Day 129/365 of my daily creative project titled “365 James Bond Characters”. Featured Character: Aston Martin DB5 (Goldfinger, Thunderball, GoldenEye, Tomorrow Never Dies, Casino Royale, Skyfall and Spectre)
In Catch Me if You Can (2002) Frank Abagnale sees the film Goldfinger. After he adopts the identity of Mr. Fleming (Bond creator) and buys a suit and Aston Martin DB5. In the hotel when the Bond theme ends, the song "a Look of love" starts. The song was orig. made for Bond parody film Casino Royale.
In Casino Royale (2006), Bond rolls his Aston Martin to avoid hitting Vesper on the road. This is a reference to earlier in the film when he is poisoned by his patented Vesper Martini because it was stirred, not shaken. Rolling the car shakes up the drink and therefore removes the poison.
When the stunt team tried to flip James Bond’s Aston Martin DBS in ‘Casino Royale,’ they found the car too stable to be overturned by an 18” ramp. In their last attempt they fitted the DBS with a gas cannon and ended up rolling the car a total of 7 times, accidentally setting a new world record.
TIL when the stunt team tried to flip James Bond’s Aston Martin DBS in ‘Casino Royale,’ they found the car too stable to be overturned by an 18” ramp. In their last attempt they fitted the DBS with a gas cannon and ended up rolling the car a total of 7 times, accidentally setting a new world record.
When the stunt team tried to flip James Bond’s Aston Martin DBS in ‘Casino Royale,’ they found the car too stable to be overturned by an 18” ramp. In their last attempt they fitted the DBS with a gas cannon and ended up rolling the car a total of 7 times, accidentally setting a new world record.
This is the best tl;dr I could make, original reduced by 86%. (I'm a bot)
The choice of star car for Casino Royale was made in late 2005 when Aston boss Dr Ulrich Bez invited Bond producer Barbara Broccoli up to Gaydon to look at a new DB9-based model under development in the design studio. Externally these cars looked near-as-dammit like the proposed production DBS. Inside, the Aston design team were given a little more licence, installing a crash helmet cubby, gun holder, and other cheeky features unlikely to be seen on customers' cars unless they ask really nicely. Director Martin Campbell wanted the audience to think they were about to see a lengthy car chase and then surprise them when instead Bond encounters Lynd lying on the road ahead, swerves to avoid her and flips his car into a spectacular barrel-roll. Once again Aston met its deadline, delivering the three action cars to the Bond vehicle team along with the original DB9 manual gearbox prototype, looking scruffy and care-worn in its flaking white paintjob, so that the stunt drivers had a fourth car in which to practise. The Aston proved a lot more stable than those crusty 5-series and, with only limited chances to get this right, the ramp was raised to 18 inches to make sure the Bond car turned turtle. Aston wants the DBS to be seen as a serious drivers' car, which is why it'll come only with a manual gearbox and feature ceramic brakes as standard.
Casino Royale- Origin story that didn’t feel like one. Craig plays Bond just like the book. He’s jacked. Him and Vespers chemistry. Bond felt like a real spy/assassin. He could be hurt emotionally and physically. Locations. Action. Entire cast. His wardrobe. Most realistic torture scene in a movie imo. Poker. Bond becoming cold hearted after Vesper dies and unattached (seen in later films). That iconic ending with the 3 piece suit and the classic intro and theme for the first time.
Goldfinger- Set the formula for what would follow. Goldfinger himself. Best pre title sequence to date. Rolex 6538. Golf scene. Aston Martin. Pussy.
Goldeneye- pre title sequence. Brosnan. Bean. 007 vs 006. Omega Seamaster looking cool and being used as a gadget. Natalia. Action packed up the wazoo.
Skyfall- Delving into Bonds past. Silva. Theme song. Shows Bonds mental and physical struggles. Battle at Skyfall. Judy Dench.
FRWL- Robert Shaw. Train Fight. Entire main cast.
Dr. No- First scene with Bond. Locations. You’ve have your 6 scene. glimpses of real spy work like hair on the door.
Thunderball- Domino. The Bahamas. Connery still got it.
Casino Royale has one of the best scripts ever written for a Bond film.
