'A pleasant evening...'
With well over a year still left until Sam Mendes steps back in the ring to slug out the next (fingers crossed) classic in the seemingly ceaseless, serially splendid, (sometimes silly) space-spanning Spy-saga (GregglesOnFilm apologizes for its' infamously ill-idiomed, inevitably idiotic alliteration), we thought now might be a wise time to take a cheeky moment to celebrate 007 in all his timeless, classically hard edged, stylistically witty, British-to-the-bone glory. What makes a great Bond movie? The action? The locations? The girls...? Which is the best Bond film yet made? Who plays the role to perfection? What is it you love best about the old shagger himself?
I myself am a fan of almost all Bond films, but wouldn't consider myself a super-fan, nor someone with an encyclopedic knowledge of the movies. But as a film series goes, it is without question the biggest, the most enduring, the most consistently popular in film history. This is worthy of looking at in some small way.
I asked a handful of friends to give me their 10 favorite Bond films, their favorite 007 actor, and also favorite Bond theme song. Having compiled them together, with my own, they make an interesting read.
In addition to this, I asked an old friend - a renowned Bond aficionado and genuine authority on all things 007- to compose the main centrepiece to this post. What he delivered was a revealing piece full of insight, tidbits, humour and heart, from a writer whose passion for the subject is infectious.
Enjoy.
What
James Bond Means To Me?
By Sam
Devereaux
 |
| Writer/Actor/'Creative type', Sam Devereaux |
I’m sitting in my office at home, working on some project
or other. Out of my speakers blares the James Bond Theme. This particular
version is the wonderful re-imagining of the theme created by George Martin for
Roger Moore’s inaugural fling with the shoulder holster: Live & Let Die
(1973). While John Barry’s 1962 arrangement will always remain the absolutely
definitive version of Bond’s signature melody, I find myself thinking that I
probably like Martin’s rock-heavy 70’s flavoured version 2nd best. Suddenly
my 4-year-old son is at my side his face full of glee. “Daddy! It’s James
Bond!!”
I should point out at this stage that
my son has not been exposed to any of the, shall we say, full-on Bond adventures.
I have sat with him while we watched Dr. No (1962) and that relatively benign
yet hugely enjoyable Moore-led romp, Octopussy (1983). A fairly small sample of
agent 007 and probably about as appropriate for 4-year-olds as Bond gets! Yet I
was amazed that the familiar guitar sound is already emblazoned across his
consciousness. Especially when you considered he spent a good hour of Dr. No
asleep and at least half of Octopussy playing with Lego. Cubby Broccoli once
famously referred to the Bond films as: “Sadism for the family!” With that
thought rattling around my head I got to thinking about my own first
experiences with James Bond and what the 007 legacy means to me personally.
In 1984 I
was myself 4-years-old. There was no Bond Movie in the cinema that year, not
that my parents would have taken me. (Indeed, due to the excesses of 1989’s Licence
To Kill and the infamous hiatus of 1990-93 I didn’t see my first 007 epic on the
big screen until GoldenEye in 1995!) What there was in 1984 was an early evening
showing of Moonraker (1979) on ITV. I freely admit that recollections of one’s
very young life are normally spotty at best but that viewing of Moonraker was without
doubt one of the most exciting and potent movie memories of my childhood (the
other two ‘biggies’ being Star Wars and Raiders Of The Lost Ark)
 |
| Bond poised, in Moonrakers' amazing boat chase scene |
Sometime
around the utterly absurd but sumptuously shot canal boat chase, probably about
the time that 007 drives his BONDola across St Marks Square, my Dad scooped me
up off the sofa: “Time for bed.” As if I could sleep after seeing all that! My
tiny mind was likely swirling with images of exploding shuttles, 007 falling
out of a plane without a parachute, Jaws, a rogue centrifuge and John Barry’s
gloriously evocative, swooning score.
My parents’ house at the time had a
tall staircase within easy view of the TV screen. It was here that I nestled
myself as quietly as I could to secretly finish watching the adventure. My Dad
says now that he knew I was there and chose to turn a blind eye. I like to
believe that. A father recognized that a unique cinematic initiation was
underway for his son and he was pleased to not interfere. I distinctly remember
the space battle and Jaws saying, “Well, here’s to us!” I also remember the
ending scene with Bond and Holly although I’m quite sure I had no idea what Q
meant when he uttered the films best laugh: “I think he’s attempting re-entry
sir.”
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STUART ALEXANDER MCLEOD
Ok here are my lists.
