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I'm not sure. There must be tons of concepts and tidbits, secret Bond memos and knowledge.
Yeah. That's fair.
I'm now thinking that a Bond has no fixed formula and you could mash up some strong concepts with a compelling plot. Drama, danger, spectacle... Its all about the feel.
Yeah. Funnily, I think Bond films have different genres in all 25 Bond films. For example, I always feel I'm watching a Hammer production, when watching DAF. TND feels sci-fi, TMWTTG feels like a sophisticated kung-fu flick, SF is a Cyber thriller, etc. Just my opinion of course, they could feel different to other Bond fans.
Alec Trevelyan was originally named Augustus Trevelyan and was a mentor to Bond. While a lot of us are sick of seeing betrayals in Bond, that is one of the different things about GE’s original drafts.
Mr. Big as a pirate would be unique in a good way as well.
Yeah! We could bring back the Tarzan yell!
Has there been? In what ways repulsive?
No. Being rightfully against the current clown in charge of my country is not the same as "ant-American bigotry."
Yes. That would be it...with Dalton's Bond in mind too.
Obviously that initial draft is very different from what we ultimately got. Xenia doesn’t even kill with her thighs but rather causes heart attacks via pressure points like from a kung fu film. But the bare bones is there. And the Lienz Cossacks angle actually makes a lot more sense with Hopkins in the role as he’d have a clear memory of the betrayal as a child. The whole thing with Alec felt a little flimsy because he’s obviously born long after WWII and I guess the father murdered himself and the mother when it would have been a decade or more after WWII. All in service to have that Trevelyan be more of a peer to Bond, which is fine because their conflict is a lot more compelling enough and worth hand waving the backstory.
Sometimes, I do wonder if they planned on making Dalton's GE dark, because LTK was already dark enough, or they would have followed Brosnan's GE style, with a mix of dark and light.
Exactly. I don't understand the reasoning behind such a statement. If you're critical of how a country is managed, does that then by default indicate that you are anti-that country? For me certainly not, there are so many beautiful places with magnificent cultures that have questionable leaders, I still love those places and their people though... I wish the polarising and black-and-white reasonings to be less prevalent in our world, but that's unfortunately not the case atm.
I don't think GE was going to be dark with Dalton. I think they learned the lesson with LTK.
Yeah. A possibility. I love LTK, though. Yeah, but I would have been surprised if after LTK, Dalton's GE didn't feel like TLD...dark and light.
Dalton actually addressed that, hoping that the third film would be more balanced version of his previous two. The actual film we got does feel like it’s walking the line between those two extremes. It’s classical enough like TLD, but has some hard edge to it like LTK. It’s definitely continuing to give Bond a more personal motive like LTK.
Had Dalton stayed on, I think he would have calibrated more back to the tone of TLD. Brutal and dark, but still can be playful and light when called for. He certainly wouldn’t have played it cheeky the way Brosnan did.
Yeah. It sounds fair enough. Thank goodness, GoldenEye was still a hit. Pleased James Bond fans around the world and won new fans as well. CR & SF won new Bond fans as well. Looking forward to Bond 26 doing the same.
I think Augustus was the first courting of Anthony Hopkins, who was very hot at the time.
While not perfect, LTK thrilled me as a teen in the theater. So much Fleming. Perhaps the most Fleming since OHMSS. And Key West was a good location for that as well, slightly seedy and reminiscent of Fleming's rambles around the US in the '50s.
Yes. Also, yeah...lots of Fleming in LTK.
I always find it weird when people claim GE is a ‘light’ Bond film. It definitely has a good bit of that violent, harder edge from LTK. Even the cinematography leans into that Film Noir shadowiness. Like all Bond films though it still has that humour and spectacle.
I mean, Boris, Xena Onnatov, tank chase...
Even TLD was more gritty than this one.
Anyway, even LTK had the water skiing, the plane hooking, Joe Butcher, Q being overtly comedic at times etc. Still, it’s one of the harder edged Bond films, and even then I think it’s not dissimilar in tone to GE. I’d say GE is a much darker film than people want to make it out as, or indeed remember it as being.
I remember being pretty stunned in the cinema after seeing TWINE as it felt much more dramatic and emotional than Bond had ever done before and like it had really pushed the boundaries, nowadays it's quite hard to notice much difference between that and TND.
And Bond didn't f* with her which made it pointless.
GE feels like more care was taken with it, after six years of no Bond. That's why it has a "greatest hits" feel to me, that United Artists had to be careful and not fail.
TWINE I liked at the time, more or less, but its drama got eclipsed by the Craig era storylines, which were done better. The sloppy second-unit action sequences and generally bad performances in TWINE jump out at me now, after Craig, and make TWINE all but unwatchable. At this point, I feel DAD has more to recommend it than TWINE, in particular the MR elements, Pike, and surprisingly, Brosnan.
Ok… 😂 not sure it was advisable for Bond to do so seeing where that went for her victims.
She’s a very macabre character. Her method of killing is pretty outrageous, but it’s in the precedent of Jaws’ metal teeth or Oddjob’s hat. That said she’s definitely more on the psychopathic side compared to other secondary Bond villains, and it’s something the film leans into. She seems to take pleasure (seemingly sexual) in mowing down a roomful of innocents, or suffocating a man to death. Actually she’s one of the darkest Bond henchmen/women of the series in that way, and the film really leans into that violence.