.
From what I can recall, this is also the first instance that Bond actually goes undercover by using an alias. Posing as Mr. Fisher when he enters Osato Chemicals, Bond does what he does best by grabbing as much information as he can through conversation instead of slinking through the halls stealing valuable information from the enemy. Something we've come to expect from spies in general is not only using brawn but using brains as well and Bond does this quite nicely until Osato decides to kill him on his way out.
The women involved during Bond's mission were both sexy and alluring, yet for some reason, two women were needed. First, there is Aki, who is Tanaka's right hand girl helps Bond during his escape from Osato's building and is always in the right place at the right time. She is essentially the person who happens to know everything before it happens. She develops a crush on Bond and they eventually consummate their relationship, but she is unfortunately killed halfway through the film. A drop of poison intended for Bond's mouth ends up in her instead all because they are restless during sleep (another instance of implausibility). Second is Kissy, the woman Tanaka wants Bond to marry to keep him undercover. Kissy seems to be essentially useless other than the ability to call upon Tanaka's ninjas for the assault on Blofeld's lair. To me, Aki is the real Bond girl.
Blofeld, himself, is the epitome of an evil villain. He has a menacing scar across half of his face, his world domination plan is completely flawless (until Bond stops it), and his voice is cool and collected. No actor has played Blofeld more than once (except for the two films that just had Blofeld's body), but this is the first film that we see his face and director Gilbert does an excellent job of finally revealing the face that made Bond jump through so many hoops to foil his plans.
The climax is a long and loud one, one that should be included in every Bond film and will be as the series progresses. Blofeld's escape does not make us sigh in regret because the bad guy didn't get his just desserts. Our minds are fixed on ninjas and henchmen battling it out in a hollowed out volcano. And if that isn't part of the formula of a perfect Bond film, I'd stir it in somewhere. B-
Saturday, March 6, 2010
Day 6: Thunderball
After taking a few days off from my Bond marathon, I returned to my couch and popped in Bond's fourth adventure. Thunderball was the fourth film in as many years and after viewing it, I could tell the producers were outdoing themselves with each outing. This film had the most extensive (and expensive) underwater sequences I can recall and it lifted the film to new standards that most other Bond films could not compete with. Though I claimed this to be my favorite Connery Bond film years ago, I have to retract that statement based on the fact that this plot was still very weak in terms of dealing with SPECTRE. The evil organization is still trying to defeat Bond after he killed their agents Dr. No, Rosa Klebb, and Red Grant. However as they try to kill Bond, they are trying to take over the world as well. They're aiming high.
SPECTRE's leader, Blofeld (who will become Bond's arch-nemesis, if he's not already) sends out Emilio Largo to do his bidding. Largo has a plan to steal two atom bombs from the French and extort money from the British Government if not paid in full within a certain time frame.
Bond uses his suave, sophisticated self as much as possible in this film and you can tell. He comes on to about every woman he encounters and more or less finds a way to get what he wants. Though it wasn't overly done, it seemed like this was becoming a Bond who would rather sleep his way through a mission than accomplish anything to stop it.
Terence Young returned as director as the last time and it is with Thunderball that ends the beginning era of Bond. Young established Bond a man who could not go without women, liquor, or a subtle pun. Unfortunately, the producers decided to steer away from the things that made Bond great and move him into a series of never-changing ways.
Adapting Bond while also trying to create different storylines became somewhat difficult as characters in the series thus far were either not important or not established. Yes, it is Bond that we're watching but it is also the others individuals he encounters that we like to connect with. Dominique Derval, whose brother is killed during the bomb-stealing scenario, happens to be Largo's niece, and though Bond will use her to get to Largo himself, she, along with Honey Ryder from Dr. No, is not a necessary Bond girl. Only one who will eventually allow Bond to do what he wants with her.
The plot itself seems too busy, what with SPECTRE trying to kill Bond at the same time they're trying to extort millions of pounds from the British government. SPECTRE will later learn that Bond is too much of a match and they'll have to focus their efforts solely on Bond himself. As for us, the viewers, we'll have to focus on the point that this adventure is just another opportunity to prove that Bond is a hardened, yet virile character who will eventually save us all from total destruction. C
SPECTRE's leader, Blofeld (who will become Bond's arch-nemesis, if he's not already) sends out Emilio Largo to do his bidding. Largo has a plan to steal two atom bombs from the French and extort money from the British Government if not paid in full within a certain time frame.
