›

Controversial opinions about Bond films

1…480481483485486…705

Comments

  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    I would say it is the most iconic film of the 1960s. Perhaps more so than GF, if one strips out the Aston. The imagery from YOLT is quite definitive for many of the public when it comes to Bond.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    Can't think of anything that stands out in terms of imagery other than demonstrating the volcano lair.
  • bondjamesbondjames You were expecting someone else?
    edited November 2018 Posts: 23,883
    ClarkDevlin wrote: »
    Can't think of anything that stands out in terms of imagery other than demonstrating the volcano lair.
    That lair is one of the most memorable villain hideouts in history, even today. Then we have Blofeld with scar and Nehru jacket finally revealed. No matter how poorly he was depicted, there's no denying the indelible impression Pleasance made. Finally there is the concept of one device capturing another by opening up. All of this has been repeated in countless films since, and immortalized by Austin Powers. I think it helped that Gilbert essentially borrowed from YOLT for TSWLM & MR, which were both extremely successful films, and so further implanted his style on the public consciousness. Spottiswoode also took from it for TND.
  • TorgeirtrapTorgeirtrap
    edited November 2018 Posts: 17,295
    YOLT have always ranked low on my list. Never cared for it – even with Connery in it.

    Strangely enough, DAF is a film I enjoy more and more for each viewing.
  • BAIN123BAIN123
    Posts: 11,189
    I like “Ladies First”. It’s quirky a little sleazy, which fits the scene.
  • jobojobo
    Posts: 7,500
    BAIN123 wrote: »
    I like “Ladies First”. It’s quirky a little sleazy, which fits the scene.


    That's the problem. Bond shouldn't be quirky and sleazy.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    jobo wrote: »
    BAIN123 wrote: »
    I like “Ladies First”. It’s quirky a little sleazy, which fits the scene.


    That's the problem. Bond shouldn't be quirky and sleazy.
    Quirky, he shouldn’t be. Bit of a sleazy, he should definitely be.
  • TorgeirtrapTorgeirtrap
    edited November 2018 Posts: 17,295
    ClarkDevlin wrote: »
    jobo wrote: »
    BAIN123 wrote: »
    I like “Ladies First”. It’s quirky a little sleazy, which fits the scene.


    That's the problem. Bond shouldn't be quirky and sleazy.
    Quirky, he shouldn’t be. Bit of a sleazy, he should definitely be.

    :-D

    giphy.webp
    tatiana3.gif?w=650
  • QQ7QQ7 Croatia
    Posts: 371
    gf.gif
  • TorgeirtrapTorgeirtrap
    Posts: 17,295
    QQ7 wrote: »
    gf.gif

    Hah! Forgot about that one :))
  • BAIN123BAIN123
    edited November 2018 Posts: 11,189
    forcing himself onto Pussy and Molly could be seen as sleazy.

    Fleming sounded like a right old sleaze. He came up with the name Pussy Galore.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    Bond wasn't the sleaze in GE. It was Onatop. That is why the music fit the scene and the character. It was rather ironic, given the other messaging in GE.
  • BAIN123BAIN123
    Posts: 11,189
    Exactly. Even her name is sleazy.
  • mattjoesmattjoes
    Posts: 6,743
    Onatopp?
  • BAIN123BAIN123
    Posts: 11,189
    mattjoes wrote: »
    Onatopp?

    Onatopp!!
  • GoldenGunGoldenGun Per ora e per il momento che verrà
    Posts: 6,791
    Your accent, Georgia?
  • BAIN123BAIN123
    Posts: 11,189
    GoldenGun wrote: »
    Your accent, Georgia?

    “Mmm...very good Mr Bond. You’ve been to Russia?”
  • ThighsOfXeniaThighsOfXenia
    Posts: 1,595
    Regardless of your overall assessment of its quality, there's little denying that in terms of lingering pop culture effect and iconography, YOLT trumps them all.

    YOLT's iconography is distinctly and knowingly camp, which is why Austin Powers borrowed from it more liberally than any other Bond film, by and large.

    It's also the first of Gilbert's "trilogy," all three of which rank head and shoulders above the rest of the series in terms of overall scale and scope. That also has something to do with its iconography resonance, I think. Stakes are generally high in all Bond films, but Gilbert's trilogy all deal with world-ending plots to some degree. In fact, Gilbert's films in general contain some of Bond's most enduring iconography, now that I think of it.
  • GoldenGunGoldenGun Per ora e per il momento che verrà
    Posts: 6,791
    ThighsOfXenia wrote: »
    Regardless of your overall assessment of its quality, there's little denying that in terms of lingering pop culture effect and iconography, YOLT trumps them all.

    YOLT's iconography is distinctly and knowingly camp, which is why Austin Powers borrowed from it more liberally than any other Bond film, by and large.

    It's also the first of Gilbert's "trilogy," all three of which rank head and shoulders above the rest of the series in terms of overall scale and scope. That also has something to do with its iconography resonance, I think. Stakes are generally high in all Bond films, but Gilbert's trilogy all deal with world-ending plots to some degree. In fact, Gilbert's films in general contain some of Bond's most enduring iconography, now that I think of it.

    Definitely also thanks to Ken Adam’s production design in all three of them.
  • CommanderRossCommanderRoss The bottom of a pitch lake in Eastern Trinidad, place called La Brea
    Posts: 7,978
    ThighsOfXenia wrote: »
    Regardless of your overall assessment of its quality, there's little denying that in terms of lingering pop culture effect and iconography, YOLT trumps them all.

