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Hmmm, he doesn't look scottish...

I knew about Saito's rei-rei-nana, but had never laid eyes on any interiors. It's interesting that Shogakukan later got permission to reprint the series some years after it was cancelled. I mean, I'm assuming they actually did get permission, and that it wasn't just one of those "They call me 'Muddy' Harry!" occurences.

—C.

I just have only 3 issues of [email protected] Comics.
And I've forgoten about [email protected] in 80's.
(So I said "Never Re-release.")

But ya know?

I bet it's *still* better than any of Roger Moore's later Bond outings, in terms of action and excitement...

Happy New Year to all!

Who here loves Moonraker as much as the Connery Bonds?

Me and Carl, at least.

Oh..I'm sorry...I have to break ranks over Moonraker...

Um...can I still hang with y'all if I say at least it was better than Octopussy?

And Diamonds Are Forever?

Actually, I'm fairly catholic in feeling that there's always *something* in *any* Bond film that is worthwhile....maybe it's a silly thing, maybe it's a serious hard core action moment...maybe it's something as simple as the long pullback helicopter tracking shot, the rooftop fight at the docks in 'You Only Live Twice'...

There's always something...

(great. now I'm thinking I sound wishy-washy. Connery still rules, OK? :) )

You see, it isn't necessary to pit Connery against Moore no more; they both belong to history. And one doesn't have to be mad at Roger for replacing Sean; Sean left of his own accord, and no one could do Connery better after him. Dare I say also that Moore's personal style suited the 1970s* better than Connery's—we could see where things were going with DIAMONDS ARE FOREVER, but Moore was ready with the fly safari coat, thin cigar, and permanent press pants. Patrick Macias is one of the few others who can pull that look off, standing betwixt Britt Ekland and Maud Adams.

So instead of Connery v. Moore, one should be able to enjoy Moore's films on their own benefits—it won't take one bit away from Connery's films. Perhaps** he stuck around a bit too long there near the end, but whether low-rent (LIVE AND LET DIE, THE MAN WITH THE GOLDEN GUN) or high-concept (THE SPY WHO LOVED ME, MOONRAKER) he kept the British end up admirably during Nixon, Ford, and Carter. And to date he was the only actual Englishman to play Bond—he really did look more like Bond as Fleming pictured him and moreover achieved the impossible feat of being more arrogant, caddish, and treacherous than Connery, nicely summing up everything the world hated about English power***, back when there was such a thing. Connery may have told Quarrel to fetch his shoes in 1962 when the U.K. owned Jamaica, but thirty-seven years after Indian indepenence Moore could still smirk, "That'll keep you in curry for a few weeks." Good show!

—C.

*I'm very fond of ON HER MAJESTY'S SECRET SERVICE, but not only did the, well, honour of the last 1960s Bond film go to Lazenby, he left for that same reason, feeling the era produced the spy more than the spy produced the era. Thirteen years younger than Moore, Lazenby was oddly enough an actual 60s youth playing Bond in the 60s. He also remains the only person to have acted in both EMMANUELLE and YU YU HAKUSHO.

**Well, not "perhaps."

***The American equivalent would be "arrogant, canting, and ignorant," though I don't see who else we're supposed to pass the torch to. Actually, I think the Dutch might do a pretty good job of it, but perhaps wisely they aren't interested.

For me, it's not a matter of Connery versus Moore, so much as when Ken Adam stopped designing the sets...

Carl, my friend, you make a good case as always...and I grok. I just can't get past Moore's smirk. Sure, he had reason to smirk many times (the rather regretful racism of Live and Let Die, for example...holy cats..) but....for me, the difference was when Connery smirked, you still believed that in a heartbeat he could kill you if he needed to..just explode...

Moore..well...he'd have to work up to it...maybe next week...

Lazenby did a credible job..altho again, the 'joke' of his one time role became overused...cf. his cameo in that sad, sad Man from U.N.C.L.E. TV movie.

Me, post Connery, I think Dalton did it best. He had a dark, brooding sense of danger about him. If only he had had better scripts.

Patrick is right on about the Ken Adam set design.

On the larger subject of 'is 007 even relevant today?'...I dunno, we'll always need a superspy to stop the crap we never read about in the news, but I think...call me a radical...I think the best direction to take the Bond films is make them retro period pieces..keep making stories in the world of the '50s and '60s, where a man could take his Walther PPK on board an airplane safely...