Spoilers ahead: Been a while since I have spoken on this subreddit. Last time I wrote about Dr. No; this time I will be looking at a film that surprisingly shares a lot of Bond DNA with Dr. No. Enjoy! I had recently heard on this subreddit that Casino Royale and Quantum of Solace were on Netflix but I had forgotten that fact. I wanted something to watch and of course the first thing to pop up was Casino Royale. I decided to give it a watch because I have not gotten to see it again in years. I remember loving it as a kid and considering it one of my favorite 007 movies. Now having rewatched it with fresh eyes - it's all I remembered and more. Casino Royale is many things but I think the main reason why it's so great is the script. It harkens back to the simplicity of Dr. No's more detective/espionage style of storytelling while having all the action setpieces of the later films. There are dozens of show-don't-tell moments throughout that give the audience the sense that James Bond is as crafty as he is said to be. There are small moments where MI6 will butt in to give short exposition updates to the audience; their length is so well paced that it does not detract from the forward momentum of the plot or insult the audiences' intelligence. One of the stand out moments for me was after James discovers that Vesper has betrayed him. In any weaker script there would have been an overdramatic scene when they reunited where James would be disappointed and angry at Vesper. Instead all we get is a look between them and Vesper utters, "I'm sorry". That is so much more powerful and the scene that ensues is of course very tragic. Another fantastic stand out was the entire sequence in Miami. 007 kills the man he is tailing (in the body exhibit) without the two uttering a word to eachother. That was another moment where corny dialogue like, "don't say a word", would have appeared in any other film but instead it's a silent exchange as the two men know what is at stake if they make a scene. The film's pacing is also perfect; every moment in the script to plays out with precision. It's never dull, allowing for the quieter scenes to match the pace of all the action heavy moments. The dialogue is also fantastic. There are so many details in the way each character speaks. I particularly enjoyed how they wrote James Bond. He primarily keeps to himself but gains confidence (his arrogance) in certain situations - revealing his inner self. It was so great to see all the sides of Bond while still feeling like he isn't the smooth talking tough guy of the Connery or Brosnan eras just yet. His more human elements all throughout really sell this interpretation as being much more real and less of a comic book action hero. Same goes for the main villain Le Chiffre, played brilliantly by Mads Mikkelson and Eva Green's great, intimate performance as Vesper. The callbacks to the older films are not too bombastic which gives the movie its own identity. We still get the exotic locals, Aston Martins, MI6, and Felix Leiter that we are all familiar with, but they don't feel shoehorned in or undercooked. I also enjoyed them throwing in a pun or two just to show that this wasn't the most straight faced Bond ever. Also, "would you like that shaken or stirred?" "Do I look like I give a damn?" Brilliant. There is a lot more to be said about this film in terms of direction, editing, cinematography, performances, music, action design, etc... but we all know it's just so, so great. The movie as a whole really comes together as the ultimate Bond package. Even if Daniel Craig never got to make any more Bond adventures, Casino Royale fulfills everything you could ever want from one (maybe minus the gadgets). It all comes down to the words on the pages of the script. The three writers who worked on it did a killer job. Here is hoping No Time To Die gives us a satisfying ending to the Craig era. This was definitely quite a way for it to begin.
https://preview.redd.it/imjwn5lpxzl51.png?width=1000&format=png&auto=webp&s=d142b0446d938d86b95c807c4b76604f72517240 Probably the best made Bond film, though it just misses the top five because of several factors. Skyfall feels different from Craig’s first two films. It made the wise decision of not referencing lingering plot threads from previous films, allowing it to stand on its own. Perhaps, this is why Quantum of Solace and Spectre are not well-regarded: they tried to build off previous installments and retroactively hurt the stories of their predecessors. Skyfall draws heavily from the past, returning to the style of earlier entries. Casino Royale is my favorite Bond film, but I do think it was heavy-handed in in its attempts to differentiate Craig from previous Bonds. Bond responding with “Do I look like I give a damn?” when asked if he wants his martini shaken or stirred feels less like a mythology gag and more of a dig against the tropes the franchise created. Shaking up the formula is fine, but changing too much runs the risk of losing what made the franchise what it was in the first place. I appreciated how Skyfall simultaneously deconstructed (an overused word today) and reconstructed the character. As jarring as it is to see Bond go from being a loose cannon novice to a veteran closer in characterization to the previous Bonds, Craig’s played out Bond addicted to alcohol is quite close to the novels, and nicely picks up where the Dalton films left off. Skyfall