Not one of my favourite Bond films, but it cracks me up when Rosey says: “You couldn’t, not after what we just done.” And Bond replies: “Well I certainly wouldn’t have before.” Legendary.
The scene starts off promising enough--Mr. Big asking Bond "did you mess with that?" Misogyny and objectification on the part of Mr. Big aside, Bond says, "That's between me, Solitaire, and Kananga. I'll tell him when I see him."
For starters, Bond basically just told him, "Yes. Yes, I did. Twice actually. Second time was her idea."
Bond is a spy--an expert in lying. Why didn't he just "No. Whatever gave you that idea?" Or maybe a dig at Kananga? "Well, never had the chance. but are you telling me Kananga is having trouble keeping her satisfied?"
OK, fine. So Mr. Big rips off his (own) face, revealing he actually IS Kananga. And the question still stands, and now Bond switches to "Well, not the kind of thing a gentleman discusses."
Excuse me? Why didn't Kananga say, "WHAT? Not 30 seconds ago, you said you'd tell me when you saw me, well, HERE I AM? What's going on between you and Solitaire?"
And again, Bond might just as well have said, "You bet I did. You seen that cute little birthmark she has, right... oh, never mind."
Then Kananga goes into the whole "I'll cut Bond's finger off with each wrong answer" and then doesn't do it.
It does immediately precede the scene putting Bond (actually Ross Kananga, the croc wrangler!) in middle of a bunch of alligators and crocs, so there's that. But just with the scene made more sense.
"Names is for tombstones baby. Ya'll take this honky out and waste him.. NOW!"
Ignoring the racial slur (it was the 70s and George Jefferson had made it part of the vernacular), this is one of my favorite lines in the whole franchise. Makes me laugh every time.
https://i.imgur.com/c12wvCH.jpg
Is, IMHO, the New Orleans "death squad". Having an entire funeral staged on next to no notice to kill meddling agents is quite the "accomplishment". Imagine being part of that group and on standby every day. Must be one of the most inefficient ways to dispatch with your enemies and ranks very high in the silly department. LALD has overall of course not aged all that well, besides the obvious reasons there were quite a few head scratches.
For example, the scene where Kananga interrogates Bond about him having relations with Solitare or not. Why keep Bond alive after, once you know he did. What was that about when Kananga says to Solitare "I gave you every break you had a 50/50 chance... you weren't even close" Uhhh it was a yes or no question, like he said 50/50. No such thing as being close or not.
But most of all, when "Mr. Big " asks him the question initially why in the world would Bond not simply say NO. Seriously, in that situation any other answer than NO basically screamed YES I DID. lol
One thing I thought however LALD got very right was the music. Not only the title song but also how the music was queued. The scene with the bridge comes to mind. Bond is driving the bus and goes down a road with a tunnel ahead. You see the sign low clearance and the music starts. IDK I hought that was pretty smooth. Also later with boat chase. Or B. J. Arnau singing the title song in the club.
Oh and the funny bits are great to this day. "Same time tomorrow Miss Bell" :-)
Anyways just rambling out my thoughts after watching it for the umpteenth time.
The legendary Rick Baker talks briefly about working with on Live and Let Die. Starts at about 1:11:30.
https://www.stitcher.com/podcast/marc-maron/wtf-with-marc-maron-podcast-113810/e/64729857
Looking at the film this morning, it appears that the villain was a little unhinged during his showdown with Bond. I noticed that his tone had an excited, giddy tone...completely opposite than the other times we see him in the film.
I imagine that he's tooted up on his own stuff, hell bent on dominating all of the drug world.
Anyone care to do that “math” for me?
I love puzzles. I love JB. Checkout this custom puzzle I made. https://imgur.com/a/ZfXdMox
What did the first agent (the one at the UN) die of? A killing sound? It never made much sense to me.
I know CR is very similar to the movie (06). But LALD only has a few similarities to the movie. So if anyone has read the other books, which ones are most similar and which ones are most unlike the movies.
