70 years ago tomorrow, the Crystal Palace burnt down. We were planning on going to commemorative fireworks tonight, but they start too early to get their from work. Rats.
The Crystal Palace stood in Penge Place, Sydenham for 82 years, and by the end was a bit run down anyway. Existing film footage of galas and things make it look a bit overgrown and bedraggled. And so all the more weird and exciting.
London’s second-tallest structure (after Torchwood Tower) is built on the site: the Crystal Palace transmitting station, what provides us our TV. It’s a recognisable fixture of the London skyline for miles and miles around.
The transmitter mast is approximately 6.5 times taller than the Crystal Palace was (222 metres as compared to 33, or 728 feet to 110).
So presumably you could have seen the palace from miles away too. I would love to see photos of this.
Wednesday, November 29, 2006
Tuesday, November 28, 2006
Mars, not the Arctic
Just home from a fun tea and biscuits where a commission has been finally hammered out. Joe Lidster went through his list of great concerns, and we've fingered it into swimmingity. So hooray.
Though I realised on the train home we now can't use the gag about polar bears. Curses. It's time will come.
Also seem to have been commissioned for something else, and contracts are being sent out for things that I'm in charge of. Have had a good-natured disagreement on the paradigm of Han Solo's "I know", but that all seems amicably sorted. And I've begun the painful hatchet where elsewhere we're far too long.
Of no lesser importance, we also know who'll be goosing with us on Christmas Day. And we merely await the Radio Times to schedule cheese and pudding.
None of which is of any interest to anyone but my brane. If only I had a top sort of fact - which I did, but Nimbos blogged it the same time that he told me.
If only I had someone clever in the building. Oh, hang on...
The Dr says: the establishment of the British Museum in 1753 was funded by the nation, through a "dubiously run" (she says) national lottery.
Though I realised on the train home we now can't use the gag about polar bears. Curses. It's time will come.
Also seem to have been commissioned for something else, and contracts are being sent out for things that I'm in charge of. Have had a good-natured disagreement on the paradigm of Han Solo's "I know", but that all seems amicably sorted. And I've begun the painful hatchet where elsewhere we're far too long.
Of no lesser importance, we also know who'll be goosing with us on Christmas Day. And we merely await the Radio Times to schedule cheese and pudding.
None of which is of any interest to anyone but my brane. If only I had a top sort of fact - which I did, but Nimbos blogged it the same time that he told me.
If only I had someone clever in the building. Oh, hang on...
The Dr says: the establishment of the British Museum in 1753 was funded by the nation, through a "dubiously run" (she says) national lottery.
Monday, November 27, 2006
Between fact and breakfast
Have worked my way through all 25 episodes of “A Bit of Fry and Laurie” in the last few weeks.
It’s very wordy, and at its best when kept short and to the point, rather than rambling any old which way. Often the longer skits end up in them refusing to go on, like they’ve even bored themselves.
While some judicious and brutal editing would have helped, there’s still heaps of wonderful stuff. The vox pops are often especially good. I also adored the wet le Carre stylings of Tony Mercheson making coffee for Control, which manages to be quite moving.
Like Uttoxeter’s damn businessmen, Peter and John, I’d remembered them as being much more prominent throughout the run, rather than just in one series. They’re also a lot more of their time than I’d realised – Tony losing his job when the Berlin Wall comes down.
I’d remembered it as rather silly fluff, but there are frequent, angry tirades against consumerism and crassness and meaningless corporate speak. Two seasons bow out with Fry’s emotive address to camera about the turgidity of buzzwords like “choice”, “charter marks” and “leisure facilities”.
There’s also a recurring thing of showing up the silliness of accepted procedures: the former estate agents now selling petrol, and the lawyers agreeing the stages of a one-night stand.
The series covers a huge range of stuff – daytime telly and Top of the Pops to gritty drama in the mould of the Professionals, advertising, politics, semantics, various films and sports, even the life of Alan Bennett. And in large part it’s character-led stuff, with the comedy hinging on the well-observed performance and vocabulary.
That range is all the more impressive considering it’s largely just the two of them. Earlier seasons have a couple of fun one-off cameos from the likes of Paul Eddington and Nicholas Parsons, but the season 4’s “guests” doesn’t really work. It all feels a bit smug and pally, even when they’re trying to make things a little more interesting, like implying m’colleague Clive Mantle is an alkie.
(I had to turn off the extra on Season 2, a 1982 Cambridge Footlights Review, which is just toe-curlingly self-indulgent and simpering.)
And yet and yet.
What really tickles this viewing several is some very simple comedy stuff: two men dressing up as daft women; an awkward great loaf with no rhythm dancing; lots of mugging like fools at the camera.
Actually, with all the silly wigs, frocks and singing involved, I’m surprised the series isn’t more often featured in “Before they were famous”, now Laurie’s a big film star and house.
It’s very wordy, and at its best when kept short and to the point, rather than rambling any old which way. Often the longer skits end up in them refusing to go on, like they’ve even bored themselves.
While some judicious and brutal editing would have helped, there’s still heaps of wonderful stuff. The vox pops are often especially good. I also adored the wet le Carre stylings of Tony Mercheson making coffee for Control, which manages to be quite moving.
Like Uttoxeter’s damn businessmen, Peter and John, I’d remembered them as being much more prominent throughout the run, rather than just in one series. They’re also a lot more of their time than I’d realised – Tony losing his job when the Berlin Wall comes down.
I’d remembered it as rather silly fluff, but there are frequent, angry tirades against consumerism and crassness and meaningless corporate speak. Two seasons bow out with Fry’s emotive address to camera about the turgidity of buzzwords like “choice”, “charter marks” and “leisure facilities”.
There’s also a recurring thing of showing up the silliness of accepted procedures: the former estate agents now selling petrol, and the lawyers agreeing the stages of a one-night stand.
The series covers a huge range of stuff – daytime telly and Top of the Pops to gritty drama in the mould of the Professionals, advertising, politics, semantics, various films and sports, even the life of Alan Bennett. And in large part it’s character-led stuff, with the comedy hinging on the well-observed performance and vocabulary.
That range is all the more impressive considering it’s largely just the two of them. Earlier seasons have a couple of fun one-off cameos from the likes of Paul Eddington and Nicholas Parsons, but the season 4’s “guests” doesn’t really work. It all feels a bit smug and pally, even when they’re trying to make things a little more interesting, like implying m’colleague Clive Mantle is an alkie.
(I had to turn off the extra on Season 2, a 1982 Cambridge Footlights Review, which is just toe-curlingly self-indulgent and simpering.)
And yet and yet.
What really tickles this viewing several is some very simple comedy stuff: two men dressing up as daft women; an awkward great loaf with no rhythm dancing; lots of mugging like fools at the camera.
Actually, with all the silly wigs, frocks and singing involved, I’m surprised the series isn’t more often featured in “Before they were famous”, now Laurie’s a big film star and house.
Sunday, November 26, 2006
Moonshine washing line
Things, like umbrellas, that bother me:
- Endnotes. Footnotes are so much friendlier
- The horrid cold sat under the bridge of my nose which makes my head feel monstrously heavy and packed full of PVA glue.
- Trying to catch up with overdue work with a horrid cold sat under the bridge of my nose which makes my head feel monstrously heavy and packed full of PVA glue.
- Syd Barrett's song "Arnold Layne"
- The noise of David Bowie.
- The splendid conjoinment of the two.
Saturday, November 25, 2006
Discovery and deceit
Shouldn't really complain if the first miserable cold of the season only hits me in late November. But bleurg.
Had a good meeting yesterday from which some work may come. Did bits of other work, and then round to Nimbos's for tea. I note from his diaries that David Tennant has a very good collection of DVDs. There's all of James Bond to his lower left, and all of the West Wing lower right. And upper right: that looks like a near-as-dammit complete run of old school Dr Who. I'm sure that's research.
Speaking of research, I recently came up with what Dr Evelyn Smythe wrote her Master's on. Evelyn (through whom I once met David Tennant, as it happens) will obviously be interested in this forthcoming lecture at the National Portrait Gallery.
Had a good meeting yesterday from which some work may come. Did bits of other work, and then round to Nimbos's for tea. I note from his diaries that David Tennant has a very good collection of DVDs. There's all of James Bond to his lower left, and all of the West Wing lower right. And upper right: that looks like a near-as-dammit complete run of old school Dr Who. I'm sure that's research.
Speaking of research, I recently came up with what Dr Evelyn Smythe wrote her Master's on. Evelyn (through whom I once met David Tennant, as it happens) will obviously be interested in this forthcoming lecture at the National Portrait Gallery."Discovery and Deceit - Charles Newton and the Mausoleum of Halicarnassus"I'm hoping for a mention of Daleks.
Sunday 28 January 2007, 15:00
On the 150th anniversary of this archaeological discovery, Debbie Challis examines the controversy around who actually found the Mausoleum and the heroic cult of the archaeologist in the nineteenth century.
Friday, November 24, 2006
Unable to sufficiently gorge her eyes
To entirely avoid Dr Who’s 43rd birthday, my Dr dragged me somewhat kicking and sneering to the theatre. Thérèse Raquin is based on a novel by Zola, who was always good for a laugh. I read another of his while still a student, but it’s not nearly as cheery as Bananarama implied.
Thérèse is bored being married to Camille, a sickly boy with a dominant mother. But Laurent, Camille’s rough and painterly friend, is another sort of matter entirely. Soon Thérèse and Laurent are plotting a little accident... With Camille drowned, at last they are free to live and love together.
They think.
Although written before Zola’s "Les Rougon-Macquart" series, there’s a lot about hereditary evil. It’s suggested that Thérèse gets her minx-like ways from her boozy scoundrel of a dad, and a mother who… well, came from Africa. I find this funny, with my African wife and love of dry sherry.
The stage adaptation by Nicholas Wright (who also did the National’s amazing "His Dark Materials") deftly keeps everything in one room, the fantastically spooky atmosphere brought about by performance and sound effects.
There’s space for it to be trimmed back a bit, especially in a repeating sequence as Thérèse and Lauret lose themselves in a green-fug of guilt and recrimination. It’s not as effective as the way dialogue comes round again to mean something slightly different.
But generally it’s very effective. Codename Moose will be pleased to note that, being a French effort, there’s the obligatory flash of bare bosom. There’s some nice comic moments thank to the supporting cast, but this is a dour and dirty horror.
In many respects it’s a ghost story, or at least one about a haunted household.
Judy Parfitt is great as Camille’s mother, especially in the last quarter when she doesn’t say a word. And I kept expecting Patrick Kennedy to appear in spectral form – if only because it’s such a shame he’s written out quite so quickly.
We entertained ourselves on the way home casting Muppet movies of Jane Eyre and The Revenger’s Tragedy. I’d also like to see a Kurosawa samurai version of Pride and Prejudice, please.
Thérèse is bored being married to Camille, a sickly boy with a dominant mother. But Laurent, Camille’s rough and painterly friend, is another sort of matter entirely. Soon Thérèse and Laurent are plotting a little accident... With Camille drowned, at last they are free to live and love together.
They think.
Although written before Zola’s "Les Rougon-Macquart" series, there’s a lot about hereditary evil. It’s suggested that Thérèse gets her minx-like ways from her boozy scoundrel of a dad, and a mother who… well, came from Africa. I find this funny, with my African wife and love of dry sherry.
The stage adaptation by Nicholas Wright (who also did the National’s amazing "His Dark Materials") deftly keeps everything in one room, the fantastically spooky atmosphere brought about by performance and sound effects.
There’s space for it to be trimmed back a bit, especially in a repeating sequence as Thérèse and Lauret lose themselves in a green-fug of guilt and recrimination. It’s not as effective as the way dialogue comes round again to mean something slightly different.
But generally it’s very effective. Codename Moose will be pleased to note that, being a French effort, there’s the obligatory flash of bare bosom. There’s some nice comic moments thank to the supporting cast, but this is a dour and dirty horror.
In many respects it’s a ghost story, or at least one about a haunted household.
