At a certain point early this year when I plotted out all the Bond anniversaries, I had a brain gaffe, a cloud perhaps, and listed Live and Let Die as old old 45er. As we all know, Roger Moore starred in Live and Let Die during the great year of 1973, not 1972. So.
That left an opening this week among three other Bond-versaries. I’d moved all the other regular programming around to make June an old fashioned month of #Bond_age_. No Tom Cruising. No Ladies Nights. No Year of the Spy. So when I suddenly had an opening, I consulted the #Bond_age_ viewers enjoying their slice of the 30th Anniversary The Living Daylights Live Tweet. Unanimously the entirety of Twitterdom called out “We want more Dalton! Let’s watch Licence to Kill next week!”
Okay, so it was two people and one of them, Krissy Myers, has a corner office at the #Bond_age_ volcano lair. (We tell her it’s a corner office, but since it’s a volcano it’s pretty clear to everyone that there are no specific “corners”.) How could I deny such high volume demand for more SMOLDER!?! I would never turn down more Smolder. I would never turn down Carrie Lowell. Nor Robert Davi’s iguana. Or Benicio’s “Honeymooooooooo….”
So this week join #Bond_age_ for the LICENCE TO KILL (just because) live tweet on June 28th @ 9pm ET. Follow #Bond_age_ hashtag. An embed for LTK will reside of the site for viewing. Also, worth noting: all future #Bond_age_ live tweet programming will be housed at www.thejamesbondsocialmediaproject.com/programming. <—Bookmark that page!
I may be on vacation, but I wanted to make sure I announced The Living Daylights 30th Anniversary Live Tweet on Wednesday, June 22nd at 9pm ET. In case you missed the crux of that message, the Living Daylights is celebrating 30 years of CELLO! and you should be there for all the Smolder. Follow the #Bond_age_ hashtag.
On June 12th, 1967, You Only Live Twice premiered at the Odeon Leicester Square in London. James Bond had reached a cultural apex with Thunderball — and in fact, Thunderball remained the biggest Bond moneymaker until Skyfall rolled up in 2012. Queen Elizabeth II attended the premiere, her first. James Bond had become omnipresent. According to the genre lists at flickchart.com, 1966 and 1967 together witnessed the release of more than 60 non-James Bond spy films. Quite simply no one was bigger in 1967 than 007.
Critics largely praised the scope and scale of the film, but many were left nonplussed by the increasing importance of the gadgets and nonsense finale. Roger Ebert said You Only Live Twice failed “to work its magic.” The film continues to cause a schism among fans. IGN ranked YOLT as the 4th best. Entertainment Weekly, the 2nd best. The proprietor of this here #Bond_age_ project (that would be me) just yesterday on Twitter called it “creatively bankrupt.” (Yes. I just cited myself, goddammit.)
But none of that matters. In the realm of #Bond_age_, we bring our snark and reverence and sincere enjoyment of James Bond. And in the live tweet arena, few James Bond films provide greater opportunity for both snark and reverence than You Only Live Twice.
As much as I love to hate You Only Live Twice, I love to love the You Only Live Twice Live Tweet.
Join #Bond_age_ on Wednesday, June 14th @ 9pm ET for the You Only Live Twice 50th Anniversary Live Tweet extravaganza.
There’s a basic premise with the 24th James Bond movie: you either love it or you hate it.
I am, of course, among that former group, among those who believed the fourth Daniel Craig 007 movie was a brilliant James Bond film and refuse to hear all those who speak negatively about the movie.
It all harkens back to a day in November 2015, where I was in a place I can’t reveal, holding the hand of a woman whose identity I can’t also reveal, and the welcome white dots traversed the black screen, leading to the first *proper* Daniel Craig gun barrel sequence.
I think of Spectre as a proper 50th anniversary Bond film, even more so than Skyfall. The return of 007’s most remarkable nemesis, cleverly portrayed by Christoph Waltz; the elegance of that white tuxedo with the red carnation, a thrilling pre-credits sequence and some humorous gags reminiscent of the Roger Moore era. A lightness had return to the Craig era.
I loved everything people hated. But let’s start with the music department. Thomas Newman provided a soundtrack that touched me to the bones, from the sleuthish “Vauxhall Bridge” to the African vibes of “L’Americain” and the romantic piano in “Madeleine”. In many ways it is very similar to Skyfall, And yes, at first I complained about the score. But as soon as I saw how the music aligned with the images on the big screen, my ear was more eager enough to catch the subtleties and enjoy the brilliant ways Newman’s score combined with the beautiful shots by Hoyte Van Hoytema. The pairing of sound and image in shots of the train through the Moroccan desert rank up there with the work of Phil Méheux, Michael Reed and Ted Moore. They’re some of my favorite visuals in the entire series.
I’d also like to consider the ultra-hated “Writing’s on the Wall” by Sam Smith. The lyrics expressed Bond’s inner sanctuary. Images of the naked actor, intertwined with female bodies and octopus tentacles, appear in the main titles by Daniel Kleinman. The melody mixes drama, romance, weakness and strength – making it unique among the series. The use of the instrumental section of the theme as Bond and Madeleine unleash their passion is second to none!
My only issues with the script were the omission of dialogue that could have helped us understand, for example, how Madeleine had become so important to Bond. Between them there were more actions that words, and words were certainly needed. Compare their conversations to Bond and Vesper in Casino Royale, or Bond and Tracy in On Her Majesty’s Secret Service. Each of those films provided better establishment for their respecitve relationships. Still, Léa Seydoux is a great actress and her talents overcome some of these scriptural deficiencies.
Spectre offered an interesting reworking of the shadow organization for the 21st century. Blofeld tried to achieve world domination in a more subtle way, by controlling the intelligence networks. Even though I loved Silva as a character, he lacked ambition beyond killing an old lady in Skyfall. Here, we have Ernst Stavro Blofeld’s plot tied into Bond’s past and lifted from Ian Fleming’s short story Octopussy. Spectre even borrows a lightened version of 007’s torment at the hands of Colonel Sun in Kingsley Amis’ only Bond novel.
The action scenes were also well played. The gags in the Aston Martin DB10 with the failing gadgets. The thrilling helicopter fight over the Day of the Dead parade. The well-choreographed snow plane crash. The fight with Hinx on the train. All of these scenes brought back images of classic 007.
I also loved the last scene. Craig’s Bond deserved, at least once, the classic triumphalist ending, girl in hand. If he retires from the role, that final image would remain justifiable sign-off for his four-film cycle.
All in all, I consider Spectre the best film from the Craig era and perhaps the best since The World is not Enough. Even though Irecognize the merits of Casino Royale, I can’t help but be thrilled by every frame of Spectre. I felt like a kid in a candy store of Bond delights.
Nicolás Suszczyk was born and lives in Buenos Aires, Argentina. He became a James Bond fan at eight He studies journalism and runs the 007 fan sites The GoldenEye Dossier and Bond En Argentina.
First Bond Movie: GoldenEye on TV, Tomorrow Never Dies on the big screen.
Favourite Bond Actor: Pierce Brosnan
Favourite Bond Girl: Eva Green to marry, Famke Janssen for an occasional fling.
How I discovered #Bond_age_: Discussing Bond with unknown people worldwide.