realized that Casino Royale was a one-time thing and returning to the formula while adding enough fresh elements was the right way to go. Licence To Kill and Skyfall proved that the films can still be fresh without stripping back almost every aspect of the films. The cast is great. Judi Dench gets an expanded role as M and it is nice to see her relationship with Bond become a strong focus. As sad as it was to see Dench go, I think her character had a fitting end. Skyfall repeats quite a few beats from previous films, but integrates them quite nicely. Javier Bardem’s Silva is similar to Christopher Walken’s Zorin due to both being major psychopaths. Bardem’s first scene was fantastic and I thought the concept of Bond facing off against a former MI6 agent was done much better than in GoldenEye, where Sean Bean’s Trevelyan was pretty much your typical Bond villain in the end. The mid-plot twist where Silva “wanted to get caught” was the worst aspect of the film for me though, and Q was quite idiotic for plugging in a known cyber-terrorist’s computer into MI6’s servers. Also, the train almost hitting Bond underground made no sense unless Silva had predicted that Bond would follow him. He definitely should have come up with a better plan for preventing Bond from stopping Silva’s assassination of M. Bond films are not the best written films, but they made up for their inconsistencies by not taking themselves seriously. A problem with the Craig films is that they take themselves seriously, but also fall prey to poor writing. This only makes their flaws more evident, which is why Spectre is a mess. Bérénice Marlohe has a small role as Severine. She is similar to Andrea Anders, another ill-fated Bond girl who wants to leave her life as mistress to the villain. The love scene with Bond is a bit off considering she was a child sex slave, but I would not go so as far as to call it rape. The late Albert Finney is nice as Kincade, though one can only imagine how it would have been if Sean Connery accepted the role as intended. After ten years, Q and Moneypenny return, portrayed by Ben Wishaw and Naomie Harris respectively. No one can ever beat Desmon Llewelyn, but Wishaw is a fine counterpart. Playing up Q’s computer skills to the point of having him design advanced security protocols was silly considering he then made the mistake of plugging Silva’s computer to the servers. Harris probably has the best chemistry of any young female in Craig’s era. I have heard some take issue with the implication of Moneypenny sleeping with Bond, but Lois Maxwell (forever the best Moneypenny) and Connery (tied with Dalton for my favorite) had conceived a backstory where Bond and Moneypenny had a romantic weekend and decided to stay apart, so it is not too far off from the originals. Ralph Fiennes makes his debut as the new M and I think he has done a fine job so far, playing one closer to Bernard Lee and Robert Brown while having a larger role. One area where Skyfall absolutely outclasses Casino Royale is in cinematography. Ignoring the subject of films of the past twenty years using color grading, this is the best-looking Bond film, superior to On Her Majesty’s Secret Service, in my opinion. The Shanghai and Scotland scenes are breathtaking and it is nice to see some nice shots without a yellow palette. Skyfall is an artistic film, and Sam Mendes ran out of ideas quickly. Filmmaking has changed and using the same director for multiple films is not going to work like it used to. Martin Campbell had eleven years to refine his skills, but Mendes’s lack of originality between Skyfall and Spectre is very evident. The same can be said of Thomas Newman. I have a fond spot for Newman’s score, despite lacking the “Bond” feeling John Barry and David Arnold delivered. It is tied with The Spy Who Loved Me for my favorite non-Barry score. “Shanghai Drive” and “The Chimera” are two of my favorite tracks. The immersion when watching Spectre for the first time in theatres was broken when I kept hearing cues from Skyfall. Despite being a good film, Skyfall is a bit harder to watch again. It is slower than Craig’s first two films, but this also works to its advantage since this is the first time we have had a Bond film that does not throw constant or tacked-on action at your face since Licence To Kill. Pacing is subjective, but the middle does drag on with Silva’s nonsensical scheme. The opening and ending both provide great action scenes as a respite. Skyfall was the first Bond I saw in theatres and the pre-title sequence, which is a welcome return to the traditional style, still excites me. The climax at Skyfall is unparalleled by none but Licence To Kill. I felt that the Aston Martin DB5’s previous appearances in Goldeneye, Tomorrow Never Dies, and Casino Royale were blatant attempts at nostalgia, but there is some purpose to the DB5 here. Craig’s films were grounded in reality, but the return of the gadget-laden car brilliantly supported the film’s theme of returning to the old ways. The ending with the old MI6 crew back, and the wooden office with a leather door (a sight that brings tears to one’s eye) was a true return to where we left things off in 1989 and we could finally have Bond undertake traditional adventures while maintaining the originality Craig’s era brought (or so we thought). It may not surpass Casino Royale, but Skyfall deserves applause for respecting Bond’s past while moving forward.