Judy Parfitt is great as Camille’s mother, especially in the last quarter when she doesn’t say a word. And I kept expecting Patrick Kennedy to appear in spectral form – if only because it’s such a shame he’s written out quite so quickly.
We entertained ourselves on the way home casting Muppet movies of Jane Eyre and The Revenger’s Tragedy. I’d also like to see a Kurosawa samurai version of Pride and Prejudice, please.
Thursday, November 23, 2006
Bond Watch: Daniel Craig
The following obviously entails whopping great SPOILERS.
Go see the film.
You’ll thank me for it.
Golly, that what amazing.
Even the Dr wants to see it again.
Which never happens.
That enough space to ward off the unwary?
Right, then…
Craig is (as I predicted re: “Goldeneye” – hooray!) Her Majesty’s terrier. Just be glad he’s on our side.
Casino Royale is stylish and exciting to look at, the black-and-white pre-titles sequence establishing a mythic, noirish quality and the promise of something Quite New. The lurid animation of the titles themselves are like nothing else Bond has ever done. It’s also more about him than the pretty ladies, I notice. And for all there were worries about that tune, it works exceptionally well in context.
Lots of people have mentioned the Bourne Inheritance, though I think this Bond owes more to Jack Bauer. As well as the blond-and-blue-eyed look to the bastard, this 007 barely fits within the anti-terror outfit, and has no time for civil liberties. He’s happy to “sweat” friends to be sure they’re not baddies.
He’s a thug: fighting messily, breaking into his boss's home, not knowing how to take his vodka martinis. It’s often shockingly brutal. There’s no grace to how he fights, which makes a marked contrast to Pierce Brosnan. Pierce wouldn’t have the same trouble with the bloke in the toilet, nor crash through walls in pursuit of the lithe free-runner. They are simply not the same chap.
This also makes him unpredictable – we really don’t know how he’ll react to any situation, and that makes him even more thrilling. Knowing the ending of the book, I wondered if Bond would even try to rescue Vesper from the trapped elevator. But it’s even more surprising how desperately he tries to save her, knowing all that’s she done. In doing so, we see Bond’s capacity for mercy and love, and even a shot at redemption. This is again nothing like we’ve ever seen before.
That said, it’s still often very funny, with a hard-edged humour that works very well. Big belly laughs for Bond distracted from his game because of Vesper’s behind, and also for him asking if she’s okay when he’s the one who just carked it. The dialogue often leaves blanks for us to fill in, working the audience and demanding our attention.
Even the chases have stories to them, building the stakes and the character as Bond continually takes a battering. Not sure about the collapsing Ventian house, though, which risked being too much a set piece and reminded me of the boat-chomping propeller in the same city from “Indiana Jones and the Last Crusade”. The Dr suspects, from the distinctive Gothic windows, that the building is also a real one, and one of John Ruskin’s own favourites.
The frenetic pace is full of nice details: spot Richard Branson going through security, or the allusions to “Don’t Look Now”. There are nice nods to the creation of the 007 we know: the origin of the gun barrel, and how he gets into tailored clothes and Aston Martins. Would have liked to see Cleese among the excited boffins who explain what to do with the poison.
I even think they manage the product placement nicely. Paul Cornell’s analysis shrewdly spots the hard sell to the Ford people: “He drives your car until he realises he’s better than that.” And we don’t actually see his Omega.
To my surprise (and delight) most of Fleming’s book makes it to the screen. I don’t think they’ve shown this much fidelity to the novels since “Thunderball” – the opening scene in “Living Daylights” excepted. It even works in Fleming’s own thing for married women, which makes relationships “simpler” (and the women easier to play).
Yet it also makes everything very contemporary, with international terrorism and the security at airports. We see Bond working all over the world. But note that none of the baddies are in anyway middle eastern. Which is also rather refreshing.
I especially liked seeing M having to answer questions about Bond amid the lavish old parliamentary buildings. It establishes boundaries, that Bond is still accountable. Likewise, I loved Bond getting splashed in the papers. He’s been in the news before – his death announced in “You Only Live Twice” and, almost, in “Tomorrow Never Dies”. But this is the first time his being newsworthy actually has genuine consequence.
M has never been more powerful, keeping her distance and keeping him in line. Even so, we see her house and a significant other (if not the offspring referred to in “TWINE”), the first suggestion of a life outside the office since Roger Moore’s house in “Live and Let Die”.
Yet for all the people and resources behind him, Bond is ever the loner – cross when he has to work with inferiors and barely able to accept any help. The appeal of Vesper when they meet on the train is that she gives him as good as she gets. He likes them to fight back. It’s a bravely pathological move for the movie to have him learn not to make any friends.
The 21st Bond film is his coming of age (I wonder if they did that on purpose), and this previously unheard-of character progression, from his first killings to his being “Bond, James Bond”, works extremely effectively. Rob – who doesn’t like that final, unbook scene – also says, “I don't want to be” this James Bond, but right at the end, yes I do.
Craig is as brilliant as I’d hoped when they cast him. Casino Royale is amazing, but I fear it can only be a one-off.
How far can they push all this in the next ones? Where else can they progress the character? He reaches the archetype at the end of this one, and after that it’s all as we knew him. Isn't it?
Bond admits himself that double-Os have a short life expectancy. Which would be a good excuse were Craig not to do many more outings.
Do, please, prove me wrong on this.
Go see the film.
You’ll thank me for it.
Golly, that what amazing.
Even the Dr wants to see it again.
Which never happens.
That enough space to ward off the unwary?
Right, then…
Craig is (as I predicted re: “Goldeneye” – hooray!) Her Majesty’s terrier. Just be glad he’s on our side.
Casino Royale is stylish and exciting to look at, the black-and-white pre-titles sequence establishing a mythic, noirish quality and the promise of something Quite New. The lurid animation of the titles themselves are like nothing else Bond has ever done. It’s also more about him than the pretty ladies, I notice. And for all there were worries about that tune, it works exceptionally well in context.
Lots of people have mentioned the Bourne Inheritance, though I think this Bond owes more to Jack Bauer. As well as the blond-and-blue-eyed look to the bastard, this 007 barely fits within the anti-terror outfit, and has no time for civil liberties. He’s happy to “sweat” friends to be sure they’re not baddies.
He’s a thug: fighting messily, breaking into his boss's home, not knowing how to take his vodka martinis. It’s often shockingly brutal. There’s no grace to how he fights, which makes a marked contrast to Pierce Brosnan. Pierce wouldn’t have the same trouble with the bloke in the toilet, nor crash through walls in pursuit of the lithe free-runner. They are simply not the same chap.
This also makes him unpredictable – we really don’t know how he’ll react to any situation, and that makes him even more thrilling. Knowing the ending of the book, I wondered if Bond would even try to rescue Vesper from the trapped elevator. But it’s even more surprising how desperately he tries to save her, knowing all that’s she done. In doing so, we see Bond’s capacity for mercy and love, and even a shot at redemption. This is again nothing like we’ve ever seen before.
That said, it’s still often very funny, with a hard-edged humour that works very well. Big belly laughs for Bond distracted from his game because of Vesper’s behind, and also for him asking if she’s okay when he’s the one who just carked it. The dialogue often leaves blanks for us to fill in, working the audience and demanding our attention.
Even the chases have stories to them, building the stakes and the character as Bond continually takes a battering. Not sure about the collapsing Ventian house, though, which risked being too much a set piece and reminded me of the boat-chomping propeller in the same city from “Indiana Jones and the Last Crusade”. The Dr suspects, from the distinctive Gothic windows, that the building is also a real one, and one of John Ruskin’s own favourites.
The frenetic pace is full of nice details: spot Richard Branson going through security, or the allusions to “Don’t Look Now”. There are nice nods to the creation of the 007 we know: the origin of the gun barrel, and how he gets into tailored clothes and Aston Martins. Would have liked to see Cleese among the excited boffins who explain what to do with the poison.
I even think they manage the product placement nicely. Paul Cornell’s analysis shrewdly spots the hard sell to the Ford people: “He drives your car until he realises he’s better than that.” And we don’t actually see his Omega.
To my surprise (and delight) most of Fleming’s book makes it to the screen. I don’t think they’ve shown this much fidelity to the novels since “Thunderball” – the opening scene in “Living Daylights” excepted. It even works in Fleming’s own thing for married women, which makes relationships “simpler” (and the women easier to play).
Yet it also makes everything very contemporary, with international terrorism and the security at airports. We see Bond working all over the world. But note that none of the baddies are in anyway middle eastern. Which is also rather refreshing.
I especially liked seeing M having to answer questions about Bond amid the lavish old parliamentary buildings. It establishes boundaries, that Bond is still accountable. Likewise, I loved Bond getting splashed in the papers. He’s been in the news before – his death announced in “You Only Live Twice” and, almost, in “Tomorrow Never Dies”. But this is the first time his being newsworthy actually has genuine consequence.
M has never been more powerful, keeping her distance and keeping him in line. Even so, we see her house and a significant other (if not the offspring referred to in “TWINE”), the first suggestion of a life outside the office since Roger Moore’s house in “Live and Let Die”.
Yet for all the people and resources behind him, Bond is ever the loner – cross when he has to work with inferiors and barely able to accept any help. The appeal of Vesper when they meet on the train is that she gives him as good as she gets. He likes them to fight back. It’s a bravely pathological move for the movie to have him learn not to make any friends.
The 21st Bond film is his coming of age (I wonder if they did that on purpose), and this previously unheard-of character progression, from his first killings to his being “Bond, James Bond”, works extremely effectively. Rob – who doesn’t like that final, unbook scene – also says, “I don't want to be” this James Bond, but right at the end, yes I do.
Craig is as brilliant as I’d hoped when they cast him. Casino Royale is amazing, but I fear it can only be a one-off.
How far can they push all this in the next ones? Where else can they progress the character? He reaches the archetype at the end of this one, and after that it’s all as we knew him. Isn't it?
Bond admits himself that double-Os have a short life expectancy. Which would be a good excuse were Craig not to do many more outings.
Do, please, prove me wrong on this.
Wednesday, November 22, 2006
Bond watch: Pierce Brosnan
Off to see Casino Royale tonight, the air alive with spoilers. So there’s just time to finish the overview of all that has gone before.
Goldeneye
The last time Bond had a major reboot, and he’d been off the screen for six years. It’s a majestic return, confident and plucky. Goldeneye looks gorgeous, with every shot carefully structured to maximise the glamour. A really beautiful picture to look at.
Bond returns, offering something new for the 90s. Yet it's almost entirely caught up in being about his past. Does 007 still cut the mustard now that the cold war is done?
It feels reassuringly like Bond's greatest hits: shiny satellite super-weapons like Diamonds Are Forever; all the guff about trust like in Licence to Kill; the electro-magnetic pulses threatened in For Your Eyes Only; the hidden dish in Cuba much like the volcano in You Only Live Twice. The base at the end is old-school style Ken Adam.
Yet it does feel very different from what we've seen before, with only Desmond Llewellyn handing over to the new fellow. The cast – mostly comprised of well-known British character actors – really helps raise the standard. And for all it’s a retread of a formula, it's written with depth and intelligence.
I liked how it deals with Britishness and Britain’s role in the world – what is the secret service for. No longer is Bond running to keep up with the Americans, he's prepared to discuss British weaknesses. There's something new about Bond admitting failures over the Cosacks. For the first time in ages there's a backdrop of political complexity, Bond dealing with the fall out from pragmatic decisions made by his masters before him.
Occasional slips are more notable because of this attention to detail. How does Bond, in a tank, overtake a train?
Like Rob Shearman's Dalek, the writing constantly confronts and challenges the weaknesses of James Bond. M, 006 and Natalya all have a pop at him, the best being M calling him a "sexist, mysoginist dinosaur".
I also like "Her Majesty's terrier," though I expect that more ably applies to Daniel Craig. Brosnan is excellent – deadly serious about the job, but twinkly when circumstance allows. He makes Bond fun again.