Favourite
Bond: Roger Moore
Top three
Songs:
1.) Nobody does it better (Carly Simon-The Spy Who Loved Me)
2,)
Moonraker (Shirley Bassey-Moonraker)
3,) All Time High (Rita Coolidge-
Octopussy)
Top Ten
Movies:
1,)
Moonraker
2,) The Spy
who loved me
3,)
Octopussy
4,) From
Russia with love
5,) Dr No
6,)
Tomorrow Never Dies
7,) On Her
Majesty's secret service
8,)
Goldfinger
9,) The
World is not enough
10,) The
Living Daylights
Why
Moonraker?...
Well, mostly for nostalgic reasons really, it's my first memory of
Bond. Christmas 1982 saw Moonrakers' TV debut (a new Bond film on TV was a big
deal in those days) and henceforth I became fascinated by the world of 007.
This 11th addition has everything a great Bond film needs to be....a John Barry
score, Shirley Bassey song, gadgets, stunts, women, villains and a stunning
location in Rio de Janeiro. I love the Rio stuff, the visuals from Sugarloaf
mountain and its subsequent cable car action sequence with the unforgettable
Jaws is quite ludicrously brilliant!. My favourite scene is when Bond arrives
on Concorde in Brazil, it is the essence of glamour, sophistication and charm,
a sequence richer than a lottery winners stash of Swiss chocolate! Roger Moore
oozes style, charisma and is simply wonderful in this film, this is his
interpretation of Bond at its best! Although I would admit 'The Spy who loved
me ' is arguably the greater movie, this
1979 adventure is certainly the most ambitious attempted and will always be my
favourite and most enjoyable to watch.
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As I
alluded to earlier, Star Wars and Raiders Of The Lost Ark were (and still are)
a big deal for me. There was one thing that agent 007 had though that, for my
young mind, trumped every other cinematic icon of the era: James Bond is
British!
In today’s connected, globalized world it is difficult to convey the
extent to which Bond was capable of reinforcing and indeed, for a child,
instilling a sense of what Britishness is. Now without delving into the history
of Britain’s decline as an imperial power too deeply, or indeed taking too
great a scholarly interest in the virtues of a little boy hero-worshipping a man
who is effectively a high-functioning sociopath, it is safe to say that 007
made us little Brits in decline feel like we were still ultimately the one’s to
clean up everyone else’s mess!
During the
turbulent 1980s, as my young mind absorbed first Roger Moore’s and then (the
criminally underrated) Timothy Dalton’s exploits with the Walther PPK, it was
tremendously reassuring to feel that Bond was out there making it all better
and doing it with British style. One could argue that in our collective consciousness
we Britishers resent the notion that we only survived World War II because the
Americans finally got their act together and bailed us out.
I believe this
insecurity is very obviously present in the way that almost every pre-Daniel
Craig Bond film openly mocks the American characters for their ineptitude and
idiocy.
 |
| Sheriff J.W Pepper |
Whether we’re talking about the smooth British official who calmly
tells off the arguing Russian and American delegates during an early scene in
You Only Live Twice (1967) or Felix Leiter seemingly always one step behind Sean
Connery’s 007 or indeed the patently ludicrous cartoon character that is
Sheriff JW Pepper in Live & Let
Die and The Man With The Golden Gun (1974)
there is always a sense that it is the smooth, calm, intelligent Britisher who
will show these dumb Americans the way. For a boy immersed in the Hollywood and
McDonald’s culture of the 1980s, Bond was a completely luminous beacon of
national pride. You Yanks might have more money then us and better TV than us
and we prefer your fast food but damn it, we’ve got James Bond!
(As an
aside, it is because of the above that I believe anyone from my generation
would have squealed just a little bit louder in delight at the unmatchable
sight of Daniel Craig’s 007 escorting the Queen herself to the Olympic Opening
Ceremony of London 2012. Via helicopter and parachute naturally…Top that!)
------------------------------------------------------------------------------------
BECKY
WINGHAM
Favourite
Bond - Pierce Brosnan
He was my first bond
and captured the suaveness and almost invincibility I
like without being as camp as Roger Moore.
Favourite
song- Diamonds are forever
It had to be a
Shirley really but a very hard decision overall (would be better to do a top
ten for this!)
Ok, my Top Ten Bond Films...
10= Dr No
9= Tomorrow
never dies
8= From Russia with love
7= Live and let die
6= For your eyes only
5= Casino Royale
4= The world is not enough
3= On her Majesty's secret service
2= SkyFall
1= Goldeneye
(Because, come on, Sean Bean...)