Timothy Dalton’s era as Bond has always garnered divisive opinions. In this subreddit and other fan forums, Dalton is definitely not underrated and gets the praise he deserves from fans. However, general audiences and critics still look down on his era negatively. Several rankings from mainstream sites, have put his films in the twenties. It is a shame, since Dalton himself was a great Bond and, perhaps, my favorite. The Living Daylights, despite sharing the same crew members from previous films, is a huge breath of fresh air for the franchise. The film brings a lot of attention to Bond’s assassin status; Bond’s refusal to kill an amateur and interrogation of Pushkin are some of the best in the franchise and faithfully adapt Ian Fleming’s original character. I do not judge the films based on the books, especially since I have not read them in some time, but Dalton’s Bond is so clearly meant to be a return to the novels after Moore’s more humorous interpretation that it has to be brought up. Regardless, Dalton’s Bond is close to Connery’s Bond from his first two films, which were easily his best performances. He's a more cynical Bond, and cold to Kara at first. Based off Dalton's second film, he probably closed himself off after Tracy's death, which is quite similar to what Spectre's story did. On a side note, this film establishes that Bond and M are not exactly the warm pair that they were in earlier films, making the events of Licence To Kill an easier pill to swallow. The humor is reduced and when Dalton quips worse than Connery and Moore. Of course, humor was not on his mind and Dalton more than delivers when it comes to portraying a cold assassin who warms to the love interest as the film progresses. Kara is an underrated Bond girl; her relationship with Bond is the best after Tracy and Vesper and is definitely more natural than Bond and Madeline. The villains are lackluster here. Jeroen Krabbe and Joe Don Baker are fine as Koskov and Whittaker, but they are forgettable compared to Bond’s more colorful rogue gallery. Andreas Wisniewski is more memorable as Necros and the safe house attack and plane scene are highlights of the film. Another is the Aston Martin chase. Despite the change in style, a gadget-ridden car similar to the DB5 from Goldfinger is incorporated to not make the change too jarring. John Barry’s final score is fantastic and while David Arnold was a great composer, this was the last time we truly had the “Bond sound.” “Ice Chase,” featuring the new version of the Bond theme, is fantastic and “Where Has Everybody Gone?” is a great leitmotif for Necros. The theme by a-Ha is my personal pick for most underrated Bond theme. The story is quite good, with the Bratislava scenes being based off the original short story and the Vienna scenes also being quite interesting. The Afghanistan scenes are a bit slow, but the film makes up for it with an explosive climax. The greater focus on espionage, like the first four Bond films, On Her Majesty’s Secret Service, and For Your Eyes Only is also much appreciated; only Casino Royale has really focused on this aspect ever since. The Living Daylights is one of the most faithful to the novels, with a colder, more sardonic Bond, but also features the larger-scale thrills one comes to expect from Bond. For Your Eyes Only set the tone for the Eighties films with a return to realism, but Moore’s Bond did not fit the film and it was hurt by a lack of excitement and poor pacing. The Living Daylights beats On Her Majesty’s Secret Service as my favorite Bond film in the marathon so far.
8 years ago, in the leadup to the then new James Bond film, Skyfall, I watched and reviewed every Bond film (official and unofficial), in chronological order of release. With the latest Bond film, No Time to Die, on its way (optimistically next April) and it being the last film with Daniel Craig as Bond, I figured I would try watching all the films again to see how my opinion has changed in the past near-decade. There’s a slight tweak though. To make things a bit different, I will not be watching the films in chronological film release order but instead be watching it in order of release of the original Ian Fleming books that lends its title to each film. (The order of the films plus a deeply geeky explanation of where I have placed the later films that do not have Fleming titles can be found at the end of this post). Other minor tweaks are that, since I am no longer an unemployed 22 year old who could watch 4-5 films a week, I will aim for 1 film per week and skip the unofficial films. If No Time to Die does end up coming out in April next year (and that’s a very big if) then I should finish all the films just before its release, but we’ll see. So without further ado, the first film in this Bondathon is Casino Royale, Daniel Craig’s first Bond film from 2006. It’s been my favorite Bond film for a while but I also haven’t seen it in a few years so it’s a good one to start out with... It still holds up really well and went by much quicker than I thought, despite it being one of the longer films. The first third of the film establishes that we are watching a reckless Bond at the beginning of his career who needs to keep his ego in check, and also sets up why the villain needs to set up a poker game to win back money he lost. It’s a bit of a stretch but necessary for a faithful but modern adaptation of the novel. The poker scenes can obviously be confusing if you don’t know the rules but the film does its best to keep them relatively short, break it up with non poker scenes, and show the tension in the poker scenes so that you at least have a rough idea of who’s winning or losing. Bond’s relationship with Vesper is my favorite part of this film, and that’s saying something considering some very impressive action scenes (parkour chase in Madagascar, Bond stopping a terrorist attack at an airport, the finale in the