It's especially odd to see Bond in the heart of St Petersburg. I like all the stuff about his old enemies now being sort of friends. As we've seen before, Bond was always pro-Detente anyway, and it's a third party causing all the trouble. Would have liked to see him having some vodka and bread with Walter Gotell, though.
And then, at the end, Wade offers Bond and Natalya a lift back to a cosy place called Guantanamo. It's the final line of the film... and I wondered if they'd find Art Malik waiting for them...
Tomorrow Never Dies
Continuing on from Goldeneye, the Russians are our allies from the off. Bond helps sort out top brass's foolishness, letting us know he's still best. It takes a long time before we actually see him, too, so he makes a much stronger entrance.
The non-smoking Bond was noted at the time as a betrayal of what had gone before. But it’s moving with the times, and less strange a decade later. Bond was always a little into the future, and it’s better than him being such a tawdry old reactionary.
Actually, it’s a very confident opening, ballsy and exciting – all the more important considering it’s the first film since the death of Albert Broccoli. There are nice stylistic flourishes throughout, like the slow-motion sequence when the British ship is sinking. David Arnold’s score really helps – the first worthy successor to John Barry.
Again the cast includes a great wealth of talent, even in the minor roles. We get our first sighting of Colin Salmon, who Brosnan once mooted as his replacement. Still think they missed a trick there. Geoffrey Palmer is brilliant, and you can also spot Hugh Bonneville, Julian Rhind-Tutt and the bloke who played Mordred in “Battlefield”.
I wanted to say that it was Ricky Jervais who plays the fiendish Gupta (whose clothes my sister made!). He’s a beardie physicist, so we know he won’t make it to the end of the film. And in Stemper we’ve another blond villain with hobbies in torture and Nazism.
Again there’s a thirty party playing off the big powers: the threat of war here like in “Mind of Evil” (and Bond’s remote control car from “The Daemons”). The wheeze of a war being good for business and the media seems even more relevant today.
The film feels like it’s actually about something – real politics and the world that we live in. The gags about bugs in the software and M’s response to the death of Carver are also nicely judged.
For all Jonathan Pryce’s arched performance, Eliot Carver is a much more credible villain than usual. He doesn’t have piranha fish or walk with a limp, he’s just a weedy little bully who employs lots of burly henchmen. He’s believable as an excitable and spoilt control freak.
To further complicate the plot, Paris is a girl Bond really cares about – continuing the themes raised by Natalya in the last one about how the poor fella’s all on his own. That plays into Carver’s jealousy and insecurities (for all he’s spoken in front of his wife about getting Michelle Yeoh “behind a desk”). Again, these attachments between the characters help make the thing more complex and involving.
As a rule, it’s all nicely balanced between the real and the ridiculous. Dr Kaufman neatly bridges the funny and the sinister, and in his dispatch we see that ruthless steeliness that makes Bond so exciting.
Brosnan moves very gracefully, so can stroll from the printing press like he owns the place when he’s making his daring escape. His remote-control car that’s impervious to sledge-hammers still feels more real than the invisible Vanquish to come later… What’s more, Brosnan is really good at selling the special effects. I love his little cheer when his tyres re-inflate.
Michelle Yeoh is a great foil for him, just as able an agent as he is and quite happy to do her own thing. Bond doesn’t half choose him moments to make a move on her though – stop snogging and save her from drowning!
Again, there are nagging contrivances: that Gupta seen in the pre-title sequence is next working for Eliot Carver. Would Bond and Michelle Yeoh get the bends when they escape from the submarine? And, pedantically, Bond seems lost by her Mandarin (?) keyboard, though he’d studied “Oriental languages” in “You Only Live Twice”. (There’s a gag about his cunning linguini in this one.)
In the car chase, Bond’s bonnet-topped cable cutter is exactly the right height for the cable. And when he’s ditched the car, isn’t the car park he’s on the roof of still swarming with enemy agents?
Despite the car chase, and the fun spree on the motorbike later, another criticism is the lack of a memorable set piece – such a hallmark of a Bond film. But I don’t mind that. Better it’s all driving the plot, than the plot is strung round outlandish moments.
I also really like the closing theme, as sung by kd lang. For all it’s called “Surrender”, the Bassey-like belting out of the words “Tomorrow Never Dies” maybe suggest Arnold came up with two options for the opening. But cor, a Bond film that doesn’t end on a limp little fizzle. Hooray!
The World is Not Enough
Oh dear, oh dear. They so dropped the ball on this one.
The pre-titles sequence is utterly magnificent. It’s up and running quickly, Bond over his head in slick, modern Bilbao. Patrick Malahide makes a great cameo villain, and Bond resisting the obvious gags about the cigar girl’s figure makes the audience do the work for him.
It’s a great little sequence, Bond against four toughs, clinically working through them before making a daring escape. The swing down from the balcony is a nice mix of the funny and exciting that the franchise pulls off so well, and again Bronsnan’s demure cool lets him walk off like he owns the whole town. Bilbao in itself could have been the whole sequence, but the film then raises the stakes.
Bond has never been attacked at home before (the last time someone got into his London apartment was a pretty girl playing golf). It’s so iconic – and the sequence in the book of “The Man With The Golden Gun” where an enemy agent gets into the building was stolen for the original title sequence of the “Man from UNCLE”.
We then get the glorious chase down the Thames, full of nice flourishes and detail. With the villain still a mystery and Bond taking a tumble, it sets up the main film very nicely. It’s a much longer effort to the titles than usual – a full 13½ minutes. But it’s been worth it…
And then we’re in rainy Scotland for as long again, with people spoon-feeding the dull background and plot. The grey funeral merely reminded me of the spoof Casino Royale, and there’s a lot of sitting around in the MI6 castle waiting for Bond to get going.
Desmond Llewellyn’s final scene as Q is beautifully written and played (is “Never let them see you bleed” a knock at “Licence to Kill”?) but we’re half an hour into the movie before Bond is back to work. It utterly kills the pace and excitement set up before Garbage start singing. And despite its best efforts, the film never wins back that impetus.
This all seems to be an effort to create deeper and more complex character. We learn a lot about M in this one: that she was at Oxford and is also a mother. It hinges around her feelings for a dead friend, and how she is thus manipulated. This feels like the same trouble they had with Q in the 80s: trying to make his presence more important to the plot and allowing him more time on screen. It doesn’t work.
There’s also a lot of continuity baggage, with returns from Colin Salmon, Michael Kitchen and Robbie Coltrane. Only the latter actually has a part to play in the story, the others just prop up the background. It’s a waste – we don’t see a great deal of cleverness or guile in the corridors of MI6.
It’s also not a very pretty movie: drizzle and oil fields and dirty great industry. Bond has always managed a glamour before, but even the casino here is a bit tawdry. It’s not exactly the aspirational lifestyle that makes us run out to buy the placed product.
The industrial stuff hints at topicality, the plot toying with the fuel supply crisis. But this is all rather swept under the more soap-opera guff about how Sophie Marceau is really a wrong ‘un.
They really trowel it on with her. She can be nice and go to chapel (respectfully veiled, but still showing all her hair); she can be fearless about the pipeline; she can be cross about M’s involvement; and she can be wild and jump out of a helicopter. For heaven’s sake: spot the villainess.
At long last, someone attacks them as Bond and Sophie go for a ski. Actually, we could have skipped all the Scottish stuff, coming from the titles to her and Bond in the helicopter. “I don’t want you here,” she tells him.
“Tough,” replies Bond. “M thinks the people who killed your father will have a go at you. I’m not to leave your side.”
“Oh, really?” says Sophie, and promptly leaps from the helicopter. And Bond has no choice but to follow her. At least that would have got things moving.
When the baddies attack, they’re not very practical. The paragliding ski-machines seem incapable of catching their prey. Like the flying log-cutter later, it feels like too much of an effort to come up with something a bit different looking.
I like how Bond uses the coat John Cleese got lost in, to save them from the avalanche. And it’s nice to see Bond turning down a shag with Sophie (and not just ‘cos he’s getting too old). Except that a moment later they do shag, all erotically and done with ice. She’s making all the moves, so you can tell that she’s a wrong ‘un.
I guess it’s setting up that she’s just as ruthless about getting whatever she wants. It just makes Bond look a bit stupid.
He’s then off investigating like Bond does so well, and it’s good to see him using his resources and faking an ID. He then gets to meet Christmas Jones – so barely fleshed out as a character that she can only have been created for the film’s two woeful puns. In fact, I think the whole plot may have been conjured around that.
Reynard is too much of a one-note villain, a henchman not a villain in himself. That’s a remarkable waste of Robbie Carlyle. They struggle to make something of his unlikely injury, Sophie snogging him with ice just like she did with Bond. But for all the theatrics, we don’t feel any great love for Sophie. Which is what the whole thing rather relies on.
M’s kidnap makes M look stupid, and Bond falling for Sophie makes him just as much of a tool. So all this clever-clever character stuff had made everyone less impressive. Bond lingers over Sophie’s corpse when he finally kills her, when he should just march smartly away. Better to see him as a cold fish and wonder at the feelings within.
There’s then a last fight with Reynard and everything put right with the world. M returns to Scotland (for no very good reason – shouldn’t she be in London this time?), and she’s somehow lost Bond on the journey. They were in Istanbul together!
And then there’s the terrible gags. Cleese gets to finish on one about the Millennium bug – which just dates the film really horribly. There’s plenty I like – Coltrane, Goldie, even the X-ray specs. But it started so brilliantly well, and then fails to deliver the same standard. Such a shame.
Die Another Day
The opening surfing sequence is not especially wowing to look at (though I appreciate a sod to get filmed), and serves only to underline the paltriness of the later CGI.
The film in general has a gritty, dour feel – another in the long line of films promising a return to the bastard James Bond of the books. I assume the very treated look is due to overdone digital grading. Look at Toby Stephens as he launches the Icarus – the image grainy and bleached and too played with.
I’m guessing “Colonel Moon” is a riff off Kingsley Amis’s pseudonymous Bond novel, “Colonel Sun” (although that, with a kidnapped M, seemed more of an influence on the last one).
I like the mission going wrong, and Bond having to take on a whole army. The hovercraft are a nice new trick, and it’s a really good opening sequence. It could have finished with Bond swinging from his bell, but they suddenly do something very exciting. Bond is captured and goes off to years of being tortured. Suddenly what he gets up to has consequence.
It really feels new and daring. Which is a shame, because the film then consciously apes its past. The 20th film is written around set pieces from previous films in the series, and is littered with references and quotes. The franchise has been going so long, every film struggles to be wholly original. Is it wise to eat itself on purpose?
While it lasts, the Bond-on-the-run is electrifying. Brosnan retains Bond’s dignity when bearded and bruised, whether put in front of a firing squad or strolling into a classy hotel. The latter has the Bond theme playing because, clearly, he is still The Man. I like how Michael Madsen’s line, “You’d think he was some kind of hero,” plays against what we know of Bond and how Brosnan plays him.
M is much stronger behind the glass of his quarantined room. Even when she comes in to see him, she’s still a tough and unyielding boss. It makes her a much more powerful figure than she’s been thus far, and though her role in the film is much smaller than previously, she’s a much better character for it.
Like in “Licence to Kill” (an ominous phrase) Bond’s 00 status is rescinded. There’s something a bit… magical about how he escapes, and I’m not sure having a heart attack makes him very powerful. It’s all very dour and realistic, apart from when it isn’t.
Generally, in this first half of the movie things are kept real, and though it’s never stated explicitly, it’s all very conscious of 9/11. It dares to face North Korea as the enemy and to say things like, “One man’s terrorist is another man’s freedom fighter”. So there’s a great deal of weight behind all that Bond’s up to.
So by the time we get to Cuba, he’s in need of light relief. It’s great seeing him wearing Hawaiian shirts and driving classic cars, and still being indelibly Bond. And after what feel like an age he goes birding. Jinx has a surprising line in single entendres, and the sex scenes between them are more explicit than they’ve ever been. We normally cut away.