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As far as
I am aware there are only two major film series that invariably begin in the
same way no matter what installment you are watching. In the case of the Star
Wars saga there is the story-so-far crawling across space accompanied by John
Williams majestic Rebel Fanfare. It is said that George Lucas wished to begin
Star Wars (yes Star Wars not A New
Hope!) with the shot of the escaping Rebel cruiser being pursued by that
stunning Imperial Star Destroyer. Pesky Hollywood union rules decreed that all
films must begin with a title sequence of some sort so Lucas hit upon the idea
of a Flash Gordon style opening crawl to get round the union rules and an iconic
moment in cinema history was born.
 |
| The 'Goldfinger' gun-barrel |
The so-called Gunbarrel shot that heralds
the opening of (almost) every James Bond film is no less iconic and would also
seemed to have found itself opening each 007 epic more or less by accident. Bob
Simmons, the stunt man who first performed the famous walk and shoot into the
gunbarrel was actually creating just one small moment of the poster-paint like
title sequence to Dr. No. For reasons that have never been made explicitly
clear it was decided, presumably by director Terence Young, to use Simmons gunbarrel
shot at the beginning of From Russia With Love (1963). Perhaps it was to
provide some stylistic continuity between the new film and it’s predecessor?
John Barry created some scoring for the short sequence (there had only been a
few sound effects in Dr. No) and a moment that sets Bond films apart from their
competitors was set, gloriously, in stone.
The Gunbarrel is, in my opinion, a
totally essential part of the ritual of a James Bond film. It doesn’t matter
whether 007 is being played by a new hand or an old favourite, whether the
director is exciting or maddeningly obscure, whether the singer hired for the
title song is loved or loathed.
 |
| 'Diamonds Are Forever' Gun barrel |
 |
| 'Goldeneye' gun barrel |
No, the Gunbarrel is the essential element in
setting the mood and, most crucially,
bringing the established audience on side. A good Gunbarrel (Diamonds Are
Forever) relaxes the nerves and reassures the audience that what they’re about
to see will be classic 007. A daringly different Gunbarrel (Licence To Kill)
can excite the audience’s interest and open their minds to unexpected
departures from the established formula. A Gunbarrel that misses the mark
(GoldenEye) can set the audience on edge and it will take a good film from
there on in to restore the purity of the ritual (again GoldenEye!)
The Gunbarrel is also a clue as to the
nature of that other essential component in the 007 ritual: The Score. That twenty
seconds of music is arguably more important in setting the tone of the film
then any other part of the traditional teaser. That clue as to the type of Bond
Score that is waiting for us can have such a strong influence on one’s
appreciation of the film it accompanies that, just like reverb on a vocal
microphone, it can hide a multitude of sins!
 |
| Composer David Arnold |
When I sat in the Odeon Leicester
Square in December 1997 awaiting the opening of Tomorrow Never Dies, I
distinctly remember my heart beating loudly in my ears such was my excitement,
not just about the film, but about newly installed composer David Arnold’s
first crack at the music. The stunningly original Gunbarrel that preceded not
just a classic 007 score but also an endlessly fresh and inventive one immediately
lifted Pierce Bronsnan’s second and (I feel) best Bond epic into the all time
top 10. It also covered up the somewhat flimsy writing in the 3rd
act! Flimsy writing, due to a truncated production schedule and creative
disagreements, that arguably robbed the 18th Bond film of the chance
to take it’s place as the greatest of all. Fortunately Arnold’s scoring remains inspired
to the end. Even 17 years later, Tomorrow Never Dies remains the Bond Score I
would take to a desert island, such is its flirtation with Bondian aural
perfection.
------------------------------------------------------------------------------------------
TOM BAYNTON
Top 10 Films
10. Licence To Kill (1989 dir. John Glen)
Oddly enough the film criticised at the time for being too
dark now wouldn’t look out of place amongst the more recent ones. Love the
momentum of having it be a personal vendetta and when I first saw it as an
impressionable youth the more grisly elements (Sharks! Exploding bloke in the
pressure chamber!) made it just that much cooler. Robert Davi is excellent as
the menacing villain and the final tanker chase ranks amongst the series best
set pieces.
9. For Your Eyes Only (1981 dir. John Glen)
Yes, Roger Moore was getting slightly too old at this point
(and the scenes with the teenage ice-skater are a tiny bit uncomfortable) but
I’ve always loved this one. Perhaps because it’s unusual in a Bond film in that
it isn’t immediately clear who the villain is (Julian Glover and Topol are both
great as the two candidates), or the lovely Carol Bouquet, or the awesome mini
chase. Also has the brilliant moment when Bond kicks the assassin off the cliff
– a moment of Connery-esque coldness largely absent in the Moore era. Oh and talking parrots are always
funny.
8. Goldfinger (1964 dir. Guy Hamilton)
The iconic one – Aston Martin, razor-tipped bowler hat,
Pussy Galore, ‘do you expect me to talk?’ Although my favourite moment is when
Bond emerges from the water in a wetsuit and strips off to reveal an immaculate
tuxedo. If perhaps not as thrilling as other entries in the series it makes up
for it with sheer cool.
