DaveCinzano
WATCH OUT, GEORGE, HE'S GOT A SCREWDRIVER!
That's a stretch, given the background(he was raised in that mileu too, in fact an old school friend of his starred in a rubbish derivative of Bond called Reilly Ace Of Spies)
That's a stretch, given the background(he was raised in that mileu too, in fact an old school friend of his starred in a rubbish derivative of Bond called Reilly Ace Of Spies)
what do you mean?That's a stretch, given the background
Didn't Flemming describe him as a thug in a dinner jacket?Bond wasn't meant to be a sympathetic character or a conventional hero, his anti-social personality traits serve him well as a contract killer for the British Secret Service. Fleming himself said, that he never intend him to be a likeable character. He's cold and calculating, views people, including women as disposable and as a man of his class and upbringing, he has conservative social values. That's the character of the novels and the Sean Connery films still are the closest to that in spirit. The later films soften him and turned him into more of a conventional hero, so people go back and are shocked that in the early films, he is basically a piece of shit. Yes, he also has a certain cool but that doesn't mean the books or the early films approve of all of his his actions, representation is not the same as endorsement.
The first two Roger Moore films still were written like Sean Connery movies and they don't quite work. The Spy Who Loved Me is the first Moore film which was tailored to his persona, self-deprecating and always ready with a bad pun and a raised eye brow. It also introduced the first Bond girl which genuinely was Bond's equal as 2nd wave feminism started to make inroads even with the Bond films (there were setbacks)
As someone who consumes a large amount of disreputable vintage entertainment on film (many worse than Bond) I can't get hugely outraged at dated or offensive values in old films. I look at it as where we were and how far we've come, but you can't change the past, so I look at it as educationial. There isn't another franchise which so reflects the values, aspirations and fashions of its time as the Bond films and that's what I think is the most interesting thing about them. It's always the same film but holding ap a mirror to current trends and attitudes.
I wasn’t outraged- just observing it with different eyes. All I cared about when I was 8 was the gadgets and the chases.Bond wasn't meant to be a sympathetic character or a conventional hero, his anti-social personality traits serve him well as a contract killer for the British Secret Service. Fleming himself said, that he never intend him to be a likeable character. He's cold and calculating, views people, including women as disposable and as a man of his class and upbringing, he has conservative social values. That's the character of the novels and the Sean Connery films still are the closest to that in spirit. The later films soften him and turned him into more of a conventional hero, so people go back and are shocked that in the early films, he is basically a piece of shit. Yes, he also has a certain cool but that doesn't mean the books or the early films approve of all of his his actions, representation is not the same as endorsement.
The first two Roger Moore films still were written like Sean Connery movies and they don't quite work. The Spy Who Loved Me is the first Moore film which was tailored to his persona, self-deprecating and always ready with a bad pun and a raised eye brow. It also introduced the first Bond girl which genuinely was Bond's equal as 2nd wave feminism started to make inroads even with the Bond films (there were setbacks)
As someone who consumes a large amount of disreputable vintage entertainment on film (many worse than Bond) I can't get hugely outraged at dated or offensive values in old films. I look at it as where we were and how far we've come, but you can't change the past, so I look at it as educationial. There isn't another franchise which so reflects the values, aspirations and fashions of its time as the Bond films and that's what I think is the most interesting thing about them. It's always the same film but holding ap a mirror to current trends and attitudes.
He’s more of an assassin than a spy in the books. He doesn’t take photos of files in broken into offices or use many gadgets. He just fights, drinks, smokes, fucks and killsDidn't Flemming describe him as a thug in a dinner jacket?
yeh the 00s weren't spies but gentleman thugsHe’s more of an assassin than a spy in the books. He doesn’t take photos of files in broken into offices or use many gadgets. He just fights, drinks, smokes, fucks and kills
reilly was real for a start Sidney Reilly - Wikipediawhat do you mean?
The space battle in Moonraker rocks. No seriously it's a great special effects sequence, it took the Stanley Kubrick approach of avoiding bluescreen and optical effects, everything was done in camera. There are no matte lines around anything, something which let so many effects sequences of the 70s and 80s down and the model work is very detailed.I don’t know if more or less than Connery’s Bond, but certainly a similar level of completely unacceptable misogyny, sexual assaults, and racist stereotypes. Some films don’t age well at all, but even among them I struggle to think of iconic films that have aged as badly as the classic Bond franchise movies.
And aside from that, for a franchise of such calibre the special effects often look shite nowadays, even allowing for the era they were filmed in. Plenty of other movies from those decades still look impressive today. Some of the Bond scenes involving spacecraft, rockets, secret bases and the likes are barely better than Thunderbirds at times. Full of clichéd dialogue and predictable editing as well. Without the benefit of rose-tinted spectacles they would look undoubtedly shit to anyone.
reilly was real for a start Sidney Reilly - Wikipedia
The space battle in Moonraker rocks. No seriously it's a great special effects sequence, it took the Stanley Kubrick approach of avoiding bluescreen and optical effects, everything was done in camera. There are no matte lines around anything, something which let so many effects sequences of the 70s and 80s down and the model work is very detailed.