Bond uses his suave, sophisticated self as much as possible in this film and you can tell. He comes on to about every woman he encounters and more or less finds a way to get what he wants. Though it wasn't overly done, it seemed like this was becoming a Bond who would rather sleep his way through a mission than accomplish anything to stop it.
Terence Young returned as director as the last time and it is with Thunderball that ends the beginning era of Bond. Young established Bond a man who could not go without women, liquor, or a subtle pun. Unfortunately, the producers decided to steer away from the things that made Bond great and move him into a series of never-changing ways.
Adapting Bond while also trying to create different storylines became somewhat difficult as characters in the series thus far were either not important or not established. Yes, it is Bond that we're watching but it is also the others individuals he encounters that we like to connect with. Dominique Derval, whose brother is killed during the bomb-stealing scenario, happens to be Largo's niece, and though Bond will use her to get to Largo himself, she, along with Honey Ryder from Dr. No, is not a necessary Bond girl. Only one who will eventually allow Bond to do what he wants with her.
The plot itself seems too busy, what with SPECTRE trying to kill Bond at the same time they're trying to extort millions of pounds from the British government. SPECTRE will later learn that Bond is too much of a match and they'll have to focus their efforts solely on Bond himself. As for us, the viewers, we'll have to focus on the point that this adventure is just another opportunity to prove that Bond is a hardened, yet virile character who will eventually save us all from total destruction. C
Wednesday, March 3, 2010
Day 3: Goldfinger
Though I've seen Goldfinger several times, I still don't understand why many Bond aficionados consider it to be the best Bond film of all time. The continuity was very weak, many of the scenes involving cars were sped up, and Goldfinger himself seems jump the gun too early when it comes to putting his plan in place. I'll be blunt: Bond should have died several times in this film, but we're now getting to the point where the elements of Bond are becoming permanent. That is, the foe monologues his entire plan and then doesn't give a second thought to said plan being leaked to a government agency that will end up stopping him.
Though I completely agree that this was the film that set the blueprint for future Bond films, it just seems that the plot itself was full of holes. Why would Goldfinger load up a million dollars worth of gold bullion in the back seat of a car only to crush everything inside and have it returned in a cube when he could have saved himself the trouble and killed Mr. Solo along with everyone else in the briefing room? This is a man who gives himself too much work.
Oddjob's hat also bugged me. Not Oddjob himself, though he was one of the more classic sidekicks, just his hat. Why would his hat slice through a concrete statue yet barely make a mark on a human being though the hat killed her anyway? A little confusing by way of continuity if you ask me. I was also a little disappointed that the producers had to change the actor playing Felix Leiter. Surely, Jack Lord didn't do that bad of a job.
This also happens to be the film where Bond one-liners exceed their capacity. Sure the line "shocking, positively shocking" is a Bond classic, but "he had a pressing engagement", "I must have appealed to her maternal instincts," and Pussy Galore's name alone is too much to handle.
Despite all of these things, Goldfinger does carry some scenes that will forever be considered classic Bond. Bond gets his very car of the franchise, an Aston Martin DB5, equipped with the usual Q Branch gadgets. The Slazenger 1/Slazenger 7 golf ball mix-up during a high-stakes golf match. And, yes, even the passenger ejector seat with the button located inside the manual stick shift.
I won't argue that Goldfinger finalized the formula that practically all of the succeeding films in the franchise followed. I won't even argue that, yes, Goldfinger's diabolical plan was so diabolical that we Americans wouldn't have seen it coming. Luckily, Leiter was so involved Bond was didn't have to depend on his own skills to escape. I just don't understand how so many Bond fans can look past the flaws that it has. C
Though I completely agree that this was the film that set the blueprint for future Bond films, it just seems that the plot itself was full of holes. Why would Goldfinger load up a million dollars worth of gold bullion in the back seat of a car only to crush everything inside and have it returned in a cube when he could have saved himself the trouble and killed Mr. Solo along with everyone else in the briefing room? This is a man who gives himself too much work.
Oddjob's hat also bugged me. Not Oddjob himself, though he was one of the more classic sidekicks, just his hat. Why would his hat slice through a concrete statue yet barely make a mark on a human being though the hat killed her anyway? A little confusing by way of continuity if you ask me. I was also a little disappointed that the producers had to change the actor playing Felix Leiter. Surely, Jack Lord didn't do that bad of a job.
This also happens to be the film where Bond one-liners exceed their capacity. Sure the line "shocking, positively shocking" is a Bond classic, but "he had a pressing engagement", "I must have appealed to her maternal instincts," and Pussy Galore's name alone is too much to handle.