7. Casino Royale (2006 dir. Martin Campbell)
After the invisible-car fiasco of Die Another Day an
overhaul of the series was thoroughly needed, especially post-Bourne. Dialling
back on a lot of the series conventions but keeping the glamour and action (the
free-running/crane chase scene is outstanding), it’s a slickly enjoyable job.
Director Martin Campbell deserves credit for making a poker game as exciting as
any action set piece
6. GoldenEye (1995 dir Martin Campbell)
One of the most relentlessly balls-out enjoyable of the
series, from the ace opening stunt to the giant satellite finale. Sean Bean,
Famke Janssen and Alan Cumming are all great and the tank chase which destroys
half of St. Petersburg
would make a Top 10 Bond Set Pieces list. Might be one place higher if it
wasn’t for Eric Serra’s awful electronic score.
5. On Her Majesty’s Secret Service (1969 dir. Peter Hunt)
Yep. The Bond film that’s it been cool to knock for years is
actually one of the best. The action sequences (ski chase!) are outstanding,
largely due to the installation of long time series editor Peter Hunt in the
directors’ chair, Diana Rigg is a strong contender for best Bond Girl ever and
Telly Savalas is a terrific Blofeld. But this was the film where Bond shows an emotional
vulnerability and is all the better for it. Would have been a strong contender
for the top if not for the zero charisma of George Lazenby and the “this would
never have happened to the other fella” line, a cheap gag that even the last
couple of Roger Moores never stooped to. It’s terrific otherwise.
4. From Russia
With Love (1963 dir. Terrence Winter)
A straightforward spy thriller for sure – Bond races against
SPECTRE to find a gizmo! – but executed with pure class. Connery at his best –
funny, charming and menacing as Bond survives on his wits alone, the most
complicated gadget is the briefcase with secret compartments! Who would have
thought a woman trying to kick Bond in the shins would be so terrifying? Also
the train sequence is just brilliant, the tense exchange between Bond and
Robert Shaw’s henchman which then explodes into one of the best hand-to-hand
combat scenes in any film. Ever.
3. The Living Daylights (1987 dir. John Glen)
Dalton’s
first entry is an absolute corker. The action is terrific (the dangling out of
a plane fight is still breathtaking today), there’s good chemistry between Dalton and Maryam D’Abo
and the Pretenders-listening henchman Necros is one of the series best. The
twisty post cold war plot is immense fun too and after the disaster of the last
two Moore
entries it’s refreshing to have a Bond capable of doing his own stunts! It’s
only the functional but unmemorable villain that’s keeping this out of the Top
2.
2. You Only Live Twice ( 1967 dir. Lewis Gilbert)
From the breathtaking opening (spaceship hijack!) to the much-imitated-never
bettered finale as ninjas storm a volcano base, this is just brilliant. The
Japanese setting adds a welcome mystical element, John Barry’s score is quite
possibly his best and Ken Adam’s sets are amazing. Donald Pleasence’s creepy
Blofeld is great. And then there’s the helicopter battle, the iconic pool of
piranhas, and the scene where Bond fights The Rock’s grandfather. Oh and did I
mention that it ends up with NINJAS attacking A VOLCANO? Brilliant.
1. The
Spy Who Loved Me (1977 dir. Lewis Gilbert)
But then in the end it had to be this one. The first Bond
film I ever saw (the Jaws-hiding-in-the-wardrobe scene was so terrifying I
wouldn’t open a wardrobe for weeks afterwards) and still the one I enjoy the
most. It’s just full of superb moments, from the definitive pre-credits stunt,
to the superb pyramids cat-and-mouse scene with Jaws fading in and out of
darkness. Barbara Bach’s KGB agent Anya hits the right balance of sexy and
capable, Curt Jurgens is a splendidly sinister villain and then there’s Jaws.
Before his ill-advised Moonraker return tuned him into a parody, he’s genuinely
menacing here. Both the gadgets and the humour (“Egyptian builders!”) are
present without overwhelming the story. And with all due apologies to Aston
Martin fans but the swimming Lotus is the best Bond car ever.
TOP THREE BOND
SONGS
This was arguably harder than the film list…
3. Goldfinger – Shirley Bassey
Had to have a
Shirley Bassey in here somewhere and this is the best one. Superb arrangement
by John Barry (full credit to the excellent horn section), lyrics that actually
have something to do with the film and Ms. Bassey’s brassy delivery.
2. Live And Let Die – Paul McCartney and Wings
A rare Bond song that isn’t at the same pace from beginning to end, it’s the light and shade of this that makes it cool. Of all the more action based Bond themes (honourable mentions to Chris Cornell and Duran Duran) this is the one that makes you feel like springing into action. Not even the slightly naff lyrics can dent this one.
1. On Her Majesty’s Secret Service – John
Barry
Have I cheated?