Yep. I'm a total idiot.

Bond had a natural affection for coloured people, but he reflected how lucky England was compared with America where you had to live with the colour problem from your schooldays up. He smiled as he remembered something Felix Leiter had said to him on their last assignment together in America. Bond had referred to Mr Big, the famous Harlem criminal, as 'that damned nigger'. Leiter had picked him up. 'Careful now, James,' he had said. 'People are so dam' sensitive about colour around here that you can't even ask a barman for a jigger of rum. You have to ask for a jegro.'
The memory of Leiter's wisecrack cheered Bond up.

—Ian Fleming, DIAMONDS ARE FOREVER

Dashed comical, that Mr Leiter. You can still find this passage in a 1974 Pan printing of the novel (with their awesome still-life photo covers), twenty years after it was first written, but I don't believe these lines ever appeared in any American edition of the book.

It would be interesting if the Bond films as period pieces went the full Merchant-Ivory route and also maintained the social environment of the period. An American today would gape at this exchange:

'Who is this man, anyway? What's his name?'
'Goldfinger.'
'First name?'
'Auric. That means golden, doesn't it? He certainly is that. Got flaming red hair.'
'Nationality?'
'You wouldn't believe it, but he's a Britisher. Domiciled in Nassau. You'd think he'd be a Jew from the name, but he doesn't look it. We're restricted at the Floridiana. Wouldn't have got in if he had been.'

In other words, never mind if this man is plotting to rob Fort Knox, is he the sort we can let stay at our hotel? Or my favorite, from THUNDERBALL, explaining why SPECTRE, seeking a respectable front address in Paris on the Boulevard Haussmann (it's more or less as Fleming described it—I've been there), avoided the prosperous Avenue d'Iéna:

...too many of the landlords and tenants in the Avenue d'Iéna have names ending in 'escu', 'ovitch', 'ski', and 'stein', and these are sometimes not the endings of respectable names.

Now, in the words of Bushwick Bill, "I didn't make up all these colorful metaphors." Fleming was describing a type of snobbery that actually existed at the time (less so today) in English, American, and French society, respectfully. What outraged some critics is that he noted these things in the context of a best-selling series of action-adventure books, instead of noting them in tut-tutting works on sociology. In the case of GOLDFINGER, Fleming probably meant by the exchange to assure the reader early on that he was not trying to be anti-Semitic. For insurance, in the film version they made sure he was played by a genuine Nazi.

Now, speaking of Germans who actually fought on our side during the war, I believe the last Ken Adam set design was for MOONRAKER, and I also believe he's attempting re-entry, sir. I always wanted him to do my house interiors.

I thought Dalton's first film was fine. It's even more political in retrospect than it was at the time, with its good-guy Afghani fundamentalists. But in the second they went a bit overboard with that grim n' gritty stuff. You're right about the scripts. Once you have a dangerous-looking fellow like Dalton (or Connery, ot Lazenby) you can proceed thenceforth to the royal Beluga, north of the Caspian. No need to butch it up with SCARFACE trappings. Not unless Bond is allowed to say, "Maybe you can buy yourself one of dem first-class tickets to the Resurrection."

Very after the fact but Leiter's witicism is in the recent US publication. What Bond's (Fleming's) feelings were about race, sex, and sexuality are complex and in many ways more real and less PC. And a very distinct discription of Bond is given in From Russia with Love, and Moore doesn't fit the part as much as I'd like. Craig if he had black hair would be best. And since Bond was half Scottish half Swiss him being played by a Briton isn't necessarily best. I like the retro idea though

Really? Do you mean those recent editions with the retro-pulp style covers? I'll have to check that out. I thought Daniel Craig did a great job as Bond, and perhaps in part because he doesn't look like people's established notions of the character. Not looking so much like the role, he put more emphasis into *playing* the role.

It's the same way I feel about anime dubbing--if it's a choice between good casting or good acting, I'll take good acting any time. A good actor can make you feel at the end they made the role their own, whereas someone who only "really sounds good" for the character but doesn't act well makes you feel at the end you heard an impression, rather than a performance.

Download 007 Diamonds Are Forever

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