After a fun action sequence through the hospital, Bond heads home to the sound of the Clash. I like Madsen offering to sort out the rogue agent if M cannot, and also the punky verve and energy as it all sets off in London. At this point, all bets are still off about where the movie’s going.
The sword fight is silly and again Madonna can only say what she sees, as if this is somehow witty. But the real change of pace is when Bond is called into the abandoned Tube station. Suddenly all is forgiven, and we’re back in silly gags about gadgets and a smug rollcall of dusty old props. Bond’s response to the world having changed – “Not for me!” – is meant to make him a hero, but it also makes him sound like a relic from the previous century.
I don’t mind the invisible car.
The sequence of baddies getting into MI6 is thrilling, especially the dead Salmon and Moneypenny. It’s a rubbish cheat only to be a dream, especially as it’s a set-up for a crap gag later. How far Samantha Bond has fallen since keeping Bond at arms length in “Goldeneye”. And how much more thrilling, Bond having regained his friends’ trust, to lose everything again so suddenly.
Then Bond is off to Iceland, and Rosamunde Pike is the clearly tagged wrong ‘un. She doesn’t want to shag him, so there must be something dodgy. I’m not sure why Toby Stephens allows Bond to roam so freely about his secret base, but I like the subtle clues as to who he really is.
But, like the last one, the strong and engaging start fails to deliver at the end. It’s almost like the production team chicken out of their new ideas, and have to play it safe. It’s all just knocking down the blatantly set-down pins.
Chasing about ensues, culminating in some terrible CGI that even Brosnan cannot sell. But we’re soon into a great car chase where Bond is matched for gadgets. I especially love the use of the ejector seat.
Having saved Jinx and clocked in at work, Bond is then out to finish off Toby Stephens. It’s all pretty predictable, and the CGI plane is really ropey. Is the escape from the back of the plane in a helicopter a riff on “Living Daylights”? In that, they escape in a jeep, which is a much more ballsy effort.
The latter half of this one, especially, feels like Bond films you’ve seen before just not done quite as well. Brosnan is always a class act, but the writing hasn’t done him justice, continually undercutting his professional cool with weakness and stupidity. He looks and sounds perfect, but he says the crassest things.
He’s last to be seen as Bond snuggled up to Jinx, labouring at dialogue which subtly conveys the impression she doesn’t want him to withdraw his fat dick from inside her vagina.
But actually – arf! – she’s talking about some diamonds she’s got in her belly button. Ho hum. He deserved better.
Conclusion
So what have I discovered in working my way through this lot?
I like all the 007s themselves, though Lazenby feels more like a Bond rip-off than a Bond of his very own. Can’t choose a favourite from the others; an unthinkable thought in my teens!
And my revised list of favourites are: Goldfinger; You Only Live Twice; The Man With The Golden Gun; Octopussy; The Living Daylights; Tomorrow Never Dies. And my least favourite is A View To A Kill. Not sure Goldfinger counts, because it’s so far above the rest of the series. I’d choose Octopussy over Golden Gun if only allowed one movie per actor.
And I’m giddily excited ‘bout tonight!
Goldeneye
The last time Bond had a major reboot, and he’d been off the screen for six years. It’s a majestic return, confident and plucky. Goldeneye looks gorgeous, with every shot carefully structured to maximise the glamour. A really beautiful picture to look at.
Bond returns, offering something new for the 90s. Yet it's almost entirely caught up in being about his past. Does 007 still cut the mustard now that the cold war is done?
It feels reassuringly like Bond's greatest hits: shiny satellite super-weapons like Diamonds Are Forever; all the guff about trust like in Licence to Kill; the electro-magnetic pulses threatened in For Your Eyes Only; the hidden dish in Cuba much like the volcano in You Only Live Twice. The base at the end is old-school style Ken Adam.
Yet it does feel very different from what we've seen before, with only Desmond Llewellyn handing over to the new fellow. The cast – mostly comprised of well-known British character actors – really helps raise the standard. And for all it’s a retread of a formula, it's written with depth and intelligence.
I liked how it deals with Britishness and Britain’s role in the world – what is the secret service for. No longer is Bond running to keep up with the Americans, he's prepared to discuss British weaknesses. There's something new about Bond admitting failures over the Cosacks. For the first time in ages there's a backdrop of political complexity, Bond dealing with the fall out from pragmatic decisions made by his masters before him.
Occasional slips are more notable because of this attention to detail. How does Bond, in a tank, overtake a train?
Like Rob Shearman's Dalek, the writing constantly confronts and challenges the weaknesses of James Bond. M, 006 and Natalya all have a pop at him, the best being M calling him a "sexist, mysoginist dinosaur".
I also like "Her Majesty's terrier," though I expect that more ably applies to Daniel Craig. Brosnan is excellent – deadly serious about the job, but twinkly when circumstance allows. He makes Bond fun again.
It's especially odd to see Bond in the heart of St Petersburg. I like all the stuff about his old enemies now being sort of friends. As we've seen before, Bond was always pro-Detente anyway, and it's a third party causing all the trouble. Would have liked to see him having some vodka and bread with Walter Gotell, though.
And then, at the end, Wade offers Bond and Natalya a lift back to a cosy place called Guantanamo. It's the final line of the film... and I wondered if they'd find Art Malik waiting for them...
Tomorrow Never Dies
Continuing on from Goldeneye, the Russians are our allies from the off. Bond helps sort out top brass's foolishness, letting us know he's still best. It takes a long time before we actually see him, too, so he makes a much stronger entrance.
The non-smoking Bond was noted at the time as a betrayal of what had gone before. But it’s moving with the times, and less strange a decade later. Bond was always a little into the future, and it’s better than him being such a tawdry old reactionary.
Actually, it’s a very confident opening, ballsy and exciting – all the more important considering it’s the first film since the death of Albert Broccoli. There are nice stylistic flourishes throughout, like the slow-motion sequence when the British ship is sinking. David Arnold’s score really helps – the first worthy successor to John Barry.
Again the cast includes a great wealth of talent, even in the minor roles. We get our first sighting of Colin Salmon, who Brosnan once mooted as his replacement. Still think they missed a trick there. Geoffrey Palmer is brilliant, and you can also spot Hugh Bonneville, Julian Rhind-Tutt and the bloke who played Mordred in “Battlefield”.
I wanted to say that it was Ricky Jervais who plays the fiendish Gupta (whose clothes my sister made!). He’s a beardie physicist, so we know he won’t make it to the end of the film. And in Stemper we’ve another blond villain with hobbies in torture and Nazism.
Again there’s a thirty party playing off the big powers: the threat of war here like in “Mind of Evil” (and Bond’s remote control car from “The Daemons”). The wheeze of a war being good for business and the media seems even more relevant today.
The film feels like it’s actually about something – real politics and the world that we live in. The gags about bugs in the software and M’s response to the death of Carver are also nicely judged.
For all Jonathan Pryce’s arched performance, Eliot Carver is a much more credible villain than usual. He doesn’t have piranha fish or walk with a limp, he’s just a weedy little bully who employs lots of burly henchmen. He’s believable as an excitable and spoilt control freak.
To further complicate the plot, Paris is a girl Bond really cares about – continuing the themes raised by Natalya in the last one about how the poor fella’s all on his own. That plays into Carver’s jealousy and insecurities (for all he’s spoken in front of his wife about getting Michelle Yeoh “behind a desk”). Again, these attachments between the characters help make the thing more complex and involving.
As a rule, it’s all nicely balanced between the real and the ridiculous. Dr Kaufman neatly bridges the funny and the sinister, and in his dispatch we see that ruthless steeliness that makes Bond so exciting.
Brosnan moves very gracefully, so can stroll from the printing press like he owns the place when he’s making his daring escape. His remote-control car that’s impervious to sledge-hammers still feels more real than the invisible Vanquish to come later… What’s more, Brosnan is really good at selling the special effects. I love his little cheer when his tyres re-inflate.
Michelle Yeoh is a great foil for him, just as able an agent as he is and quite happy to do her own thing. Bond doesn’t half choose him moments to make a move on her though – stop snogging and save her from drowning!
Again, there are nagging contrivances: that Gupta seen in the pre-title sequence is next working for Eliot Carver. Would Bond and Michelle Yeoh get the bends when they escape from the submarine? And, pedantically, Bond seems lost by her Mandarin (?) keyboard, though he’d studied “Oriental languages” in “You Only Live Twice”. (There’s a gag about his cunning linguini in this one.)
In the car chase, Bond’s bonnet-topped cable cutter is exactly the right height for the cable. And when he’s ditched the car, isn’t the car park he’s on the roof of still swarming with enemy agents?
Despite the car chase, and the fun spree on the motorbike later, another criticism is the lack of a memorable set piece – such a hallmark of a Bond film. But I don’t mind that. Better it’s all driving the plot, than the plot is strung round outlandish moments.
I also really like the closing theme, as sung by kd lang. For all it’s called “Surrender”, the Bassey-like belting out of the words “Tomorrow Never Dies” maybe suggest Arnold came up with two options for the opening. But cor, a Bond film that doesn’t end on a limp little fizzle. Hooray!
The World is Not Enough
Oh dear, oh dear. They so dropped the ball on this one.
The pre-titles sequence is utterly magnificent. It’s up and running quickly, Bond over his head in slick, modern Bilbao. Patrick Malahide makes a great cameo villain, and Bond resisting the obvious gags about the cigar girl’s figure makes the audience do the work for him.
It’s a great little sequence, Bond against four toughs, clinically working through them before making a daring escape. The swing down from the balcony is a nice mix of the funny and exciting that the franchise pulls off so well, and again Bronsnan’s demure cool lets him walk off like he owns the whole town. Bilbao in itself could have been the whole sequence, but the film then raises the stakes.
Bond has never been attacked at home before (the last time someone got into his London apartment was a pretty girl playing golf). It’s so iconic – and the sequence in the book of “The Man With The Golden Gun” where an enemy agent gets into the building was stolen for the original title sequence of the “Man from UNCLE”.
We then get the glorious chase down the Thames, full of nice flourishes and detail. With the villain still a mystery and Bond taking a tumble, it sets up the main film very nicely. It’s a much longer effort to the titles than usual – a full 13½ minutes. But it’s been worth it…
And then we’re in rainy Scotland for as long again, with people spoon-feeding the dull background and plot. The grey funeral merely reminded me of the spoof Casino Royale, and there’s a lot of sitting around in the MI6 castle waiting for Bond to get going.
Desmond Llewellyn’s final scene as Q is beautifully written and played (is “Never let them see you bleed” a knock at “Licence to Kill”?) but we’re half an hour into the movie before Bond is back to work. It utterly kills the pace and excitement set up before Garbage start singing. And despite its best efforts, the film never wins back that impetus.
This all seems to be an effort to create deeper and more complex character. We learn a lot about M in this one: that she was at Oxford and is also a mother. It hinges around her feelings for a dead friend, and how she is thus manipulated. This feels like the same trouble they had with Q in the 80s: trying to make his presence more important to the plot and allowing him more time on screen. It doesn’t work.
There’s also a lot of continuity baggage, with returns from Colin Salmon, Michael Kitchen and Robbie Coltrane. Only the latter actually has a part to play in the story, the others just prop up the background. It’s a waste – we don’t see a great deal of cleverness or guile in the corridors of MI6.
It’s also not a very pretty movie: drizzle and oil fields and dirty great industry. Bond has always managed a glamour before, but even the casino here is a bit tawdry. It’s not exactly the aspirational lifestyle that makes us run out to buy the placed product.
The industrial stuff hints at topicality, the plot toying with the fuel supply crisis. But this is all rather swept under the more soap-opera guff about how Sophie Marceau is really a wrong ‘un.
They really trowel it on with her. She can be nice and go to chapel (respectfully veiled, but still showing all her hair); she can be fearless about the pipeline; she can be cross about M’s involvement; and she can be wild and jump out of a helicopter. For heaven’s sake: spot the villainess.
At long last, someone attacks them as Bond and Sophie go for a ski. Actually, we could have skipped all the Scottish stuff, coming from the titles to her and Bond in the helicopter. “I don’t want you here,” she tells him.