Ive rewatched all the films numerous times over the past year or two and as much as I like Craig I must say that I find myself preferring the classics much more than the modern films and that is true for cinema in general more broadly than Bond. I find films made from the 1930s up through roughly the 70s/80s to be much better than modern films. Also, the reason I divide classic and modern bond the way I do is because License to Kill is pretty much the end of an era as it is the last film to to be directly produced by Cubby Broccoli and last one to feel like its part of the classic continuity of the Connnery and Moore eras. While CR may have been the official reboot I think we can admit that GoldenEye at least felt like a soft reboot and undoubtedly was the point where the franchise started to change.
Can someone explain LALD to me, and why it’s considered popular amongst the fandom? I genuinely don’t understand the appeal of it.
We criticize DaD because it has an invisible car, but voodoo magic and a tarot reader who loses her power when she loses her virginity is fine? Not to mention the moronic Sheriff JW Pepper, bad cinematography (everything just looks bland and muddy), cheap looking sets, weird racial dialogue, and just a boring movie all round.
I don’t mean to insult anyone who likes it - I just don’t get the appeal. But am I watching it wrong? Should I be watching it ironically? Can it be enjoyed more as “the one in the 70s when they were all probably tripping on shrooms?” What am I missing?
I think we can order the films into eras by looking at how they were made and how cohesive they feel with other Bond films.
The 60s Bond films are one era. They have an incredible consistency and while OHMSS does fall out of line a bit, it still very much so harkens back to the other 60s films and feels like a very solid end to the era.
The early 70s Bond films (DAF, LALD and TMWTGG) I would classify as the sleazy seventies trilogy. I'm not particularly fond of of them as a trilogy, but they have an enormous consistency in terms of tone and the way they were directed by Hamilton.
The late 70s Bond films (TSWLM, Moonraker) are the Gilbert duo. They don't fit with the early 70s films due to their heavier emphasis on spectacle, much stronger Bond girls and overall just very different direction.
The 80s Bond films are the Glen era, no doubt. While Dalton's films were considerably more focused on bringing the material from the novels to live in one way or another, John Glen really kept his directorial efforts super consistent. They are all a bit silly, but have an overall serious focus in terms of plot and characters. They all feature strong, well defined Bond girls (or at least attempt to) and have very consistent action set pieces.
Brosnan has his era all to his own, mainly due to no one director ever having stayed on to direct the next film during his tenure. Which is why his era is pretty messy and why his films don't share a lot in common with each other. They do have some similarities, though. The focus on stronger female characters from the 80s continues, as does the attempts to put a certain twist on each of his Bond films (fighting a former 00, encountering an old flame, the Bond girl turning out to be the villain, Bond getting imprisoned).
Craig's first two films are what I consider the next era, for obvious reasons. QoS is a direct sequel to Casino Royale and the end of the former feels like the beginning of a new Bond era.
And then we have the Mendes duo. I'm unsure whether NTTD will fit with these two completely, but the two certainly fit well together, based on similar themes they touch on, the directorial style, etc.
What are your thoughts on this?
- Octopussy: Don't go into the film expecting pure Moore nonsense a-la Moonraker, as, under the façade of clown makeup, this film is a genuine Cold War thriller among the likes of FRWL and TLD. The film's a lot more high-brow than people give it credit for, so don't make the mistake I made going into it expecting a plot I could just tune out of, cause this has a lot of un-egg-spected twists and turns throughout.
- The GoldenEye score: "not Bondian enough", "dated", "sounds like porno music" YADDA YADDA! These are complaints you could easily throw at other one-off composers' scores (LALD, TSWLM, FYEO) yet I see the score for GE get a lot more hate than the others.
I can perfectly understand why the synth stuff might not be to your tastes, but Serra can do orchestral tracks quite well, plus the (final) tank chase music has to be the best variation on the Bond theme to have ever been composed. And yes, I know I sound like a broken record when I say "It suits the film!" but for the life of me I can't imagine an orchestral soundtrack over the pre-title sequence or the train scene.
- The Man With the Golden Gun: I'm still a firm believer that Moore's first two offerings pail in comparison to the rest of his films, but I think this film is (at least) LEAGUES ahead of Live and Let Die (I might cover why I think that's overrated soon). Better action (well, aside from the slide whistle), better villains (not knocking Kananga or Baron Samedi by any means!), better pacing, a better score (there's only so much 70s soul a man can take!), et cetera, et cetera. This leads me to...