sinking house in Venice). Back in the late 90s/early 2000s the trend for Bond films was to star actresses that have box office pull (especially in America) but questionable talent like Teri Hatcher, Denise Richards or Halle Berry. In contrast, Eva Green, while talented and respected, was a relative unknown back in 2006, but her portrayal of Vesper put her on the map and made her the household name today. Her scenes with Craig’s Bond are always quick witted and it’s easy to see why Bond would fall in love with her. The dialogue does get a bit cheesy towards the end but overall she’s one of the most memorable characters in all of Bond. I absolutely love the music in this film, even though the Bond theme isn’t that present. As this is Bond’s first mission and reboots/origin stories were all the rage in the mid/late 2000s (see Batman Begins, Star Trek, and X Men First Class a bit later on), we see Bond at the start of his career and picking up nuggets of what makes him Bond throughout the film, winning poker, getting his Aston Martin DB5, disobeying M to go with his instincts, until the very end of the film where we finally hear him introduce himself in his iconic way, and that’s when we hear a bombastic rendition of the film in full. It’s funny to see what was considered advanced technology in 2006, just a year or so before the smartphone era. Bond has a Sony Ericsson phone with a very primitive version of a GPS, and snoops through a hotel’s security footage after going through a number of blu-ray discs. That’s always a danger with putting technology in films in this day and age when everything becomes obsolete almost immediately, but in this movie it’s few and far in between and is more of a gentle reminder of how long it’s been since Daniel Craig’s first Bond film rather than any distraction. Ironically, despite this being “Bond begins” and missing elements like the Bond theme, Q, Moneypenny, it ends up being the only Daniel Craig film where Bond gets sent by M to go on a regular mission. It’s all “Bond goes rogue” or “This time it’s personal” after this as far as the Craig films go. Overall, Casino Royale still holds up as perhaps my favorite Bond film (we’ll see how it fares after I’ve viewed all the other). It’s gritty, it’s tense, it’s emotional. It’s Bond without following all the Bond tropes. ***Deep geek zone: Order of films I'll be watching and explanation of where I have placed the non-Fleming titles Basically I have scattered the 6 movies whose titles are not from the Fleming books throughout the list, mainly putting them after a Fleming title whose book/film with a similar theme or element, with the one exception of Skyfall which I just placed in the middle of 4 Connery films to split them up.
Live And Let Die
License to Kill - Bond’s American ally Felix Leiter loses his leg to a shark, like in the Live and Let Die novel
Die Another Day - Features an nobody-turned-rich English villain with deadly rockets/satellite as their weapon, like in the Moonraker novel
Diamonds Are Forever
From Russia With Love
Skyfall - Just to split up all the two previous and two next Connery films. Also both From Russia with Love and Skyfall were filmed in Istanbul.
Goldeneye - Literally just because the title has the word Gold in it
Quantum Of Solace
A View To A Kill
For Your Eyes Only
The Living Daylights
The Spy Who Loved Me
On Her Majesty's Secret Service
The World is Not Enough - Title is Bond’s family motto, which was mentioned in Majesty’s
You Only Live Twice
The Man With The Golden Gun
Tomorrow Never Dies - contains scenes filmed in Thailand, like The Man with the Golden Gun
[Bond film series] James Bond can't read, that's why he never bothers with paperwork. He's winging it pretty well. Good for him
I expect I have some explaining to do before this gets relegated to /ShittyFanTheories/ James Bond has been around for decades. His 25th film will be out in a few months. That's at least 25 high stakes missions facing of against the likes of international terrorists, criminal conspiracies, and rival intelligence agencies. You would expect this to entail a lot of paperwork. Bond doesn't seem to read much of it. Granted, this wouldn't make for action packed cinema. But even the more cerebral Bond films don't see 007 reading all that much. He'll get a verbal briefing, handed a folder, and he'll look through the pictures. It's more digestable for the audience, it's a more cinematically compatible way to deliver exposition... but it'd also make it easier for you hide the fact you can't read. Now, the various Bonds have different attitudes and different approaches to their missions. These attitudes even change between entries in the series. Some of the Bonds are more flippant (Brosnan destroying the manual for the invisible Aston Martin in Die Another Day). Some are laser focused on revenge and aren't stopping to gather intel (Dalton in License to Kill, Craig in Quantum of Solace). One is an absolute know-it-all who repeats non-sequitors on trivia he picked up somewhere (Moore). These are all justifications Bond would use to cover up for the fact that his peers never see him read. In the version of Bond we get in the novels we can follow his internal monologue. If he reads something, we read it with him. He also can't hide something from the audience. If he's pretending to do something we see the pretence. This isn't true of the cinematic version of Bond. We don't hear his thoughts. He can stare at a piece of paper for an entire scene but we've no way of certifying that he's absorbing any of it. The only proof we have is him repeating the information that was written down. In Casino Royale (2005) Vesper shows him her business card when they first meet. He repeats her name back to her. But for all we know he was given a verbal heads up on who he'd be working with on his mission. In the same scene he has a menu in front of him the whole time but we cut away before he has to recommened a dish or order one. He always orders the same cocktail. He has never once tried to read a cocktail menu. There is no guarantee that the bar he goes to serves a martini, but it's a popular drink, making it a safe bet. Tbh, if he can read he's just being needlessly flippant and reckless when approaching these high stakes missions. I'd rather believe this highly trained superspy is struggling to overcome/hide a disability, and succeeding against the odds, than he's arrogantly endangering the whole world because he wants to show off. More details in video form: https://youtu.be/9CeUOu4BuE4