“Tough,” replies Bond. “M thinks the people who killed your father will have a go at you. I’m not to leave your side.”
“Oh, really?” says Sophie, and promptly leaps from the helicopter. And Bond has no choice but to follow her. At least that would have got things moving.
When the baddies attack, they’re not very practical. The paragliding ski-machines seem incapable of catching their prey. Like the flying log-cutter later, it feels like too much of an effort to come up with something a bit different looking.
I like how Bond uses the coat John Cleese got lost in, to save them from the avalanche. And it’s nice to see Bond turning down a shag with Sophie (and not just ‘cos he’s getting too old). Except that a moment later they do shag, all erotically and done with ice. She’s making all the moves, so you can tell that she’s a wrong ‘un.
I guess it’s setting up that she’s just as ruthless about getting whatever she wants. It just makes Bond look a bit stupid.
He’s then off investigating like Bond does so well, and it’s good to see him using his resources and faking an ID. He then gets to meet Christmas Jones – so barely fleshed out as a character that she can only have been created for the film’s two woeful puns. In fact, I think the whole plot may have been conjured around that.
Reynard is too much of a one-note villain, a henchman not a villain in himself. That’s a remarkable waste of Robbie Carlyle. They struggle to make something of his unlikely injury, Sophie snogging him with ice just like she did with Bond. But for all the theatrics, we don’t feel any great love for Sophie. Which is what the whole thing rather relies on.
M’s kidnap makes M look stupid, and Bond falling for Sophie makes him just as much of a tool. So all this clever-clever character stuff had made everyone less impressive. Bond lingers over Sophie’s corpse when he finally kills her, when he should just march smartly away. Better to see him as a cold fish and wonder at the feelings within.
There’s then a last fight with Reynard and everything put right with the world. M returns to Scotland (for no very good reason – shouldn’t she be in London this time?), and she’s somehow lost Bond on the journey. They were in Istanbul together!
And then there’s the terrible gags. Cleese gets to finish on one about the Millennium bug – which just dates the film really horribly. There’s plenty I like – Coltrane, Goldie, even the X-ray specs. But it started so brilliantly well, and then fails to deliver the same standard. Such a shame.
Die Another Day
The opening surfing sequence is not especially wowing to look at (though I appreciate a sod to get filmed), and serves only to underline the paltriness of the later CGI.
The film in general has a gritty, dour feel – another in the long line of films promising a return to the bastard James Bond of the books. I assume the very treated look is due to overdone digital grading. Look at Toby Stephens as he launches the Icarus – the image grainy and bleached and too played with.
I’m guessing “Colonel Moon” is a riff off Kingsley Amis’s pseudonymous Bond novel, “Colonel Sun” (although that, with a kidnapped M, seemed more of an influence on the last one).
I like the mission going wrong, and Bond having to take on a whole army. The hovercraft are a nice new trick, and it’s a really good opening sequence. It could have finished with Bond swinging from his bell, but they suddenly do something very exciting. Bond is captured and goes off to years of being tortured. Suddenly what he gets up to has consequence.
It really feels new and daring. Which is a shame, because the film then consciously apes its past. The 20th film is written around set pieces from previous films in the series, and is littered with references and quotes. The franchise has been going so long, every film struggles to be wholly original. Is it wise to eat itself on purpose?
While it lasts, the Bond-on-the-run is electrifying. Brosnan retains Bond’s dignity when bearded and bruised, whether put in front of a firing squad or strolling into a classy hotel. The latter has the Bond theme playing because, clearly, he is still The Man. I like how Michael Madsen’s line, “You’d think he was some kind of hero,” plays against what we know of Bond and how Brosnan plays him.
M is much stronger behind the glass of his quarantined room. Even when she comes in to see him, she’s still a tough and unyielding boss. It makes her a much more powerful figure than she’s been thus far, and though her role in the film is much smaller than previously, she’s a much better character for it.
Like in “Licence to Kill” (an ominous phrase) Bond’s 00 status is rescinded. There’s something a bit… magical about how he escapes, and I’m not sure having a heart attack makes him very powerful. It’s all very dour and realistic, apart from when it isn’t.
Generally, in this first half of the movie things are kept real, and though it’s never stated explicitly, it’s all very conscious of 9/11. It dares to face North Korea as the enemy and to say things like, “One man’s terrorist is another man’s freedom fighter”. So there’s a great deal of weight behind all that Bond’s up to.
So by the time we get to Cuba, he’s in need of light relief. It’s great seeing him wearing Hawaiian shirts and driving classic cars, and still being indelibly Bond. And after what feel like an age he goes birding. Jinx has a surprising line in single entendres, and the sex scenes between them are more explicit than they’ve ever been. We normally cut away.
After a fun action sequence through the hospital, Bond heads home to the sound of the Clash. I like Madsen offering to sort out the rogue agent if M cannot, and also the punky verve and energy as it all sets off in London. At this point, all bets are still off about where the movie’s going.
The sword fight is silly and again Madonna can only say what she sees, as if this is somehow witty. But the real change of pace is when Bond is called into the abandoned Tube station. Suddenly all is forgiven, and we’re back in silly gags about gadgets and a smug rollcall of dusty old props. Bond’s response to the world having changed – “Not for me!” – is meant to make him a hero, but it also makes him sound like a relic from the previous century.
I don’t mind the invisible car.
The sequence of baddies getting into MI6 is thrilling, especially the dead Salmon and Moneypenny. It’s a rubbish cheat only to be a dream, especially as it’s a set-up for a crap gag later. How far Samantha Bond has fallen since keeping Bond at arms length in “Goldeneye”. And how much more thrilling, Bond having regained his friends’ trust, to lose everything again so suddenly.
Then Bond is off to Iceland, and Rosamunde Pike is the clearly tagged wrong ‘un. She doesn’t want to shag him, so there must be something dodgy. I’m not sure why Toby Stephens allows Bond to roam so freely about his secret base, but I like the subtle clues as to who he really is.
But, like the last one, the strong and engaging start fails to deliver at the end. It’s almost like the production team chicken out of their new ideas, and have to play it safe. It’s all just knocking down the blatantly set-down pins.
Chasing about ensues, culminating in some terrible CGI that even Brosnan cannot sell. But we’re soon into a great car chase where Bond is matched for gadgets. I especially love the use of the ejector seat.
Having saved Jinx and clocked in at work, Bond is then out to finish off Toby Stephens. It’s all pretty predictable, and the CGI plane is really ropey. Is the escape from the back of the plane in a helicopter a riff on “Living Daylights”? In that, they escape in a jeep, which is a much more ballsy effort.
The latter half of this one, especially, feels like Bond films you’ve seen before just not done quite as well. Brosnan is always a class act, but the writing hasn’t done him justice, continually undercutting his professional cool with weakness and stupidity. He looks and sounds perfect, but he says the crassest things.
He’s last to be seen as Bond snuggled up to Jinx, labouring at dialogue which subtly conveys the impression she doesn’t want him to withdraw his fat dick from inside her vagina.
But actually – arf! – she’s talking about some diamonds she’s got in her belly button. Ho hum. He deserved better.
Conclusion
So what have I discovered in working my way through this lot?
I like all the 007s themselves, though Lazenby feels more like a Bond rip-off than a Bond of his very own. Can’t choose a favourite from the others; an unthinkable thought in my teens!
And my revised list of favourites are: Goldfinger; You Only Live Twice; The Man With The Golden Gun; Octopussy; The Living Daylights; Tomorrow Never Dies. And my least favourite is A View To A Kill. Not sure Goldfinger counts, because it’s so far above the rest of the series. I’d choose Octopussy over Golden Gun if only allowed one movie per actor.
And I’m giddily excited ‘bout tonight!
Tuesday, November 21, 2006
Plaster, casts
I used to have an Old English Sheepdog called Florence (1984-96), who was scruffy and bouncy and liked to chase balloons. She was in no way like the city of the same name, from which myself, the Dr and my parents have just returned.It’s a slap-in-the-chops of a beautiful city, even in drizzle and downpour. The first thing we did was clamber the more-than-400 steps to the top of Brunelleschi’s Duomo – a knackering mountaineer round and over and up through the workings, where it’s best not to dwell on the 15th-century-ness of the wonky zigzag brickwork.
Younger folk from other lands pushed past us back and forth up the haphazard corridor. I thought fondly of their being whipped and eaten by the monsters on the dome’s underside. Perhaps I was just feeling hungry.
Then, pop we were out into the tiny walkway on the roof of the world, looking out on to rooftops of the early Renaissance. Such a splendid vista that the usual vertigo forgot to kick in. The crappy o’erhanging sky leant it Turneresque grandeur, and we ahhed and cooed and took photos.After late lunch and a bit of a wander, we continued to explore. The Baptistery reminded me of the Pantheon in Rome, and the Museo dell’ opera del Duomo contained all sorts of pretty things mostly brought in from the rain. Michelangelo’s Florentine Pieta is very different from his Rome one – this Jesus is bigger than those around him.
What’s more, it’s unfinished (because he broke it), so lets you see how the master worked. The trick to sculpting seems to be to start with a crude outline then gradually work in the detail.
Like with CGI, I told the Dr. She eyed me with one of those looks.
The next few days we criss-crossed the city, and even managed a trip out to Fiesole, where we clambered round the Roman theatre and I fell fast asleep on the bus. It occurred to me on the waterfront how much Florence now might resemble 1599 London, as given in the book I was reading.
Almost everywhere was acknowledging 40 years since a terrible flood, which did untold and awful damage to so many pretty old things. Black and white blow-ups of photograph showed church floors and cloisters and delicate bits of art covered all over in mud. Crude English captions brokenly explained that the real battering came not from the water, but from the diesel and engine oils mixed in with it, from the tens of thousands of cars caught up in the deluge.
Despite everything we’d been told, there was no queue into the Uffizi, and we marvelled at the Botticellis which the Dr so adores. There was a general pre-Raphaelite thing going on in the works of art she clung to. I was more struck by why "Florentine" is sometimes a synonym for "Can’t catch" – there’s willies every whichway you look.
What would be the collective noun for willies? "Wilkin" suggests the Dr. I’m going to vote for "Thatch".
There’s something of a giveaway in the works of Michelangelo. Even his unfinished men have perfectly polished torsos, while the women in the Medici Chapel look like men with blocky lumps… For such a keen observer of the physical form, he just didn’t have an eye for the ladies.
Of far more excitement to me was the Masaccio frescoes in the Santa Maria Novella and the Santa Maria del Carmine. 100 years before Michelangelo and da Vinci, Masaccio was painting some really cool things.
In his Trinity, he's playing with new-fangled linear perspective and making things freakishly stand-out - the 1427-28 equivalent of movies in lurid 3D. Only being used to pretty a church.
In a time of stylised, two-dimensional Byzantine stylings (which are all very nice in their way), he was basing his work on observation, using natural colours and a realistic feel. The characters in his pictures are real people, with emotional complexity writ large in their faces. I was especially taken with the photographic feel of some of the peripheral guest cast.
It’s a century ahead of the times to have individuals so real and distinctive. In the Branacci Chapel, St Peter is recognisable in a whole series of frescoes – as much to do with a recognisable head even in different poses, as because he's always wears the same colours.
"The rendering of the tribute money" also splits time up to create a narrative flow: in the centre, Jesus points Peter off to the left, where he’ll find a fish full of money, and where Peter already fishes. On the right, we see Peter handing over the miraculous cash to some bloke who is strapped for his taxes.
The only way to understand the picture is to read the story, by recognising the characters and their place in time. Long before I’d read Scott McCloud, I wrote an A-level essay on this early comic-strip form, based on how it met the strictures of “How to Draw Comics the ‘Marvel’ Way”.
I told the Dr. She eyed me with one of those looks.
On our last day, we managed the English Cemetery, where the Dr found a like-mind to discuss sneaky plans with.