Possibly. But it’s over the opening credits so in Bond lore I’m counting this
as a song. It’s a superbly crafted piece of spy music that quite frankly
doesn’t need lyrics, it’s exciting and sexy all at the same time. The producers
liked it so much they bumped Louis Armstrong to the end credits.
AND MY FAVOURITE BOND IS…
I really wanted to
be controversial and put Timothy Dalton here. But the truth is undeniable;
while Dalton
brought the toughness, Moore
the charm and comic timing and Brosnan was cool it was Connery who brought all
the aspects together perfectly. Equally at home with a quip (“he got the
point.”), a fight scene or seducing a woman, he really epitomised the character
in a way none of the others, good as they all were, have managed to.
-----------------------------------------------------------------------------------------
There has only ever been one James
Bond film that I actively disliked. I’m not talking about the misconception
that is Never Say Never Again (1983) or the stylish gibberish that is the
original Casino Royale (1967). In both of those unofficial 007 adventures I can
find some merit; whether it’s Connery’s indomitable insouciance or the truly
excellent sight of David Niven in a Bond film. I am instead talking about the
underwritten oddity that is Quantum Of Solace (2008). With the benefit of
hindsight and some candid comments from Daniel Craig we now know that the 22nd
007 epic was hopelessly compromised by the infamous 2007-08 Writers Guild Of
America strike. The fact that the film was made using virtually a first-draft
script explains much of why such a stylishly shot Bond adventure contained so
little substance, so little…Bond! When the film began without the traditional
gunbarrel I immediately started having misgivings. Let me stress that I loved
the omission and explanation of the Gunbarrel’s origin in Casino Royale.
In
Quantum Of Solace, leaving it out just seemed like a statement from a production
that was actively keen to alienate its core audience. For me, the film carries
on in that vein, simply becoming less and less like a Bond movie as the dark
brooding dialogue scenes and brutal action sequences mount up. That said, it’s
not a totally horrible film. There is one, excellent redeeming scene midway
through proceedings. Bond getting drunk on a plane and baring his soul to
Mathis was a skillful evocation of many an introspective scene in Ian Fleming’s
original novels. Sadly that moment stands alone. When a very truncated
gunbarrel finally appeared at the end I distinctly remember saying out loud in
the cinema: “thank f**k for that!” Such was my relief that the producers had
actually remembered that Agent 007 was the star of the film!
My disappointment
at Quantum Of Solace was compounded by the interminable wait for James Bond to
return. Four years passed for me to contemplate why I’d disliked Quantum of
Solace so much. I wondered about what I want from my 007 fix. What does this
franchise mean to me? I found myself thinking that what I enjoyed most about
Bond besides the stunning production values, terrific guest stars and glorious,
glorious music was indeed the image of British masculinity embodied by 007
himself. James Bond was a look at my country and heritage through a sparkling,
rose-tinted lens. Being a British man is oftenlicence to be disliked, sometimes
hated and even openly mocked by millions around the world. Yet 007 is stylish,
determined, fights the good fight, looks good while he’s doing it and never
quite takes himself seriously. In other words something a young Britsher unsure
of his cultural identity can aspire too. The humour is key. Without the cocked
eyebrow or loaded comment Bond is just another killer who could have come from
anywhere. It was this more than anything that failed Quantum Of Solace. Bond is
humourless and in the end colourless. The humour not only humanizes the
character it also provides him with lashings of the qualities that we prize so
highly in British culture: self-deprecation, sarcasm, the desire to take
nothing about ourselves too seriously
(while being deadly serious about the job in hand!) This is to say nothing of
Daniel Craig’s excellent comic timing, which provides a welcome and effective
contrast to his otherwise steely, visceral performance.
-------------------------------------------------------------------------------------
GREG CLARKE@GREGGLESONFILM
TOP 5 BOND SONGS
1 NOBODY DOES IT BETTER
2 OHMSS THEME/WE HAVE ALL THE TIME IN THE WORLD
3 YOU KNOW MY NAME
4 TOMORROW NEVER DIES
5 LIVE AND LET DIE
1 THE SPY
WHO LOVED ME
2 FROM
RUSSIA WITH LOVE
3 LICENSE
TO KILL
4 CASINO
ROYALE
5 ON HER MAJESTYS
SECRET SERVICE
6 GOLDENEYE
7 SKYFALL
8 DR NO
9 THE MAN WITH
THE GOLDEN GUN
10
GOLDFINGER
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GregglesOnFilm chooses his James Bond...
The search for 'My favourite James Bond' was/is a difficult one. Of the 6 actors applicable, I initially managed-fairly naturally-to whittle it down to 4. Thankyou, and goodnight to (the not as bad as people think ,yet still the weakest) George Lazenby, and the tough, serious, action based scowling of the (perfectly decent, but not quite 'it') Daniel Craig.