This is more obvious with Brosnan's Bond, and Craig's to a lesser extent. Moore nearly sinks the whole theory
Edit: At the point where this post has been up for 7 hours and had over 100 comments (including numerous ones of my own) I'm noting that none of the counterpoints posted so far feature Brosnan's Bond, despite his 4 film run as the character. This lends credence to my suspicion that he is the least literate Bond.
Casino Royale: Why It Worked (Retrospective on the Franchise)
One of the most critically acclaimed Bond films. It truly revived the franchise in a way that it had not been since the Connery days and while I strongly disagree with the comments about Craig being the best Bond since Connery, he debuted under the best circumstances. Casino Royale gets a lot of praise from the media for being “different” from other films while some fans deride it for the same reason, calling Daniel Craig’s Bond an emotionless thug. The latter group is somewhat correct, if referring to Quantum of Solace. The former group, is a bit overblown in their praise, forgetting that changing too many things could run the risk of losing what made something great in the first place, which happened in some areas with Craig’s subsequent films. In my opinion, however, Casino Royale is not a “deconstruction” of the Bond films that stripped back the gadgets, girls, and humor that defined the films, but a reconstruction that stayed true to the original novels and simply improved upon the many great things its predecessor did while getting rid of the fluff. Looking back, Connery started out perfectly in his first two films. He added his own charm and wit to the original character, making for a perfect lead actor while keeping the more dubious aspects of the character. Unfortunately, Goldfinger marked the beginning of Bond becoming a caricature, a perfectly dressed gentleman who saved the day as effortlessly as he displayed charisma. While some of the original Connery returned in Thunderball, his last two films doubled down on Goldfinger’s success and felt like a pale shadow of his former self. George Lazenby, despite only appearing in one film, managed to remain unobscured because he appeared in On Her Majesty’s Secret Service, a crowning moment for the franchise that stripped back the gadgets, girls (kind of), and humor. Rather strange, considering Casino Royale was adored for doing the same thing, but gets a better reception from audiences (critics and fans have given Lazenby’s film its due for decades now). Roger Moore, despite the silliness of his films and the decreasing credibility the franchise had because of his age as the films progressed, deserves credit for allowing the films to develop differently rather than just copying the Connery films. Moore could never compete with Connery’s rugged macho persona and instead became more suave and gentlemanly, with even more emphasis on the humor. The franchise had been heading down a path where the films could not be taken seriously and Moore allowed them to embrace it. Say what you want about films like Moonraker, but that was the direction the producers wanted to take and much of how one perceives it is based on how silly or serious they want their Bond films to be, a testament to how Moore allowed the films to vary in tone. For Your Eyes Only, despite not being a particularly strong film in my opinion, stripped back the gadgets, girls, and humor (kind of). Casino Royale gets praise for being more realistic and grounded than Die Another Day, but For Your Eyes Only did the same after Moonraker, albeit to a lesser extent. Moore proved that he could still portray a more serious Bond and the result was one of his best outings. Unfortunately, the silliness still lingered and Bond faced competition from other heavy-hitters in the eighties. While I enjoy Octopussy and think A View To A Kill deserves to exist because of its awesome score and Christopher Walken, Moore should have left earlier. Timothy Dalton still remains underappreciated by critics and audiences (“Mainstream” media sites still rank his films in the twenties) despite having a cult following among fans. While I am not the most knowledgeable of the novels, I remember enough from the ones I read that Dalton fit the literary version almost perfectly and I still maintain that he is closer than even Craig or Connery to Fleming’s Bond. The Living Daylights and Licence To Kill are both extremely well-done films, that while suffering from a lackluster director far better at executing action than story and poor production values, managed to be the closest in spirit to Connery’s early films. It is rather unfair that Dalton is labelled the “proto-Craig” when he was closer to the novels, a bit too close. One area where Craig is superior to Dalton is the charisma. Dalton lacked the “it-factor” that his predecessors had and while he was not beholden to following what Connery started, the public perception about the larger-than-life Bond hurt his era. People began rejecting the caricature Bond had become with the Pierce Brosnan era, which had the worst scripts in my opinion. GoldenEye was a pop-culture hit and its legacy as the “only good Brosnan” film was aided by a video game that I would rather go back to than the film itself. It was a well-rounded