We then took a train to Pisa, which crawled maggot-like from stop to stop so that we thought we’d miss our flight. Had just enough time to cab it to the wonky tower made famous in Superman III, stuff some Calzone and ignore the hawkers of watches, and then cab it back across the river to the airport.Back home, via a just-missed train in East Croydon - those last six words a very poem of despair - to the cat and post and a quick-thinking use of Tsan. And the embrace of work like we'd never been parted.
Friday, November 17, 2006
St Hugh of Lincoln
Greetings from sunny, if cool, Florence. A full report on our exciting stair-climbing actvities will follow another day. In the meantime, here is something quite interesting I learnt while on the plane.
Today - 17 November - is the anniversary of the death of Queen Mary in 1558, and so the first day of the queenery of Elizabeth I. A decade later, the 17th November was being celebrated as "Accession Day" across the country.
My maths is a bit wobbly, but I think we're two years off the 450th anniversary of this auspicious date. So I shall see you all back here on this day, 2008, to raise a glass to the ginger virgin and the ushering in of godless revelry.
Today - 17 November - is the anniversary of the death of Queen Mary in 1558, and so the first day of the queenery of Elizabeth I. A decade later, the 17th November was being celebrated as "Accession Day" across the country.
"Elizabth's Accession Day was probably the first political holiday in modern Europe and initiated the string of nationalist holidays that are now a staple of the Anglo-American calendar. While holidays like Guy Fawkes' Day or Independence Day seem perfectly normal today, the notion of a non-religious holiday, or even of a holy day celebrating a living figure, simply unimagineable before this in Europe."
James Shapiro, 1599: A year in the life of William Shakespeare, p. 187.
Shapiro then goes on to detail the various objections and protests to this.My maths is a bit wobbly, but I think we're two years off the 450th anniversary of this auspicious date. So I shall see you all back here on this day, 2008, to raise a glass to the ginger virgin and the ushering in of godless revelry.
Wednesday, November 15, 2006
Reach for the sky
Splendid curry with fine folk last night. Discussed Lesvos and Snowdonia, and topics in between.
Dawdled tipsily home and, as we agreed glasses of water and plans for today, the cat clambered into his litter box and pooed out quite a belter. Should have known it was brewing: he only waits for us to come home when he’s sitting on an elephant. That way we can clear it up quickly, and he’s not left to skulk round the stinkied-out house.
While the poop was dealt with by the eye-watering wife, I helped expunge the fug by opening the skylight. As regular readers will know, our kitchen is in the attic and keeps its windows in the ceiling.
Cut to:
This morning, I was awoke from tasty slumber by something of a panic: the Dr could not locate the cat. He wasn’t hiding behind curtains or on top of the fridge. He wasn’t lurking among the old Dr Who comics that clutter the legroom under my desk. Nor was he in the living room where O. has been sleeping – O. had shut the door to prevent more cat-sitting-on-face hilarity.
The culprit soon became clear: the open skylight window. It’s quite a leap from the worktop to the roof, but not impossible for a cat.
Yet we speak in this case of a cat who falls off the tabletop for no very good reason, who can miss the chair he’s jumping on to, who can lose his catnip mice and socks even as he’s playing with them, and who fell out of the living room window earlier this year.
We speak of a cat that is famously dim and an almost doggish klutz.
I climbed on a chair to poke my head out the skylight but could see nothing but the steep-inclined tiles and a clear if wintry sky.
Leaving the wife to call the cat’s name and shake a tin of treaty biscuits, I went to look out other windows for a hairy black splat in the neighbouring gardens. This work was interrupted by a shriek from upstairs.
The cat was poking his nose nonchalantly through the skylight, wondering as to all the fuss. I leapt on the chair and grabbed his front paws, and after he realised that fighting back meant he lost his grip on the tiles underneath him, he conceded to be hauled back inside.
Little sod seems rather pleased with his adventure. We suspect he may have gone up there for the sake of chasing birds. But, as I explained to him in stern parental fashion, “You are not the same as Alfie.”
Dawdled tipsily home and, as we agreed glasses of water and plans for today, the cat clambered into his litter box and pooed out quite a belter. Should have known it was brewing: he only waits for us to come home when he’s sitting on an elephant. That way we can clear it up quickly, and he’s not left to skulk round the stinkied-out house.
While the poop was dealt with by the eye-watering wife, I helped expunge the fug by opening the skylight. As regular readers will know, our kitchen is in the attic and keeps its windows in the ceiling.
Cut to:
This morning, I was awoke from tasty slumber by something of a panic: the Dr could not locate the cat. He wasn’t hiding behind curtains or on top of the fridge. He wasn’t lurking among the old Dr Who comics that clutter the legroom under my desk. Nor was he in the living room where O. has been sleeping – O. had shut the door to prevent more cat-sitting-on-face hilarity.
The culprit soon became clear: the open skylight window. It’s quite a leap from the worktop to the roof, but not impossible for a cat.
Yet we speak in this case of a cat who falls off the tabletop for no very good reason, who can miss the chair he’s jumping on to, who can lose his catnip mice and socks even as he’s playing with them, and who fell out of the living room window earlier this year.
We speak of a cat that is famously dim and an almost doggish klutz.
I climbed on a chair to poke my head out the skylight but could see nothing but the steep-inclined tiles and a clear if wintry sky.
Leaving the wife to call the cat’s name and shake a tin of treaty biscuits, I went to look out other windows for a hairy black splat in the neighbouring gardens. This work was interrupted by a shriek from upstairs.
The cat was poking his nose nonchalantly through the skylight, wondering as to all the fuss. I leapt on the chair and grabbed his front paws, and after he realised that fighting back meant he lost his grip on the tiles underneath him, he conceded to be hauled back inside.
Little sod seems rather pleased with his adventure. We suspect he may have gone up there for the sake of chasing birds. But, as I explained to him in stern parental fashion, “You are not the same as Alfie.”
Tuesday, November 14, 2006
Men in tights
The Dr says I should let people know of Boots and Bonnets.
It details the excitingness of dour and sulky men in tight trousers. Men who, time and again, turn out not to be quite as dour and sulky as they seem.
But still wear the tight trousers.
It details the excitingness of dour and sulky men in tight trousers. Men who, time and again, turn out not to be quite as dour and sulky as they seem.
But still wear the tight trousers.
Monday, November 13, 2006
My life at your command
I am back from sunny Stockton and a weekend of not much sleep. Saw some splendid people, made some nice new friends, and got to introduce Toby Hadoke to an appreciative Brigadier.
The Big Finish panel was nobly handled by Charlie Ross, and the exciting things we spoke of there will be announced to the nation soon. But this post's heading might well be a clue.
Back home to the spin-drying and a happy-to-see-me cat, and work and O. await. Currently listening to the final edit of "The Oracle of Delphi" and wondering why this blog has disappeared.
Is this thing on? Hello?
The Big Finish panel was nobly handled by Charlie Ross, and the exciting things we spoke of there will be announced to the nation soon. But this post's heading might well be a clue.
Back home to the spin-drying and a happy-to-see-me cat, and work and O. await. Currently listening to the final edit of "The Oracle of Delphi" and wondering why this blog has disappeared.
Is this thing on? Hello?
Thursday, November 09, 2006
Halfway house of death
The Cybermen in Dr Who are a bit of a grisly business. They’re a mash-up of old, worn-out bodies with shiny new kit attached. They’ve replaced their squishy bits – guts and eyes and emotions – with metal and plastic.
They’re not scary because they’re cold, callous robots who don’t know how to argue. They’re scary because they used to be people like you and me. Somewhere in their heads they still know that, and yet they still going round being baddies.
Often, we see people at a half-way stage in the cyberising process, battling to save the people they are from being eaten up by the machine. The spangly new series had Dr Who beat the Cybermen by reminding them of what they’d lost – a trick he’d used before getting Toberman and Lytton back on to his side.
The Age of Steel’s poor Sally Cyberman – worrying about her wedding and why she’s so cold – was in part inspired by “Spare Parts”, a horrific pair of CDs by m’colleague Marc Platt about a cyberised girl and her family.
Normally, even the converted women are made into Cybermen. They lose gender distinctions at the same time as their appreciation of sunsets and well-cooked meals. Though in Sunday’s Hoot Crowd we got to see a woman mid-enmanning, fetchingly decked out in Cyber-bra and thong.
The Cybermen are scary because they fall between two stools; because they’re not neat and tidy there’s room for stories to explore. It also explains why they can do illogical things – saying “Excellent!” and wearing jeans.
Unfortunately, I find I have also fallen between two Cyber-stools.
All set to laser-blast Amazon for my not-yet-in-my-hands DVDs, I discover the address I’ve given them is a bit of a mash-up, too – half the old, worn-out place I was living in this time last year, and half the new and spangly flat on which Daleks help pay the mortgage.
Gah. And I've already head my head examined this week. Think it's probably time for an upgrade.
They’re not scary because they’re cold, callous robots who don’t know how to argue. They’re scary because they used to be people like you and me. Somewhere in their heads they still know that, and yet they still going round being baddies.
Often, we see people at a half-way stage in the cyberising process, battling to save the people they are from being eaten up by the machine. The spangly new series had Dr Who beat the Cybermen by reminding them of what they’d lost – a trick he’d used before getting Toberman and Lytton back on to his side.
The Age of Steel’s poor Sally Cyberman – worrying about her wedding and why she’s so cold – was in part inspired by “Spare Parts”, a horrific pair of CDs by m’colleague Marc Platt about a cyberised girl and her family.
Normally, even the converted women are made into Cybermen. They lose gender distinctions at the same time as their appreciation of sunsets and well-cooked meals. Though in Sunday’s Hoot Crowd we got to see a woman mid-enmanning, fetchingly decked out in Cyber-bra and thong.
The Cybermen are scary because they fall between two stools; because they’re not neat and tidy there’s room for stories to explore. It also explains why they can do illogical things – saying “Excellent!” and wearing jeans.
Unfortunately, I find I have also fallen between two Cyber-stools.
All set to laser-blast Amazon for my not-yet-in-my-hands DVDs, I discover the address I’ve given them is a bit of a mash-up, too – half the old, worn-out place I was living in this time last year, and half the new and spangly flat on which Daleks help pay the mortgage.
Gah. And I've already head my head examined this week. Think it's probably time for an upgrade.
Wednesday, November 08, 2006
That was Zing-Zang
The response of the young folk to yesterday's post is that this blog could be a lot blinger. Imagine! It doesn't flash and bleep or try to gouge out your eyes... And it's pretty unbook to leaves words unabbreviated.
Ho hum.
A rather lovely evening in the pub last night to celebrate G.'s latest birthday. Got to talk to J. for the first time in ages, and we were recognised for our famousness by a nice lady called Jenny.
This morning, the postperson brought many fine treats. Dr Who's Magazine features the second installment of Jonny Morris's comic strip, "Interstella Overdrive". It neatly solves the astonishing cliffhanger, and is jammed full of deft tricks and ideas. Cor, I wish I'd written that.
I did write "Summer of Love", which also arrived this morning and which I've got on as I type. "Actually, that is quite something," says Benny - about something that Joe Lidster's packing.
Benny and I [but not Joe, as I originally wrut] will be at this weekend's Dimensions. I suddenly afear that I'll spend the whole time being asked about time-travelling clap.
Speaking of writing, I've also seen off a few things today. "Old Friends" has gone to the printers today, a 65-page something else has finally been completed, and I've got a pitch to work on for John S. Drew's "Dome".
And on Monday, having had my ears both vacuumed, Codename Moose and I discussed a great many possible projects.
So busy. I'm not doing NaNoWriMo, though the Dr is. She is part of a gang lead by Falldog's Red Five, and wants to hog the computer tonight for more period excitement. Best finish off here soon.
Postie hasn't brought an Invasion yet, so I shall settle for Philip MacDonald...
Ho hum.
A rather lovely evening in the pub last night to celebrate G.'s latest birthday. Got to talk to J. for the first time in ages, and we were recognised for our famousness by a nice lady called Jenny.