An insightful, once-in-a-lifetime opportunity to join an esteemed panel discussion about the life and times of Britain’s most celebrated cinematic super- spy, as played by such Hollywood heavy-hitters as Sean Connery, Pierce Brosnan and Daniel Craig. Speakers include legendary British editor John Grover, whose resume includes 2001: A Space Odyssey (1968), and who cut together such classic Bond films as The Spy Who Loved Me (1977), Octopussy (1983), The Living Daylights (1987) and Licence to Kill (1989). Also joining us is the celebrated and award-winning cinematographer Phil Meheux, whose work in the 007 universe includes the classics GoldenEye (1995) and Casino Royale (2006). Jamaica-born genre legend Martine Beswick joins our packed “Shaken Not Stirred” panel on James Bond, past, present and future. Beswick made her mark on the 007 franchise with a memorable sequence in From Russia With Love (1963) opposite Sean Connery and was asked back for a more sizeable role in the later sequel Thunderball (1965). Also featuring in such Hammer classics as One Million Years B.C. (1966) and taking on a part for no less than Oliver Stone in his directorial debut Seizure (1974). Beswick looks forward to discussing her storied career at the Uni-versal Dark Nights festival.
Ian McCulloch is a Scottish actor best known for his performance as Greg Preston in Survivors (1975). In the 1970s and 80s, McCulloch found himself in classics of Italian horror, playing Peter West, the lead male character in Lucio Fulci’s notorious Zombie Flesh Eaters (1979) and also displaying his thespian skills in Luigi Cozzi’s iconic splatter template Contamination (1980).
Or maybe they play the film at an increased speed…I skimmed this thread with only one eye open as I was afraid of seeing open spoilers (but people seem to be behaving well on that front, thanks )
Consensus seems to be this is worth watching and as it’s shown up on a streaming service over here I’ll give it a go. Interestingly the cinematic release is listed as having a 2h43min duration but my friendly local streaming service has it up as a 2h 36min title. I wonder if they really have 7 extra mins of credits in the cinema roll, or if they’ve somehow edited the movie down a bit. I’ll probably never know.
They do. Cinema is 24fps while PAL TV's are 25Or maybe they play the film at an increased speed…
They do. Cinema is 24fps while PAL TV's are 25
This appears to be the right answer…. I did the mathsOr maybe they play the film at an increased speed…
of course it's the right answer! No need for checking ya cheeky cuntThis appears to be the right answer…. I did the maths
I don’t live in the US but whenever I’ve visited in the old days before the advent of HD and whatnot, it was remarkable how amazingly shit NTSC looked compared to PAL in Europe, even within the constraints of SD television.PAL was an analogue format which went the way of the dodo when digital formats became the new standard a decade ago (DVB-T in Europe). PAL speedup happened when NTSC (used in the US) content got converted to PAL (used in the UK/Europe). Some British broadcasters still show old conversions with PAL speedup, but No Time to Die is a new film which never got converted into an analogue standard, so it can't suffer PAL speedup. Whatever streaming service this is, it's more likely they made a mistake than the film being shown with PAL speedup. Or they cut it.
PAL had higher resolution and was technically superior.I don’t live in the US but whenever I’ve visited in the old days before the advent of HD and whatnot, it was remarkable how amazingly shit NTSC looked compared to PAL in Europe, even within the constraints of SD television.
it is bizarre, and I totally agree it shouldn't happen, but it is also still quite commonplace.PAL was an analogue format which went the way of the dodo when digital formats became the new standard a decade ago (DVB-T in Europe). PAL speedup happened when NTSC (used in the US) content got converted to PAL (used in the UK/Europe). Some British broadcasters still show old conversions with PAL speedup, but No Time to Die is a new film which never got converted into an analogue standard, so it can't suffer PAL speedup. Whatever streaming service this is, it's more likely they made a mistake than the film being shown with PAL speedup. Or they cut it.
The information on Amazon is far from reliable and many of the product description of Blu-rays get ported from the DVDs, which still were encoded in PAL or NTSC. Same for the reviews, you want to find out about the picture quality or extras of the Blu-ray and you get nothing but customer reviews of the DVD.it is bizarre, and I totally agree it shouldn't happen, but it is also still quite commonplace.
Just looking at amazon and their streams all have the right length, but in five of the top 10 best selling blu-rays (that are also on prime) five of them are 4% shorter: bond; spiderman; scream; sing 2 & ghostbusters. Tis madness.
No way is a streaming (or blu-ray manufacturer) service cutting 7 minutes of the Bond movie without anyone noticing.
i watched it a couple of weeks back -
i thought the action sequences were of a really high quality - i think the highlight was the land rovers in the woods bit
beautifully shot film
what i find jarring is the way these films try to mix gravitas and serious, emotional storylines with ridiculous Bond nonsense. so yeah the overall story did zero for me but action sequences were all great (apart from the Cuba one which was so OTT and unrealistic that my brain switched off)
eastern european scientist character was offensive to me - and also his repeated appearances made no sense whatsoever - but these are films where if you stop and ask any questions theres never a good answer so best not to ask.
Good action but its a load of auld rubbish really
Absolutely agree - as a kid I kinda liked the whole gun thing, and the hall of mirrors climax, but when I Partridged, it was just tedious.The worst so far has been The Man With The Golden Gun. I had forgotten how boring and plotless Bond films can be
We’re of a similar age I think. I also loved A View To A Kill, but as I heard on a podcast recently, it’s many of us’ favourite cos it was one of the most anticipated. Felt an age waiting for it.Absolutely agree - as a kid I kinda liked the whole gun thing, and the hall of mirrors climax, but when I Partridged, it was just tedious.
Whereas I really enjoyed A View To A Kill - stupid, but everyone seemed committed.