Despite all of these things, Goldfinger does carry some scenes that will forever be considered classic Bond. Bond gets his very car of the franchise, an Aston Martin DB5, equipped with the usual Q Branch gadgets. The Slazenger 1/Slazenger 7 golf ball mix-up during a high-stakes golf match. And, yes, even the passenger ejector seat with the button located inside the manual stick shift.
I won't argue that Goldfinger finalized the formula that practically all of the succeeding films in the franchise followed. I won't even argue that, yes, Goldfinger's diabolical plan was so diabolical that we Americans wouldn't have seen it coming. Luckily, Leiter was so involved Bond was didn't have to depend on his own skills to escape. I just don't understand how so many Bond fans can look past the flaws that it has. C
Tuesday, March 2, 2010
Day 2: From Russia with Love
It's 1963. One year has passed since Bond first graced the eyes of an unsuspecting public. Now producer Albert Broccoli has committed himself to making sure Bond's adventures are enough to satisfy the audience's tastes. From Russia was the film to start perfecting a formula that would capture all of Bond's outings (a formula I've read several times that was made perfect in Goldfinger). This pre-Goldfinger formula would include a pre-credit sequence (called a teaser), a spoken dialogue concerning the plot Bond was up against, a trip to Q Branch, and having Bond meet the bad guy early in the film.
Here, Bond never actually meets the bad guy who happens to be Blofeld, a nemesis Bond would end up clashing with several times more. And even though Blofeld is the mastermind behind this plan to turn the Russian and English governments on each other, it is Robert Shaw's Red Grant that is the major adversary in this film. He doesn't speak for most of the film until he boards the train that will become the place of his death. He is a mysterious man, hiding in shadows and eavesdropping on conversations. Grant's ability to have to speak when it comes time to confront Bond leaves something to be desired. He is much better just killing people when they're not looking.
The Russian operative who will be used for Blofeld's nasty game is Colonel Tatiana Romanova, a sight to behold when the camera focuses on her. She is also smart and takes initiative when trouble looms, instead of most of the Bond women we'll meet later. Her character is important throughout the entire film, a major turn around from Honey Ryder in Dr. No. Romanova is, after all, being used by SPECTRE to get the Lektor decoding machine.
A big chance in Bond's character is his ability to start muttering one-liners after a goon's death. It will become something that will be used way too much during the Roger Moore years, but since this is the first film that Bond finds humor in death, it is something tolerable.
Again, no song is used during the credit sequence, though it will be heard on a passing boat during Bond's first scene and the end credits. The song itself is memorable, but will unfortunately be lost in the other great songs like A View to a Kill, The Living Daylights, and my personal favorite You Know My Name. B-
Here, Bond never actually meets the bad guy who happens to be Blofeld, a nemesis Bond would end up clashing with several times more. And even though Blofeld is the mastermind behind this plan to turn the Russian and English governments on each other, it is Robert Shaw's Red Grant that is the major adversary in this film. He doesn't speak for most of the film until he boards the train that will become the place of his death. He is a mysterious man, hiding in shadows and eavesdropping on conversations. Grant's ability to have to speak when it comes time to confront Bond leaves something to be desired. He is much better just killing people when they're not looking.
The Russian operative who will be used for Blofeld's nasty game is Colonel Tatiana Romanova, a sight to behold when the camera focuses on her. She is also smart and takes initiative when trouble looms, instead of most of the Bond women we'll meet later. Her character is important throughout the entire film, a major turn around from Honey Ryder in Dr. No. Romanova is, after all, being used by SPECTRE to get the Lektor decoding machine.
A big chance in Bond's character is his ability to start muttering one-liners after a goon's death. It will become something that will be used way too much during the Roger Moore years, but since this is the first film that Bond finds humor in death, it is something tolerable.
Again, no song is used during the credit sequence, though it will be heard on a passing boat during Bond's first scene and the end credits. The song itself is memorable, but will unfortunately be lost in the other great songs like A View to a Kill, The Living Daylights, and my personal favorite You Know My Name. B-
Monday, March 1, 2010
Day 1: Dr. No
Before I decided to watch all of these films, I didn't realize how long it had been since I seen a Connery Bond film. I'm not a Connery fan to begin with as far as Bond is concerned, but everyone seems to remember how sexy and suave he was when the first film came out. I guess most of the people I discuss Bond with happen to be of the older generation.
Regardless, Connery was the first Bond and he pioneered the character through six films (seven if you count Never Say Never Again. I don't, but that's for another time). He wasn't a bad looking guy and he's not hard on the eyes in his 70s either, so I can at least understand why a lot of people, women mostly, found him so sexually appealing. He brought that appeal and plenty more into his first outing as Bond in Dr. No.
