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Which Bond Films Are the Most Unique?

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  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    bigladiesman wrote: »
    The - kind of - tetralogy formed by OHMSS, DAF, LALD and TMWGG and then MR and LTK. I take we're talking about the EON films, so CR'67 and NSNA are out of the question.

    OHMSS has aesthetics and ideas that make it quite unique. It's Peter Hunt's declaration of intentions, possibly the most personal film of the saga. Sometimes it looks even experimental.

    DAF is the definite parody of the saga. A funny and outrageous romp made to make Connery happy. I love is as much as its predecessor and always watch them back to back, as I feel they complement each other nicely, especially if we we are willing consider that Bond is on a revenge spree on the pre-credits sequence (then again, this is a purely personal choice or, as the young 'uns say, headcanon).

    LALD marks the first of the four Bond films that follow the current cinema trends (and I even think we can add Octopussy to the equation. Is it supposed to be a response to the Indiana Jones saga?), and as such we have that gritty look no other Bond film has, based on blaxplotation, then we have TMWGG based on martial arts films, MR on Star Wars and LTK on those wonderful 80s action flicks, looking overall like a glorified Cannon/Golan-Globus film (and maybe that's why LTK my fav film of all time).

    Only Raiders had come out when OP premiered.
  • bigladiesmanbigladiesman
    Posts: 1,009
    Thunderfinger wrote: »
    bigladiesman wrote: »
    The - kind of - tetralogy formed by OHMSS, DAF, LALD and TMWGG and then MR and LTK. I take we're talking about the EON films, so CR'67 and NSNA are out of the question.

    OHMSS has aesthetics and ideas that make it quite unique. It's Peter Hunt's declaration of intentions, possibly the most personal film of the saga. Sometimes it looks even experimental.

    DAF is the definite parody of the saga. A funny and outrageous romp made to make Connery happy. I love is as much as its predecessor and always watch them back to back, as I feel they complement each other nicely, especially if we we are willing consider that Bond is on a revenge spree on the pre-credits sequence (then again, this is a purely personal choice or, as the young 'uns say, headcanon).

    LALD marks the first of the four Bond films that follow the current cinema trends (and I even think we can add Octopussy to the equation. Is it supposed to be a response to the Indiana Jones saga?), and as such we have that gritty look no other Bond film has, based on blaxplotation, then we have TMWGG based on martial arts films, MR on Star Wars and LTK on those wonderful 80s action flicks, looking overall like a glorified Cannon/Golan-Globus film (and maybe that's why LTK my fav film of all time).

    Only Raiders had come out when OP premiered.

    So am I not the only one who thinks OP and Temple are a bit alike despite -as you pointed out - having no objective relation to each other?
  • GoldenGunGoldenGun Per ora e per il momento che verrà
    Posts: 6,788
    Thunderball wrote: »
    Can we at least agree on who is the best Felix Leiter?

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    James’ brother from Langley.

    (I really like Jack Lord too)

    For me it's Jeffrey Wright too, but I also liked Jack Lord, Rik Van Nutter and David Hedison.
  • BT3366BT3366
    Posts: 1,883
    bigladiesman wrote: »
    DAF is the definite parody of the saga. A funny and outrageous romp made to make Connery happy. I love is as much as its predecessor and always watch them back to back, as I feel they complement each other nicely, especially if we we are willing consider that Bond is on a revenge spree on the pre-credits sequence (then again, this is a purely personal choice or, as the young 'uns say, headcanon).

    That's how I've always taken DAF's precredits as a Bond out for revenge. It's pretty obvious, isn't it? There's such an obsession on the what-if scenario of a revenge-based DAF that fans either choose to ignore this aspect of the precredits or just hate it for what it could've been.

    Never heard of headcanon, I'll have to use that to confound the kids someday.
  • RevelatorRevelator
    Posts: 2,896
    I think the filmmakers were going for ambiguity with the DAF pre-title sequence. If you'd seen OHMSS, the sequence comes off as Bond hunting down Blofeld for revenge. If you skipped OHMSS because it didn't have Connery, then DAF picks up where YOLT left off, with Bond in Japan trying to track down Blofeld.
  • BT3366BT3366
    Posts: 1,883
    Revelator wrote: »
    I think the filmmakers were going for ambiguity with the DAF pre-title sequence. If you'd seen OHMSS, the sequence comes off as Bond hunting down Blofeld for revenge. If you skipped OHMSS because it didn't have Connery, then DAF picks up where YOLT left off, with Bond in Japan trying to track down Blofeld.
    Sounds about right. Revelator, do you personally feel the way the subject was handled in the DAF precredits was appropriate or satisfying?
  • RevelatorRevelator
    Posts: 2,896
    BT3366 wrote: »
    Sounds about right. Revelator, do you personally feel the way the subject was handled in the DAF precredits was appropriate or satisfying?

    The precredits sequence is my favorite part of the film, so I would have to say yes. It's fast and brutal, especially when Connery starts wreaking havoc in Blofeld's den. The images are very vivid: Bond drowning a man in mud, hurling scalpels into a goon, and bashing Blofeld with a surgical lamp before strapping him into the gurney and sending him face-first into boiling mud. And the quiet, deep satisfaction in Connery's voice when he says "Welcome to hell, Blofeld" is worth the price of admission.

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