I was then able to cull Pierce Brosnan, but don't ask me how I managed to do it, because he didn't really put a foot wrong. If there is one tiny chink in his armour, it does, at times, feel a bit like his is a Bond who knows he is on camera, striking all the right poses, and as good as he is, that is something Bond doesn't need to do. Even in his eyebrow raising peak, Roger Moore always made me believe in the character, rather than the actor.
And then there were 3...
With the 80's being bombarded with a huge number of definitive action heroes and, now, classic template action movies, it might be fair to admit that 007 was struggling slightly to remain relevant and keep apace with the likes of John McClane, Martin Riggs and basically anything with Arnie in it. (Personally I would've quite enjoyed seeing a Schwarzenegger Bond villain...)
So it is with no understating that I say that Timothy Dalton was a minor miracle. A bold choice by Cubby Broccoli-a man who knew what he wanted, and got it, in the end- Dalton takes to the role as if it were a brand new idea, written especially for him. As is noted elsewhere, the grit and tough approach adopted by Daniel Craig has a very clear descendant in Dalton. Most of what Craig does, Dalton did first.
It is no coincidence that one of the very best of the 23 (and counting) Bond films so far is one of his, indeed both of his films have an edge not seen in most others in the canon. But here we must make eliminations, so let's site a slight awkwardness at delivering the trademark one-liners (note just how few there are in his films) as his reason for dismissal.
'How dull'. 'So predictable', I hear you cry...
Yes. Sorry. I didn't mean to, but I have ended up with the age old 'Connery versus Moore' debate.
Sean Connery was the first. To many, he remains the only true Bond, bringing the chatacter so vividly to life, with such style and grace, a flair for the action and a droll delivery of the one liners.
Roger Moore IS Bond to many people my age. I grew up with his films on telly. Every time they showed a Bond film, it always seemed to be one of his. Sunday afternoons could be happily spent lying on the sofa watching Roger wrestling with Jaws, costume changing his way to victory in the fun house of Dracula, or delivering (quite better than any other 007) a sure fire laugh out of one ridiculous situation or other.
But, wait...didn't Connery excel at line delivery too? He did, yes. And physically, Roger doesn't quite measure up when it comes down to the real business of beating up bad guys, at least, when compared to Sean.
But Moore was so charming, even when in combat. No mean feet. His Bond really had you rooting for him, feeling every punch, kick and sumo hug along with him. And strangely, even in the later films, Roger didn't feel to me like he was too old to play the part, but I don't feel that way watching Connery in Diamonds Are Forever, or dare I say, Never Say Never Again.
So, I don't think I can choose...
The suits! Who kills it in the tux...? They both do!
Erm... Who looks cooler? Connery.
Who keeps you smiling through 120 minutes of film? Moore.
If ANY of the Bonds were to fight each other, there would be no winner. Think about it. There just wouldn't be. None would allow themselves to lose. Not. Ever. They always always AWAYS find a way.
So I guess it comes down to this; Who, when you are strapped to a chair, with a laser nearing your dangly bits- whilst being lowered into a tank of flesh-eating sea monsters- do you want to see running up behind Blofeld, certain they are gonna overpower the henchmen, shut off the nuclear launch, save the day, make a quick quip at the villains expense, kiss the girl, and still have enough about them to do it all again if required?
Well,
Sean Connery.
Oh. There you go then.
GregglesOnFilm
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When I
took my seat next to my wife at a small, arty cinema in Wimbledon, braced for
whatever Skyfall was going to through at me I have to admit I was worried that
“my 007” might have been consigned to history permanently. I knew I thought the
world of Craig and I just hoped that Sam Mendes could steer the franchise back
on course.
For a film that also opens minus the traditional gunbarrel, Skyfall
could not have mirrored my experience with Quantum Of Solace more fulsomely,
more triumphantly. Skyfall proved that no matter what, James Bond is always
contemporary. His value is timeless. To quote the GoldenEye trailer: “It’s a
new world, with new enemies and new threats. But you can still depend…on one
man!” The film could not have utilized Daniel Craig any better. His swaggering
yet vulnerable performance the ultimate distillation of the legacy left him by
Messrs.’ Connery, Lazenby, Moore, Dalton and Brosnan. Skyfall is undoubtedly a masterpiece, one
that will rightfully take its place among the top 10, perhaps top 3 James Bond
films of all time. When I ask myself the question: why is Skyfall so good? I
may as well ask myself: why do I still love watching James Bond films 30 years
after my initiation with Moonraker?