He is in practically every scene, giving him the ability to control the camera from minute one. Or minute 12, which is when he is introduced. For the record, Bond probably has the best introduction of any major franchise character.
"I'm Trench. Sylvia Trench. I admire your luck, Mr...?"
"Bond. James Bond," as he lights a cigarette.
Cue theme music.
Despite all of this, the appeal of Connery and the initial film in what will eventually become a multi-million dollar franchise, Dr. No fails to get up to speed. It may be because the series hadn't found its legs yet. It could be because Bond never actually got a strong backstory (something we'd learn about 24 years later in Casino Royale). Whatever the case, Bond's foe isn't very developed. Dr. No, himself, doesn't appear for the first time in the film until a good hour into the movie, though he has a ominous voiceover part thirty minutes in. His fight with Bond is anti-climactic and his death is, well...something to shrug at.
Honey Ryder, as wonderfully-looking as she is, has no other purpose in the film but to be a catalyst for Bond once he reaches the island the good doctor has taken refuge. Sure, her scene emerging out of the Jamaican surf is one of the most classic shots of all cinema, but she doesn't appear until an hour into the film after Bond has jumped through all these hoops back on the mainland.
Overall, the film was classic Bond. Obviously, it was the first film and it will always have a place in my heart. Unfortunately, it doesn't have the opening teaser before the opening credits and I've never seen Connery jump so clumsily for a gunbarrel scene. The credits themselves will become more and more sexually subtle as Maurice Binder will find the perfect formula for them as the films themselves will do as well.
So whether this is one of your favorite Bond films or not, I guarantee that you'll have "Under the Mango Tree" stuck in your head for the rest of the evening. C-
Regardless, Connery was the first Bond and he pioneered the character through six films (seven if you count Never Say Never Again. I don't, but that's for another time). He wasn't a bad looking guy and he's not hard on the eyes in his 70s either, so I can at least understand why a lot of people, women mostly, found him so sexually appealing. He brought that appeal and plenty more into his first outing as Bond in Dr. No.
He is in practically every scene, giving him the ability to control the camera from minute one. Or minute 12, which is when he is introduced. For the record, Bond probably has the best introduction of any major franchise character.
"I'm Trench. Sylvia Trench. I admire your luck, Mr...?"
"Bond. James Bond," as he lights a cigarette.
Cue theme music.
Despite all of this, the appeal of Connery and the initial film in what will eventually become a multi-million dollar franchise, Dr. No fails to get up to speed. It may be because the series hadn't found its legs yet. It could be because Bond never actually got a strong backstory (something we'd learn about 24 years later in Casino Royale). Whatever the case, Bond's foe isn't very developed. Dr. No, himself, doesn't appear for the first time in the film until a good hour into the movie, though he has a ominous voiceover part thirty minutes in. His fight with Bond is anti-climactic and his death is, well...something to shrug at.
Honey Ryder, as wonderfully-looking as she is, has no other purpose in the film but to be a catalyst for Bond once he reaches the island the good doctor has taken refuge. Sure, her scene emerging out of the Jamaican surf is one of the most classic shots of all cinema, but she doesn't appear until an hour into the film after Bond has jumped through all these hoops back on the mainland.
Overall, the film was classic Bond. Obviously, it was the first film and it will always have a place in my heart. Unfortunately, it doesn't have the opening teaser before the opening credits and I've never seen Connery jump so clumsily for a gunbarrel scene. The credits themselves will become more and more sexually subtle as Maurice Binder will find the perfect formula for them as the films themselves will do as well.
So whether this is one of your favorite Bond films or not, I guarantee that you'll have "Under the Mango Tree" stuck in your head for the rest of the evening. C-
Bond: 22 Films in 31 Days
I didn't realize how close March was when I started this blog and if you read my first entry, you'll remember I mentioned how I wanted to view all 22 Bond movies in a month, partially because because I hadn't seen most of them in a while and I can't really call myself a Bond fanatic if I don't watch them on a regular basis. I also wanted to start the series to commit myself to writing about films, albeit full-length reviews or basic ruminations about the films themselves. As long as I'm writing something down, right? Anyway, throughout the month, I'll be watching the Bond films in order of release and if I keep myself on a tight schedule, I'll have watched all 22 films in 31 days, a feat I think I will treasure once I finish it. And, of course, you're welcome to come along with me as I revisit Bond, his women, his adventures, and his adversaries.
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