- JW Pepper: What can I say, you either love him or hate him! Don't get me wrong, I can totally see why you might fall into the former camp, but my sense of humour is so juvenile that I can't help squealing with joy whenever this racist pig is on screen!
- DAF Blofeld: After watching OHMSS, I can understand the frustration over the brute who >!killed Bond's wife!< being replaced with a campy gentleman, but honestly I'm not enough of a Blofeld fan to care. Frankly, the character's so boring to me that I welcome any unique spins on the character with open arms! Savalas and Grey are more than a cut above Pleasance for me (yet another one for the overrated list perhaps?) because they bring something interesting (count titles or cl
Phil
Sudden Lee
Go post NSFW jokes somewhere else. If I can't tell my kids this joke, then it is not a DAD JOKE.
If you feel it's appropriate to share NSFW jokes with your kids, that's on you. But a real, true dad joke should work for anyone's kid.
Mods... If you exist... Please, stop this madness. Rule #6 should simply not allow NSFW or (wtf) NSFL tags. Also, remember that MINORS browse this subreddit too? Why put that in rule #6, then allow NSFW???
Please consider changing rule #6. I love this sub, but the recent influx of NSFW tagged posts that get all the upvotes, just seem wrong when there are good solid DAD jokes being overlooked because of them.
Thank you,
A Dad.
So far nobody has given me a straight answer
I am currently in the hospital. I had a back operation yesterday. The surgical nurse came in my room and started asking questions about my back. She asked me if I had any falls during the last year. I responded just one. It was after summer.
She laughed and said in 20 years of doing this she never was told that joke.
..... Will get a reward.
Because they work on many levels
Well, toucan play at that game.
Me : For starters, I bring a lot to the table
Argon does not react.
Windows
Martin Freeman, and Andy Serkis.
They also play roles in Lord of the Rings.
I guess that makes them the Tolkien white guys.
Yesterday, I posted about a colour-corrected version of LTK to coincide with the 32nd anniversary of the film's London premiere. I decided to watch my edit to celebrate LTK's anniversary. I was initially mixed towards the film when I first watched it, but in 2015 (my first Bond marathon in preparation for Spectre), I loved it and it currently stands as my second favourite Bond film after Casino Royale, which will always be my #1. I wondered how I would view the film on its own. Typically, it's amazing for me and along with its predecessor and OHMSS, serves as a huge jump in quality between periods where the films were uneven, with OHMSS sandwiched between Connery's two worst films and TLD and LTK following Moore's era, which had 3-4 decent-to-amazing films out of 7. In fact, that 2015 viewing of LTK hurt my perception of GE, which came off as a regression and too artificial in its attempts to win back the crowd. After watching it again, I have to say that LTK can stand on its own as a solid eighties action film, but truly excels as a Bond film.
Note: I'm not going to pretend to be an expert on the novels, so don't expect that many comparisons to the novels or how faithful to Fleming Dalton is. Comparisons to the previous and later films will be made.
Here are some of my thoughts:
- Dalton delivered a great performance. I'd say that it's better than his already strong performance from TLD, which brought back credibility to the franchise after Moore lasted one film too many. Some say that Dalton lacks the confidence Bond had in the novels or in the films, but I think it fits with Bond's "fish-out-of-water" situation and how erratic his behaviour is here. I'd say that Dalton is better in the action scenes and him bleeding in a fight is something we haven't seen since TMWTGG. Some say that Dalton is better suited to being a villain and lacked the magnetism of his predecessors, but that works in his favour. It makes him more believable as a spy and him coming off as villainous makes it easier to accept this more morally ambiguous Bond.
- Dalton's hair and suits: I don't mind the former and think that the longer hair makes him have a bit more of an edge compared to TLD. The suits are definitely not Bondian, but I believe that Dalton got the short end of the stick sartorially. No suits were tailored for him in TLD because he quickly replaced Brosnan and LTK had a troubled production where ends had to be cut. One could argue that Bond didn't have time to pack,
She said apple-lutely