out film, though I would argue that it is not one of the best since several others were less derivative and excelled in some areas more than it did. Brosnan’s era dropped in quality with films even more derivative than his debut, repeating GoldenEye’s mistake of ultimately wasting interesting plot-points in favor of falling back on the tried-and-true tropes. I still love Tomorrow Never Dies though. The end result was Die Another Day, which saw the producers in the same situation they found themselves in after Moonraker. They had to return to Bond’s roots, and for the first time in its history, truly delivered an almost flawless product that learned from everything the films had done. Some look back on the pre-Craig films and scoff at them, finding them too cheesy and not serious enough. However, quite a few Bond films were serious and faithful to the source material; they just happened not to do it as well as Casino Royale, with the exception of From Russia With Love, which is the closest in reception to it. On Her Majesty’s Secret Service suffered from a rather lackluster star, who despite the arguments from people such as myself who enjoyed his vulnerability compared to Connery and acting during the ending, hurt the reputation of a great film. For Your Eyes Only set the tone for the eighties films, but still had some of the Moore silliness. The Living Daylights and Licence To Kill also suffered from tonal issues, to a lower extent in my opinion. Dalton gave very committed performances, but the other members of the production were not quite as willing to commit to such a radical change and never went the extra mile like Casino Royale despite delivering two top tier Bond films. Michael G. Wilson and Barbara Broccoli finally realized that they had to give the character justice after they restricted Pierce Brosnan from reaching his full potential. The one-liners worked with Connery and Moore, but they did not with Dalton and Brosnan, showing a lack of confidence in their lead actors’ acting ability that they did not with Craig. Rebooting the franchise meant the producers could start a clean slate, take all the great things of the past twenty films, and put it in one film. I prefer Dalton overall, but Craig’s debut performance was the perfect combination of the literary and cinematic Bond. He retained the cold nature Dalton brought to the role while keeping some of the wit Connery brought into focus. Craig gets some praise for being more brutal with the bathroom opening frequently highlighted, but I think that it rather misses the point of the plot. Bond went from being a reckless, violent gunman to being a cold man who tries to hide it with charm and witty lines, closer in personality to the previous Bonds. It has even been brought up that Vesper influenced Bond’s dress style, going from wearing casual clothes to a three-piece suit in the ending. Bond holding the machine gun in such fancy clothes showed how far he had become since the prologue, no longer wearing his Oxford-styled suits with disdain. Even Craig’s hair, which is flat down throughout the film, is a bit sharper in the end, showing that Bond now puts more thought into the way he appears. Getting some input into the character also meant Craig had the freedom Dalton and Brosnan were unfortunately never afforded. Only Craig could have pulled off the torture scene. Connery and Moore were too untouchable; Lazenby and Brosnan were not the best when it came to dramatic scenes; Dalton lacked the humanity that made Craig more relatable, though their interpretations are two sides of the same coin. Casino Royale was inspired by the Bourne films and Batman Begins, but still feels very Bondian. The tropes Goldfinger introduced may be gone, but those from the novels and first two films remained. The film adds scenes set in the Bahamas, which reminds one of Dr. No and Thunderball. The Aston Martin DB5 returns, continuing the nostalgia for the Connery era which the producers had been milking since GoldenEye, and exacerbated in future Craig films. Bond’s characterization is also close to Connery’s first two films and Lazenby and Dalton’s films. The film does not feel like a complete departure from its predecessors, but more of a return to form. For me personally, I like the films like From Russia With Love and On Her Majesty’s Secret Service, which retain the cinematic Bond thrills while adding more depth to the plot and characters. Craig’s debut set the bar high and I think his follow-ups learned the wrong lessons from it. After being praised for departing from Bond’s roots, the writers went further and made a film that does not feel Bondian at times. Criticize Licence To Kill for being an eighties action film all you want, but the story felt more like classic Bond than most of its predecessors. While Quantum of Solace had great action, cinematography, interesting plot points (holding the water of a country ransom does not seem so funny now?) and had some parallels between Dalton and Craig (Dalton snaps and rejects MI6 to become a rogue agent hellbent on revenge, Craig never actively seeks revenge and despite the brutal moments he finds himself in, keeps his composure), it badly-edited and suffered from an undercooked script. On the other hand, Skyfall is a beautifully shot film that like GoldenEye, has a meandering plot focused on meta-commentary discussing Bond’s relevance. I would still put Skyfall in my top 10, but it is not as original or groundbreaking as the critics would have you think. Finally, Spectre repeated the same mistake the Brosnan films did: fall back on good old nostalgia. This time, the writers tried to fuse a Connery era plot with Craig’s darker aspects, making for a charmless bore with some really misguided intentions (Brofeld, anyone?). I eagerly await No Time To Die like everyone else and hope that it manages to end off the era of one of the best Bonds with a bang.