This morning, the postperson brought many fine treats. Dr Who's Magazine features the second installment of Jonny Morris's comic strip, "Interstella Overdrive". It neatly solves the astonishing cliffhanger, and is jammed full of deft tricks and ideas. Cor, I wish I'd written that.
I did write "Summer of Love", which also arrived this morning and which I've got on as I type. "Actually, that is quite something," says Benny - about something that Joe Lidster's packing.
Benny and I [but not Joe, as I originally wrut] will be at this weekend's Dimensions. I suddenly afear that I'll spend the whole time being asked about time-travelling clap.
Speaking of writing, I've also seen off a few things today. "Old Friends" has gone to the printers today, a 65-page something else has finally been completed, and I've got a pitch to work on for John S. Drew's "Dome".
And on Monday, having had my ears both vacuumed, Codename Moose and I discussed a great many possible projects.
So busy. I'm not doing NaNoWriMo, though the Dr is. She is part of a gang lead by Falldog's Red Five, and wants to hog the computer tonight for more period excitement. Best finish off here soon.
Postie hasn't brought an Invasion yet, so I shall settle for Philip MacDonald...
Tuesday, November 07, 2006
If she doesn't scare you
The Dr has asked me to post something special, as she's showing my blog off today. Hello. Has she talked about walking the cat?
Blogs are a quick, easy and free - FREE! - way of telling the whole world things that matter. Friends and devoted acolytes can follow my adventures, and I seem to have acquired regular readers in America, Finland and Japan. Hello to you, too. Chilly, isn't it?
Because anyone can read the contents of bloggings, you should be a bit careful about what you write. I've talked before about how weird it is when people actually read this stuff.
It's not a private conversation, it's here for all to see. So don't talk behind people's backs and don't tell tales. The people you're talking about will find out eventually. No, they really will.
It happens so much there's even a word for people who get sacked because of what they've blogged. "BE YE NOT SO STUPID," advises the first person to be dooced.
With that in mind, I call the Dr "Dr" on here. This helps protect her identity (and odd habits) from those that don't know her. And she'd hit me were a Google for her real name to bring up all my strange ramblings.
Just imagine! Someone would be looking up the things she's said or written, and instead they'd find me going on about, oh I don't know, something like how she used to get teased for looking just like Cruella De Vil.
You see? By calling her "Dr" she has no reason to hit me.
And neither does her mum, who used to be a teacher and whose nickname was "Cruella De Vil", too.
Blogs are a quick, easy and free - FREE! - way of telling the whole world things that matter. Friends and devoted acolytes can follow my adventures, and I seem to have acquired regular readers in America, Finland and Japan. Hello to you, too. Chilly, isn't it?
Because anyone can read the contents of bloggings, you should be a bit careful about what you write. I've talked before about how weird it is when people actually read this stuff.
It's not a private conversation, it's here for all to see. So don't talk behind people's backs and don't tell tales. The people you're talking about will find out eventually. No, they really will.
It happens so much there's even a word for people who get sacked because of what they've blogged. "BE YE NOT SO STUPID," advises the first person to be dooced.
With that in mind, I call the Dr "Dr" on here. This helps protect her identity (and odd habits) from those that don't know her. And she'd hit me were a Google for her real name to bring up all my strange ramblings.
Just imagine! Someone would be looking up the things she's said or written, and instead they'd find me going on about, oh I don't know, something like how she used to get teased for looking just like Cruella De Vil.You see? By calling her "Dr" she has no reason to hit me.
And neither does her mum, who used to be a teacher and whose nickname was "Cruella De Vil", too.
Sunday, November 05, 2006
Bond Watch: Timothy Dalton
Been ages since I last reported in on Mr Bond, and I’ve only “Die Another Day” still to go. But here’s the notes I had written up so far.
The Living Daylights
Cor, that was a bit good. Fast-moving and plotty and smart, and daring to try new things. This is the best Bond film in ages.
In Vienna, Bond helps a Soviet general defect, but won’t kill the sniper he’s meant to. The pretty girl, he says, didn’t know how to handle a gun.
In England, the general explains to Bond’s superiors that the KGB are now committed to killing other countries’ spies. He’s then recaptured, and Bond finds himself questioning the sense of the story the general told. So he disobeys orders to go back to Vienna, to look up the pretty girl…
The story is not hugely different from the previous three – a rogue element whose business interests are mucking up détente. But Living Daylights also feels like it’s about something real: Afghan rebels and opium wars are as much in the news today.
(I’m disappointed they never did as the rumours dared suggest, resurrecting Art Malik’s Oxford-educated Mujhadeen leader, but this time he’s considered a baddie…)
Dalton famously plays the Bond of Fleming’s novels, thuggishly brutal when he needs to be and straining at the MI6 leash. He freely disobeys orders – not killing who he’s told to, buying different wine, and embarking on a mission he’s just been told not to. He’s fiercely instinctive, and glowers when he gets told off.
For a 25-year old movie franchise – and a much older character – that means you really don’t know what to expect. Bond is dangerous and exciting, and he isn’t making quiche.
He’s always working the angles, and there’s some great stuff done with his tetchiness. I love the look of exasperation when Kara doesn’t understand she should get on the plane.
I note from the DVD extras that the soldiers on Gibraltar consist of the franchise’s stuntmen. I get the sense they went, "Cor, a Bond whose knees still work. That gives me an idea…” It’s not just that Dalton can lead the action. The evil milkman is the first time we really have a big special-effects stunt sequence that doesn’t feature Bond.
The evil milkman is another in the line of blond, blue-eyed Bond villains – though only in A View To A Kill is the Nazi subtext made explicit. Perhaps that explains this rubbish about Daniel Craig not being 007 what with the colour of his hair. But no, you fools, MI6 have recruited just the chap to fool their dastard foes.
John Barry delivers an exceptional, final Bond score – full of pace and energy. The Pretenders make the villains cool and the slushy love bits not too slushy. All in all, a smart, thrilling movie which promises many more years yet of Bond…
Licence to Kill
Or “Kilt”, as Glady Knight insists. Oh dear, oh dear. There’s so much good stuff in this and yet it’s really quite a mess.
Dalton’s tetchy Bond having been quite successful, his next film makes him much tetchier. The opening is unlike anything we’ve seen before. There’s grittier noise and music, and one of the first things said is “Bastard”. (I think its producer Michael G Wilson who says it, too, so it’s a real statement of intent).
Felix Leiter is getting married and wants Bond to be his best man. Presumably they’ve seen each other socially since they last worked together in the early 70s…
Felix now works for the DEA, and on their way to the ceremony Bond helps him catch a big drug dealer. But the drug dealer escapes and enacts terrible revenge. So Bond gets revengey too. When M tells him to pack it in and act just a little professional, Bond cheekily runs away…
Yeah, this is an odd one. In the pre-titles sequence, it’s strange to see Bond not working on his own, and being a bit of a team-player. Yes, he’s the one to go out on the wire, but it still feels like he’s playing second fiddle. There’s something small and mundane about him not saving the world but helping the police catch a criminal.
And then he runs off on his own. Always before, Bond has been something of a policeman – investigating crime and on the side of the angels. Here he’s a vicious Iago, poisoning Sanchez’s organisation from the ground up. That stuff works well, Bond being sly and using his experience and training. But the film can’t decide whether it wants to be fun or not.
There’s a big thing made about loyalty – which is more important than money to both Bond and Sanchez. But without the authority of MI6, it does feel like a high-pissing competition. Yes, it may all be about honour, but I’ve sympathy with M’s perspective on, “This sentimental rubbish”.
The sentimental stuff is oddly played. There’s some weird flirty thing going on between Bond and Dellah – she snogs him and gives him her garter. It reminded me uncomfortably of what Anthony Burgess called Ian Fleming’s own “Bondian self-indulgence”, his “rather cold love-making with other men’s wives”.
I suppose it’s to set up how close they all are, and explain why he’s so angry about what’s done to her. But they can’t be that close as she doesn’t know about his past: “He was married once,” explains Leiter, “but it was a long time ago.” Yes, it’s been two decades since OHMSS.
Benicio del Toro later preens that he and is cronies gave Dellah a “nice honeymoon”, and then Leiter gets fed to the sharks. This is markedly more nasty than previous Bond films, though the same thing happens to Leiter in the book of “Live and Let Die” (meaning that in John Gardner’s novel of “Licence to Kill” there’s something along the lines of, “Oh no, not again!”).
Dalton is excellent, and I like his sticky-up hair. He comes across as smart and resourceful while at the same time a dangerous arsehole. The thing about Bond is you want him on your side…
Del Toro and his boss, Robert Davi, are not camp villains in the vein of their predecessors – they’re vicious and horribly realistic. The damage done to people is much more horrific: in many ways its worse that Leiter survives, bereft of one leg and most of an arm. Bond’s body is replete with scars – as is Talisa Soto’s. And the deaths are much more dwelt on.
Imagine another film with the grinder sequence. We’d seen Benicio del Toro go into the grinder, the mess, and then Bond saying, “No need to be cut up about it.” Here, we see him hanging from Bond, then a shot of his feet going into the grinder, a shot of bloody mess, and then back to him hanging from Bond. For all Bond has seen off his enemies before, this is far more vivid and sadistic. And there’s no quip to undercut the violence – a signature effect in James Bond.
Which would all be fine were the film more consistent. The water-ski sequence is the like a jump back to the fun Bond of old, and the bar-room brawl is full of gags as if from a Roger Moore movie. There’s then a silly scene set in the London office, with Moneypenny being all weepy. A bit of levity is all very welcome at this point, but its very oddly judged. Can we really believe she’d be so schoolgirlishly silly about the vicious and surly Bond played by Dalton?
Another thought: For the first time since You Only Live Twice, Bond does not stop at home. We glimpse England – and Moneypenny – in a throwaway scene.
Anyway, things then get really peculiar. Moneypenny sends out Q to be of some assistance to the rogue and on-the-run former 007. Q really is the least likely assistant on a mission of vengeance, and I suspect the production team’s desperation at working Desmond Llewellyn into the story.
There’s something odd about him and Bond sharing a room, and how did he get his explosives through customs? The man’s meant to be having a holiday!
The silly gags with Q seem flippant and ill-judged, bumped up against the more vicious stuff. It doesn’t seem very well thought through. Since his never joking about his work in “Goldfinger”, there’s been a running gag about how Bond treats his precious equipment. But when Q reports in with his radio-broom (!) he then just throws it into a hedge. Where did it come from in the first place, and does he throw it away?
It makes undercuts any tension. The astonishing finale with the exploding oil tankers is seen off by Bond having girl trouble because of a misunderstanding. It’s a stupid situation, and Bond’s brilliant solution is to jump into a swimming pool with his clothes on. (Someone does this at Leiter’s wedding earlier, too, and they also look like a twat.)
Even that would be forgivable, but while he snogs the lady, one of the statues winks at him. And then an excruciatingly mimsy song starts up. And everything’s meant to be all okay because MI6 say they’ll give Bond his job back.
But if I was them, I’d not bother. For all Dalton is brilliant, his Bond is too much the bastard, too fond of breaking the rules. Much easier to get someone else, and ensure he knows his place…
The Living Daylights
Cor, that was a bit good. Fast-moving and plotty and smart, and daring to try new things. This is the best Bond film in ages.
In Vienna, Bond helps a Soviet general defect, but won’t kill the sniper he’s meant to. The pretty girl, he says, didn’t know how to handle a gun.
In England, the general explains to Bond’s superiors that the KGB are now committed to killing other countries’ spies. He’s then recaptured, and Bond finds himself questioning the sense of the story the general told. So he disobeys orders to go back to Vienna, to look up the pretty girl…
The story is not hugely different from the previous three – a rogue element whose business interests are mucking up détente. But Living Daylights also feels like it’s about something real: Afghan rebels and opium wars are as much in the news today.
(I’m disappointed they never did as the rumours dared suggest, resurrecting Art Malik’s Oxford-educated Mujhadeen leader, but this time he’s considered a baddie…)
Dalton famously plays the Bond of Fleming’s novels, thuggishly brutal when he needs to be and straining at the MI6 leash. He freely disobeys orders – not killing who he’s told to, buying different wine, and embarking on a mission he’s just been told not to. He’s fiercely instinctive, and glowers when he gets told off.