I believe that Skyfall is the shining
embodiment of everything that, to me, makes 007 different and refreshing and
endlessly enjoyable: James Bond, a Secret Service Agent who is licenced to kill
uses his often contradictory qualities of suave charm, ruthless ingenuity and
unmatched determination to single handedly rescue the free world from a larger
than life threat thereby reminding us that one man can indeed make a
difference…particularly if he’s British.
So what about the list leanings of a Bond connoisseur such as Sam himself...?
SAM DEVEREAUX
Top 5 Bond Songs
5. Diamonds Are
Forever (1971)
My personal
favourite of the great ShirelyBassey’s 3 Bondian efforts. It’s an outrageous
number full of John Barry’s best, brassy orchestration, a fantastic bass line
and the most suggestive lyrics of any Bond title song. Urban myth has it that
lyricist Don Black told Bassey to perform it as if she was singing about a penis!
Harry Saltzman hated it because he felt it went too far. Fortunately (and not
for first time) Cubby Broccoli knew better.
4. We Have All The
Time In The World (1969)
Easily the most
beautiful and poignant sing written for a 007 film. It’s so heartfelt and
romantic that it seems hard to believe it could find a place in Bond’s cold,
cynical world. But that’s precisely why it works! It’s a little window into
what might have been for James Bond had his bride not been cruelly murdered.
The fact that it was the great Louis Armstrong’s final performance before his
death in 1970 just makes it even more emotional.
3. A View To A
Kill (1985)
The 1980s were not
a great decade for 007 title songs. For the most part feeble, pop efforts were
the order of the day. With the title track for Roger Moore’s swansong, Duran
Duran captured everything a Bond song should be about and brought it bang up to
date. The track is a superb, over-the-top, frenetically paced explosion that
almost single handedly lifts the film from a fading effort to many peoples
secret favourite. I still get goosebumps thinking about the thumping synth
lines mixed with Maurice Binder’s neon visuals.
2. Goldeneye
(1995)
When Pierce
Brosnan strapped on the shoulder holster the experimental efforts of hard-edge
Timothy Dalton were quickly buried. Goldeneye had to remind audiences of what
007 was all about. Boy, did Bono &
The Edge deliver! Tina Turner pounds out a stunning, smouldering vocal for a
barnstorming tune that teased and thrilled and sent our expectations through
the roof. Fortunately Goldeneye was a terrific adventure to wrap around one of
the very greatest Bond songs.
1. Live & Let
Die (1973)
Paul McCartney’s rock-voodoo
epic is for me the greatest James Bond theme tune. Still fresh today Live &
Let Die manages to capture the hyperbolic tension and excitement that goes hand
in hand with the best 007 music. At the same time he and George Martin produced
a track that is still, more than 40 years later, stunningly original. The irony
is that when Martin played a demo of the track to Harry Saltzman, the producers
first response was: “Great! Now who are we going to get to sing it?” Martin’s
dry response: “Er, Harry…you’ve got Paul McCartney.”
Top 10 James Bond Films
10. Octopussy
(1983)
A much underrated
80s Bond film. Its blend of exotic Asian action and intense cold war intrigue
makes it a real treat for the 007 connoisseur.
Maud Adams returns superbly (and uniquely) to 007 action in the title
role and this is one of the very few films in which Moore was allowed to play
the character as a little older. It’s arguably his best performance in the
role. Witness his scene on the train with the wonderful Steven Berkoff and then
tell me Roger can’t act!
9. Casino Royale
(2006)
When Pierce
Brosnan mysteriously hung up the shoulder holster in 2004 few had high hopes
for Daniel Craig, myself included. Yet what a debut he produced! The
pre-credits sequence alone would make Craig’s performance one of the very best.
The fact that Martin Campbell delivered his second top notch Bond around that
performance was the icing on the cake. A superb adventure that’s as fresh as it
is steeped in Bond tradition.
8. The Man With
The Golden Gun (1974)
There are many who
dismiss Golden Gun as the worst 007 film. If Box Office numbers were the only
judge then perhaps they’d be right. Such criticism fails to acknowledge the
great Christopher Lee as one the best Bond Villains of them all. Refined from
Fleming’s thin, gun toting homosexual into a dark, elegant mirror image of 007
himself, Lee’s Scaramanga single handedly puts this film into the top 10. A
mighty performance that Moore clearly relished playing against.
7. Tomorrow Never
Dies (1997)
Pierce Brosnan’s
debut in Bondage was a glorious breath of fresh air. Yet the film was not
without fault (the appalling score by Eric Serra was the main offender!) On his
second outing Brosnan delivered arguably his best performance and Roger
Spottiswoode directed a beautifully slick and propulsive adventure. In fact, if
the whole film sustained the breathtaking level of the first 45 minutes it
would have been a contender for the number 1 slot.