    YOLT's iconography is distinctly and knowingly camp, which is why Austin Powers borrowed from it more liberally than any other Bond film, by and large.

    It's also the first of Gilbert's "trilogy," all three of which rank head and shoulders above the rest of the series in terms of overall scale and scope. That also has something to do with its iconography resonance, I think. Stakes are generally high in all Bond films, but Gilbert's trilogy all deal with world-ending plots to some degree. In fact, Gilbert's films in general contain some of Bond's most enduring iconography, now that I think of it.

    I agree on the effecr the films have had,but for me it's the children's incarnation of what should be Bond. The stakes should be high, for sure, but I prefer the on-the-edge of realism plot of Thunderball to the over-the-top plot of YOLT. All in all Gilbert lost it for me, instead of bringing Bond to new hights. I think there's a reason why Thunderball did so well compared to the other films.
  • BAIN123BAIN123
    edited November 2018 Posts: 11,189
    YOLT was the first film where the story didn’t seem to matter very much. It was more the spectacle and escapism that took centre stage.

    I agree also that it seemed to be more aimed at children than adults. It has a bit of a Gerry Anderson vibe about it.

    I like Gilbert’s films quite a bit. They’re colorful, lively and demonstrate technical brilliance in a way that not many of the others did, but they all felt like they were aimed mainly at kids.
  • LudovicoLudovico
    Posts: 14,839
    CommanderRoss wrote: »
    ThighsOfXenia wrote: »
    Regardless of your overall assessment of its quality, there's little denying that in terms of lingering pop culture effect and iconography, YOLT trumps them all.

    YOLT's iconography is distinctly and knowingly camp, which is why Austin Powers borrowed from it more liberally than any other Bond film, by and large.

    It's also the first of Gilbert's "trilogy," all three of which rank head and shoulders above the rest of the series in terms of overall scale and scope. That also has something to do with its iconography resonance, I think. Stakes are generally high in all Bond films, but Gilbert's trilogy all deal with world-ending plots to some degree. In fact, Gilbert's films in general contain some of Bond's most enduring iconography, now that I think of it.

    I agree on the effecr the films have had,but for me it's the children's incarnation of what should be Bond. The stakes should be high, for sure, but I prefer the on-the-edge of realism plot of Thunderball to the over-the-top plot of YOLT. All in all Gilbert lost it for me, instead of bringing Bond to new hights. I think there's a reason why Thunderball did so well compared to the other films.

    Same here. YOLT also went way too far into scifi territory.
  • MaxCasinoMaxCasino United States
    Posts: 4,120
    BAIN123 wrote: »
    YOLT was the first film where the story didn’t seem to matter very much. It was more the spectacle and escapism that took centre stage.

    I agree also that it seemed to be more aimed at children than adults. It has a bit of a Gerry Anderson vibe about it.

    I like Gilbert’s films quite a bit. They’re colorful, lively and demonstrate technical brilliance in a way that not many of the others did, but they all felt like they were aimed mainly at kids.

    Proof of the kids quote, Gilbert turned Jaws into a good guy because the fan letters said that Jaws should be goody not a baddie.
  • jobojobo
    edited November 2018 Posts: 7,500
    Per
    MaxCasino wrote: »
    BAIN123 wrote: »
    YOLT was the first film where the story didn’t seem to matter very much. It was more the spectacle and escapism that took centre stage.

    I agree also that it seemed to be more aimed at children than adults. It has a bit of a Gerry Anderson vibe about it.

    I like Gilbert’s films quite a bit. They’re colorful, lively and demonstrate technical brilliance in a way that not many of the others did, but they all felt like they were aimed mainly at kids.

    Proof of the kids quote, Gilbert turned Jaws into a good guy because the fan letters said that Jaws should be goody not a baddie.


    Gilbert did that? Or the producers decided?

    Bond has always been run by comittee. I do have an issue with statements that give the director responsibility for all decisions, good or bad, unless there is concrete sources behind it.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    Wasn’t that Cubby’s decision?
  • MaxCasinoMaxCasino United States
    Posts: 4,120
    It was on the behind the scenes of Moonraker documentary.
  • echoecho 007 in New York
    edited November 2018 Posts: 5,984
    YOLT also has arguably the second-best score in the series, and a seriously underrated song. As someone pointed out recently, the score from First Man cribbed from it.

    It's the first film that--arguably--succeeds by running away from Fleming and making it all about spectacle. And I suspect that is because of Dahl.
  • TorgeirtrapTorgeirtrap
    Posts: 17,295
    echo wrote: »
    YOLT also has arguably the second-best score in the series, and a seriously underrated song. As someone pointed out recently, the score from First Man cribbed from it.

    The intro to that song is some of the best music made for film – ever (IMO). Love the whole song of course, but that intro!
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    edited November 2018 Posts: 15,423
    The YOLT song comes very sweetly to the ears when you're feeling a bit down, sipping down some whiskey, smoking a cigarette, reflecting on some of the good decisions you could've made but didn't, yet you console yourself with the thought that life still goes on. Melancholic in a reminiscing way.
  • echoecho 007 in New York
    edited November 2018 Posts: 5,984
    I think YOLT is Barry's best song. More richer and nuanced than GF (which is the obvious choice). I also think DAF is pretty great. The Maestro was on fire from '67-'71!
Sign In or Register to comment.