For a 25-year old movie franchise – and a much older character – that means you really don’t know what to expect. Bond is dangerous and exciting, and he isn’t making quiche.
He’s always working the angles, and there’s some great stuff done with his tetchiness. I love the look of exasperation when Kara doesn’t understand she should get on the plane.
I note from the DVD extras that the soldiers on Gibraltar consist of the franchise’s stuntmen. I get the sense they went, "Cor, a Bond whose knees still work. That gives me an idea…” It’s not just that Dalton can lead the action. The evil milkman is the first time we really have a big special-effects stunt sequence that doesn’t feature Bond.
The evil milkman is another in the line of blond, blue-eyed Bond villains – though only in A View To A Kill is the Nazi subtext made explicit. Perhaps that explains this rubbish about Daniel Craig not being 007 what with the colour of his hair. But no, you fools, MI6 have recruited just the chap to fool their dastard foes.
John Barry delivers an exceptional, final Bond score – full of pace and energy. The Pretenders make the villains cool and the slushy love bits not too slushy. All in all, a smart, thrilling movie which promises many more years yet of Bond…
Licence to Kill
Or “Kilt”, as Glady Knight insists. Oh dear, oh dear. There’s so much good stuff in this and yet it’s really quite a mess.
Dalton’s tetchy Bond having been quite successful, his next film makes him much tetchier. The opening is unlike anything we’ve seen before. There’s grittier noise and music, and one of the first things said is “Bastard”. (I think its producer Michael G Wilson who says it, too, so it’s a real statement of intent).
Felix Leiter is getting married and wants Bond to be his best man. Presumably they’ve seen each other socially since they last worked together in the early 70s…
Felix now works for the DEA, and on their way to the ceremony Bond helps him catch a big drug dealer. But the drug dealer escapes and enacts terrible revenge. So Bond gets revengey too. When M tells him to pack it in and act just a little professional, Bond cheekily runs away…
Yeah, this is an odd one. In the pre-titles sequence, it’s strange to see Bond not working on his own, and being a bit of a team-player. Yes, he’s the one to go out on the wire, but it still feels like he’s playing second fiddle. There’s something small and mundane about him not saving the world but helping the police catch a criminal.
And then he runs off on his own. Always before, Bond has been something of a policeman – investigating crime and on the side of the angels. Here he’s a vicious Iago, poisoning Sanchez’s organisation from the ground up. That stuff works well, Bond being sly and using his experience and training. But the film can’t decide whether it wants to be fun or not.
There’s a big thing made about loyalty – which is more important than money to both Bond and Sanchez. But without the authority of MI6, it does feel like a high-pissing competition. Yes, it may all be about honour, but I’ve sympathy with M’s perspective on, “This sentimental rubbish”.
The sentimental stuff is oddly played. There’s some weird flirty thing going on between Bond and Dellah – she snogs him and gives him her garter. It reminded me uncomfortably of what Anthony Burgess called Ian Fleming’s own “Bondian self-indulgence”, his “rather cold love-making with other men’s wives”.
I suppose it’s to set up how close they all are, and explain why he’s so angry about what’s done to her. But they can’t be that close as she doesn’t know about his past: “He was married once,” explains Leiter, “but it was a long time ago.” Yes, it’s been two decades since OHMSS.
Benicio del Toro later preens that he and is cronies gave Dellah a “nice honeymoon”, and then Leiter gets fed to the sharks. This is markedly more nasty than previous Bond films, though the same thing happens to Leiter in the book of “Live and Let Die” (meaning that in John Gardner’s novel of “Licence to Kill” there’s something along the lines of, “Oh no, not again!”).
Dalton is excellent, and I like his sticky-up hair. He comes across as smart and resourceful while at the same time a dangerous arsehole. The thing about Bond is you want him on your side…
Del Toro and his boss, Robert Davi, are not camp villains in the vein of their predecessors – they’re vicious and horribly realistic. The damage done to people is much more horrific: in many ways its worse that Leiter survives, bereft of one leg and most of an arm. Bond’s body is replete with scars – as is Talisa Soto’s. And the deaths are much more dwelt on.
Imagine another film with the grinder sequence. We’d seen Benicio del Toro go into the grinder, the mess, and then Bond saying, “No need to be cut up about it.” Here, we see him hanging from Bond, then a shot of his feet going into the grinder, a shot of bloody mess, and then back to him hanging from Bond. For all Bond has seen off his enemies before, this is far more vivid and sadistic. And there’s no quip to undercut the violence – a signature effect in James Bond.
Which would all be fine were the film more consistent. The water-ski sequence is the like a jump back to the fun Bond of old, and the bar-room brawl is full of gags as if from a Roger Moore movie. There’s then a silly scene set in the London office, with Moneypenny being all weepy. A bit of levity is all very welcome at this point, but its very oddly judged. Can we really believe she’d be so schoolgirlishly silly about the vicious and surly Bond played by Dalton?
Another thought: For the first time since You Only Live Twice, Bond does not stop at home. We glimpse England – and Moneypenny – in a throwaway scene.
Anyway, things then get really peculiar. Moneypenny sends out Q to be of some assistance to the rogue and on-the-run former 007. Q really is the least likely assistant on a mission of vengeance, and I suspect the production team’s desperation at working Desmond Llewellyn into the story.
There’s something odd about him and Bond sharing a room, and how did he get his explosives through customs? The man’s meant to be having a holiday!
The silly gags with Q seem flippant and ill-judged, bumped up against the more vicious stuff. It doesn’t seem very well thought through. Since his never joking about his work in “Goldfinger”, there’s been a running gag about how Bond treats his precious equipment. But when Q reports in with his radio-broom (!) he then just throws it into a hedge. Where did it come from in the first place, and does he throw it away?
It makes undercuts any tension. The astonishing finale with the exploding oil tankers is seen off by Bond having girl trouble because of a misunderstanding. It’s a stupid situation, and Bond’s brilliant solution is to jump into a swimming pool with his clothes on. (Someone does this at Leiter’s wedding earlier, too, and they also look like a twat.)
Even that would be forgivable, but while he snogs the lady, one of the statues winks at him. And then an excruciatingly mimsy song starts up. And everything’s meant to be all okay because MI6 say they’ll give Bond his job back.
But if I was them, I’d not bother. For all Dalton is brilliant, his Bond is too much the bastard, too fond of breaking the rules. Much easier to get someone else, and ensure he knows his place…
Thursday, November 02, 2006
Wednesday, November 01, 2006
Blade runners
The Dr reports on a strange phenomena: our local supermarket no longer stocks razor blades in the aisle with the other Man Toiletries. Henceforth, blades shall be dispensed from behind the counter with the fags and scratch-away dreams.
The reason, as spelled out on a firm-but-fair notice, is that blades are too commonly pinched.
So is there a black market in razor blades, with people hawking them pub-to-pub in the same tatty carrier as their knocked-off DVDs?
Or do shoppers pocket the shiny, slim packs as they otherwise pay for their groceries?
Also, what is the difference between “gel” and “hydra gel”, as offered in soap from Gillette? I assume it's something to do with water, and not that if you cut yourself shaving you grow another head. But isn't a gel wet and hydrating anyway?
And, since I’m on to the prostitution of meaning in adverts, does anyone else squawk with rage at the Credit Suisse promise of “wealth protection”? I think of the synonyms "hoard" and "stash", and of a dragon asleep on dwarf-treasure.
The reason, as spelled out on a firm-but-fair notice, is that blades are too commonly pinched.
So is there a black market in razor blades, with people hawking them pub-to-pub in the same tatty carrier as their knocked-off DVDs?
Or do shoppers pocket the shiny, slim packs as they otherwise pay for their groceries?
Also, what is the difference between “gel” and “hydra gel”, as offered in soap from Gillette? I assume it's something to do with water, and not that if you cut yourself shaving you grow another head. But isn't a gel wet and hydrating anyway?
And, since I’m on to the prostitution of meaning in adverts, does anyone else squawk with rage at the Credit Suisse promise of “wealth protection”? I think of the synonyms "hoard" and "stash", and of a dragon asleep on dwarf-treasure.
Tuesday, October 31, 2006
Mind how you go
I usually avoid mimetic blogging, but this one seems right for today. Neil Gaiman, who has something of the darkest night about him anyway, warns writers to beware of death:Oddly enough, I’ve been writing about intellectual property only this very morning. (Amongst other topics; at half midnight I was still busily scribbling my way through education, thanks to the haste of the old folks.)
The Patent Office explains the different kinds of intellectual property – chiefly content, design, the technical aspects and distinguishing features – and says these can be owned, controlled and protected just like any kind of physical property.
“A-ha!” says my skim-reading teenager self. “But we all know that property is theft!” And I’m aware that various folk have sizeable concerns about IP and the way it’s protected.
The older, more mercenary and interest-declaring me can see a definite difference between abstract whimsies and chunks of land. The arbitrary allocation of territory based on various bits of bullying in the past might well be interpreted as social thievery. But if something I think up starts spilling out cash, it’s only fair I’ve a share in the profits.
It’s the same argument, I guess, about the huge sums a few footballers get paid. There’s a lot of money in football, what with lucrative telly deals. I’d rather it went to the people actually kicking the ball than to the chaps who draw up the contracts.
It’s important, too, that it’s only a few of the footballers who make thousands from every appearance. Very few hacks make a living from the things they dream up, too. And royalties are a way of justifying their – my – investment.
(I’m also acutely aware that most of what I’ve published belongs in some part to other people. This is because what are charitably called “shared universes” (and less charitably, “merchandise franchises”) have so far been the only ones not entirely to reject me. Bastards. I’m going to be a star.)
There’s a flimsy, meritocratic belief that if only we create something with the right vim, then to us will be due all the glory. Write a critical mass of the stuff over long enough, and you’ll start seeing a meaningful return. Even if it’s not in your lifetime, your kids (or friends or cats or cows) can still benefit from your efforts.
Which is probably obvious to everyone anyway, but only just crystallised for me. I am not very bright… but I shall be sorting out a will. If I should meet with an accident in the next couple of weeks, it’s because the Dr (or the cat) wants to own the rude play with girls kissing.
The Patent Office explains the different kinds of intellectual property – chiefly content, design, the technical aspects and distinguishing features – and says these can be owned, controlled and protected just like any kind of physical property.
“A-ha!” says my skim-reading teenager self. “But we all know that property is theft!” And I’m aware that various folk have sizeable concerns about IP and the way it’s protected.
The older, more mercenary and interest-declaring me can see a definite difference between abstract whimsies and chunks of land. The arbitrary allocation of territory based on various bits of bullying in the past might well be interpreted as social thievery. But if something I think up starts spilling out cash, it’s only fair I’ve a share in the profits.
It’s the same argument, I guess, about the huge sums a few footballers get paid. There’s a lot of money in football, what with lucrative telly deals. I’d rather it went to the people actually kicking the ball than to the chaps who draw up the contracts.
It’s important, too, that it’s only a few of the footballers who make thousands from every appearance. Very few hacks make a living from the things they dream up, too. And royalties are a way of justifying their – my – investment.
(I’m also acutely aware that most of what I’ve published belongs in some part to other people. This is because what are charitably called “shared universes” (and less charitably, “merchandise franchises”) have so far been the only ones not entirely to reject me. Bastards. I’m going to be a star.)
There’s a flimsy, meritocratic belief that if only we create something with the right vim, then to us will be due all the glory. Write a critical mass of the stuff over long enough, and you’ll start seeing a meaningful return. Even if it’s not in your lifetime, your kids (or friends or cats or cows) can still benefit from your efforts.
Which is probably obvious to everyone anyway, but only just crystallised for me. I am not very bright… but I shall be sorting out a will. If I should meet with an accident in the next couple of weeks, it’s because the Dr (or the cat) wants to own the rude play with girls kissing.
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