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Comments
Exactly.
I agree. There are less creative risks when Bond goes period. Look at Devil May Care as a main example. While Solo and the Anthony Horowitz trilogy worked for the books, it's like spinoffs: it should be left in the literary world of Bond.
Interesting point, I guess by the time Holmes came to the screen he was forever trapped in his era. There was no TV or movies in Conan-Doyle's time, so he was never "contemporary" in that medium. Book Bond began in the 1950s, Movie Bond began in the 1960s, but was never set in the 1950s to match with the books, and Movie Bond continued to remain in the present.
On the other hand there have been verisons of Sherlock Holmes in recent times set in the present, Benedict Cumberbatch's "Sherlock" and "Elementary" which seemed to be quite popular.
Personally I don't think an entire period piece Bond would be a positive move at this point, however a reboot might be an appropriate time to use the flashback as a storytelling device.
I guess that's what the black and white opening to CR was about, except they didn't follow through with it. It was only the veneer of flashback, which served as a brief intro gimmick, rather than being used to reveal insights on how the character came to be who he is in any depth, over the course of the entire film.
The nostalgia market moves on in time, in order to cater to the highest spending demographic (a theory)
E.g. In the 1970s "American Graffiti", "Happy Days" and "Sha-Na-Na" catered to the nostalgia of the 1950s teens who had become the wage and salary earners that were the engine of consumer culture.
The 60s generation don't count any more financially
70s nostalgia should be phasing out, and 90s nostalgia phasing in, about now
That effect may be distortd by the Boomers being a more numerous generation, and therefore still retaining some infuence by sheer weight of numbers. Also there are still a few powerful movie execs out there who were young adults in the 1970s, to green light projects relating to that era.