aston martin & james bond casino royale. bond’s aston martin dbs ist in einer eindrÜcklichen szene des films zu sehen, als er sich bei einem spektakulÄren unfall sieben mal ÜberschlÄgt – ein neuer weltrekord. die sequenz wurde auf der millbrook teststrecke mit einem modifizierten db9 gefilmt, da der dreh stattfand, bevor der dbs fertiggestellt war. aston martin & james bond ein quantum In "Casino Royale" war auch Caterina Murino als Solange Dimitrios zu sehen. Sie lernt James Bond am Pokertisch kennen, wo Bond den Aston Martin ihres Mannes gewinnt. Daraufhin kommt Dimitrios mit Der Aston Martin DBS, den Bond in „Casino Royale“ fährt, hat auch einiges zu bieten: zum Beispiel ein Notfallkit aus Gegenmitteln für verschiedene Gifte und mit einem kleinen Defibrillator The choice of hero car for Casino Royale was made in late 2005 when Aston boss Dr Ulrich Bez invited Bond producer Barbara Broccoli up to Gaydon to look at a new DB9-based model under development in the design studio. Broccoli loved the car and immediately cast it as the perfect transport for Daniel Craig’s leaner, meaner, slightly blonder Bond. Der neue Film heißt Casino Royale. Quentin Tarantino setzte sich dafür ein, dass der Film nach dem ersten James-Bond-Roman von Ian Fleming benannt wurde. Dann war er sauer, dass er nicht Regie führen durfte. Lizenz für schwarze Autos Aston Martin hat jetzt offiziell die samtene Schutzdecke vom neuen DBS gezogen. Genau das wird Bonds nagelneues Verbrechenbekämpfungs-Fahrzeug in Casino CASINO ROYALE zeigt JAMES BOND, ehe er seine Lizenz zum Töten erhält. Doch auch ohne diesen Status ist Bond nicht weniger gefährlich, und nach zwei kurz aufeinanderfolgenden, erfolgreich ausgeführten Eliminierungen wird er zum ’00‘-Agenten befördert. Bonds erste 007-Mission führt ihn nach Madagaskar, wo er den Terroristen MOLLAKA ausspionieren soll. Doch nicht alles verläuft nach Casino Royale put its own unique twist on James Bond's famous Aston Martin tradition. As Daniel Craig took over from Pierce Brosnan as Britain's favorite fictional spy, the James Bond franchise underwent a drastic makeover. With Brosnan's final jaunt, Die Another Day, accused of feeling outdated and lacking in substance, Daniel Craig's Bond stripped back the formula and rebuilt Bond in a Aston Martin baut nochmal 25 Exemplare seines berühmten DB5 – die ersten fünf sind jetzt fertig und für ein Fotoshooting versammelt. Steve war allerdings nicht der erste Kunde, dem der Zwölfzylinder-Aston hier präsentiert wurde: Einige Jahre zuvor hatten bereits der Schauspieler Daniel Craig und die Filmproduzentin Barbara Broccoli den DBS bei Aston Martin Works in Augenschein genommen – als potentiellen Dienstwagen für James Bond in seinem nächsten großen Abenteuer “Casino Royale”. Damals war der DBS allerdings Aston Martin have retained one of the hero cars and also the second DBS that achieved the world record for barrel rolls. They were both shown at the Kensington Palace Centenary Celebration during July 2013. The colour of the Bond cars was called ‘Casino Royale’ and became a standard DBS colour once production began later in 2007. as of 2017, the world record breaking car is on display as
On Her Majesty's Secret Service Aston Martin DBS - YouTube