6. Licence To Kill
(1989)
It’s all too easy
to dismiss Timothy Dalton’s Bond these days. But make no mistake Dalton was a
superlative 007. It is cruel that he was denied the chance to add to his meager
tally of two adventures. Especially after the bold and thrilling effort that
was Licence To Kill. Everything the franchise is doing today it owes to that
dark, gritty adventure. Indeed where would Craig and Javier Bardem’s Skyfall
Performances have been without Dalton and Robert Davi’s turns in Licence To
Kill?
5. On Her
Majesty’s Secret Service (1969)
The OHMSS novel
was Ian Fleming’s finest effort. So it is fitting that Peter Hunt’s film
version sticks closely to the source text. Perhaps the only Bond film to
capture Fleming’s world with true authenticity and, before any naysayers chime
in, the effort succeeds because of George Lazenby not in spite of him. We can
only wonder what might have been if Lazenby had got his head straight and made
a few more. His Bond had far more potential than he gets credit for.
4. Goldfinger
(1964)
The film that
launched a phenomenon. Goldfinger is a cracking adventure and still the film
that all other Bonds are judged by. It’s also perhaps the only Bond film that
is better than the novel on which it’s based. Connery clearly loved making this
one and it shows in every frame of his glorious performance. With a film this
good it’s small wonder that all of Sean’s subsequent appearances as 007 were
such a disappointment to him. The high water mark of the series.
3. Skyfall (2012)
The 50th
anniversary Bond extravaganza came off the back of the first and to date only,
truly poor 007 film. The fact that we had to wait four years after the confused
mess that was Quantum Of Solace to see it only increased expectation.
Fortunately Sam Mendes and the films terrific cast delivered a Bond adventure
of rare quality. Simultaneously action packed and intensely intimate Skyfall
finally established Craig as a great Bond and reminded us that when it comes to
action adventure, Nobody Does it Better.
2. You Only Live
Twice (1967)
While not as good
as Goldfinger in purely cinematic terms, YOLT is perhaps the most important
Bond of all. Almost every cliché and convention of the 007 franchise was either
invented or realized perfectly in Bond’s Japanese adventure. From the look of
Blofeld (Dr. Evil anyone?) to the outrageous Volcano base (realized without
optical effects) to John Barry’s glorious score (the series best?) Everything
about YOLT is sumptuous and iconic. The fact that Roald Dahl wrote the
screenplay just adds another extraordinary dimension to this Bond epic to end
Bond epics.
1. The Spy Who
Loved Me (1977)
More than any
other 007 film before or since TSWLM will go down in history as the one that
saved the franchise. Rocked by Harry Saltzman’s departure, repeated re-castings
of the lead role and a decline in production values, the Bondwagon was in
serious danger of falling off the road in 1976. Fortunately Cubby Broccoli
decided that the best line of defence was attack and threw the kitchen sink at
TSWLM. Thank goodness he did because Moore’s 3rd adventure has
everything: sets, girls, great music, action, adventure, gadgets, cars,
memorable villains and a sense of infectious fun that underpins all the best
Bond adventures. Roger’s finest hour, for me the pinnacle of 007’s cinematic
opus and the main reason we’re still watching new Bond
films today.
Favourite James Bond
Roger Moore 1973-85
Always an underrated actor, Roger not only had
charisma to burn and remarkable staying power (considering he played the role
until he was 57), he also did emphatically what many had said was impossible:
filled Sean Connery’s shoes. Yes, there are some who never really ‘got’ Roger’s
lighter touch. But to suggest he was a paper-thin Bond is just plain ignorant.
I doubt any of the other 007s could have played some of Moore’s dramatic scenes
better than he did. What is certain is that nobody made Bond movies as much fun
as Roger did. You somehow always knew that when Roger was wearing the shoulder
holster you were going to be smiling when the credits rolled. If Daniel Craig
owes much of his gritty interpretation to the groundwork laid by Timothy Dalton
then the entire franchise can thank Roger Moore and his golden eyebrows for the
fact that the 007 films series even still exists today. He was fresh and
original and for me at least, nobody did it better.
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JAMES BOND WILL RETURN...
Not too many details yet on the currently untitled next installment, but we know some things. According to Uinterview.com....
'In the
Sam Mendes-directed Bond film, tentatively called
Bond 24,
Bautista is set to play Hinx, a henchman and assassin. Original casting document described the character as very physically fit, and revealed that the character would be engaging in several fights with James Bond, once again played by
Daniel Craig.
Bautista has yet to confirm his involvement. Bond 24 is scheduled to begin shooting in December, and is set for a Nov. 6, 2015, release. In addition to Bautista’s casting, rumors suggest that Lea Seydoux has been cast as a new femme fatale.'
All very intriguing, but not a sausage on storyline yet. We shall have to wait and see.
I for one can't wait.
