What was the last film you watched?

[Willie Oleson]

Live And Let Die (1973)




Purely based on scenery and events this is more entertaining than Diamonds, but the villainous scheme that needs to justify the story feels a bit like an afterthought.
It's already a step-down from "going to steal da moon!" to growing poppies, and it's also a long-term scheme that doesn't feel particularly threatening in the two hours moment of the film.
There's no ominous clock ticking and it's not clear how or if it's going to affect England. This makes it harder for the second Bond recast to become seriously involved hence why the second part of the film focuses on the rescue of Bond girl Solitaire.
Ironically, Solitaire is more interesting in the first half of the film when she's still mysterious and in control. Jane Seymour looks absolutely breathtaking and there's also that slightly unhinged undercurrent that she does so well.

The theme is obviously inspired by the blaxploitation genre of the early seventies (the cheaper but more entertaining Bond knock-off Cleopatra Jones was released that same year) and overall it's become a relatively satisfying mix.
Instead of eliminating James Bond on the spot - always the most effective way - they keep taking him to other places where he's going to be eliminated.
Despite the contrivance and the ineptitude of the various thugs which allows James Bond to escape over and over again I must say that these are the most entertaining scenes.
The crocodile trap looks pretty nerve-racking, and the boat chase scene that goes on forever maintains its action-packed thrill from start to finish.
This part of the story is also massively enhanced by scene-stealer hicksville Sheriff J.W. Pepper in a pre-Dukes Of Hazzard sort of way.
The arranged voodoo-hoodoo execution of Kananga's treacherous Tarort reader is another effective attempt to include as much of "black culture" as possible, but it also made me think that Baron Samedi might have been a more memorable Main Antagonist in Live And Let Die.

The traditional crooner-style theme ballad has been replaced with a contemporary rock/pop song and I'm sure it would rank very high in a potential Ranking The Bond Themes thread. (hmm, haven't I already done that?).
Ranked as a Bond film I'll put it in the same mid-tier category as Diamonds Are Forever.
Incidentally, I think it's a shame that the fabulous movie poster artwork was used for the VHS packaging but not for the DVD and Blurays.

 

[Mel O'Drama]

massively enhanced by scene-stealer hicksville Sheriff J.W. Pepper in a pre-Dukes Of Hazzard sort of way.

Who is uncannily similar to the hicksville sheriff from Superman II (played by the same actor). I like to think it's the same character (even though it's apparently not).

The traditional crooner-style theme ballad has been replaced with a contemporary rock/pop song

I love B.J. Arnau's full-throttle version in that scene in the Fillet Of Soul scene... a taste of what we were originally supposed to get from Thelma Houston or Shirley Bassey before McCartney's condition that he and his wife would only write the song if they could sing it.

a potential Ranking The Bond Themes thread. (hmm, haven't I already done that?)

I wouldn't mind seeing that again.

(My favourite Bond theme is quite possibly one recorded for the opening titles which ended up relegated to playing over the end credits. But you're still some ten films and over a quarter of a century away from that).

 

[bmasters9]

Broadcast News, 1987, 20th Century Fox, w/Holly Hunter, William Hurt, Albert Brooks et al.

 

[ClassyCo]

I decided to watch PRISCILLA (2023) today on Netflix. I don't remember this movie receiving quite as much press as the ELVIS (2022) biopic, but I was certainly aware that it was coming out, perhaps through information I gathered here on the forums.

Anyway, PRISCILLA is basically what you'd expect it to be -- glossy, superficial, and turning a glamorized version of young Priscilla Beaulieu's life with Elvis Presley. There isn't very much in the movie about Priscilla's life outside of Elvis, but I honestly wasn't expecting anything different. The real-life Priscilla's claim-to-fame was her relationship with Elvis, so it's only natural that her autobiography and own biopic would focus primarily on her relationship with one of the most famous people to have ever lived. Evidently, the real-life Priscilla served as an executive producer on the film, but I suppose she had no say in infusing any depth into the story, the portrayal of her or Elvis as actual characters, or perhaps she didn't really care. It's hard to tell.

Aside from that, the movie was... just okay. Cailee Spaeny is Priscilla and Jacob Elordi is Elvis, and they're the two everything naturally spins around. Their separate performances are decent, but I wouldn't say either of them are particularly outstanding. For my tastes, I'd say Austin Butler was a better Elvis than Elordi, but to each their own. You're not going to learn anything new about Priscilla or Elvis here.

 

[Crimson]

A Fish Called Wanda (1988)

A delayed response, not having seen this a month ago. This is a very strong contender for my favorite film comedy, one I have watched innumerable times and which still makes me laugh heartily. I mentally -- and sometimes literally -- pair this with DIRTY ROTTEN SCOUNDRELS and RUTHLESS PEOPLE as a triple feature of terrible people behaving terribly.

The cast reunited for a spiritual successor in 1997, FIERCE CREATURES. I know I saw this once and I don't recall a single thing about it.

Kevin Kline is enjoyably deranged, and I kept seeing Robin Williams. This film is my main association with his name, so I've not seen much of him.

Hollywood seemed to try to turn Kline into a "big thing" in the early 90s but he didn't seem to click. He's equally great in the Sally Field comedy SOAPDISH and I recall DAVE being an agreeable comedy. Beyond those, I don't recall seeing him in much.

The hardest I laughed in the film was at Maria's impeccable delivery

For me, the peak of the film is Maria's "Mr. Manfredjinsinjin" scene with Kline. Aitken has a seemingly thankless role in the film but steals every scene she's in.

I stumbled upon this fan casting poster of Fish in the style of an Ealing comedy

A FISH CALLED WANDA is a movie I have often done an Ealing era appropriate fan casting. Sellers replacing Palin is obvious. Grant was too debonair for Archie. Guiness is an obvious choice due to his association with Ealing, but I think I like the stuffiness of Gielgud in the role. Janet Leigh is a solid choice, but my own casting is Marilyn Monroe. I never replace Kline with any satisfaction, but usually bounce between Brando or Sinatra.

 

[Mel O'Drama]

This is a very strong contender for my favorite film comedy, one I have watched innumerable times and which still makes me laugh heartily.

Now I've finally watched it, I can see why.

The cast reunited for a spiritual successor in 1997, FIERCE CREATURES. I know I saw this once and I don't recall a single thing about it.

I was aware of this, and looked into watching it after viewing Wanda. I gave up when it wasn't free to stream for me (I don't subscribe to any service beyond Prime) and based on your comments perhaps I'm not missing all that much.

He's equally great in the Sally Field comedy SOAPDISH and I recall DAVE being an agreeable comedy. Beyond those, I don't recall seeing him in much.

Ah yes. I have watched Soapdish, but that was probably 20+ years ago. Perhaps I'll be due a revisit soon.

Dave is another that I know about but have yet to watch. It has a pretty good cast.

For me, the peak of the film is Maria's "Mr. Manfredjinsinjin" scene with Kline. Aitken has a seemingly thankless role in the film but steals every scene she's in.

A month on from watching and, yes, this is the scene of the film for me and Maria Aitken makes it.

Grant was too debonair for Archie. Guiness is an obvious choice due to his association with Ealing, but I think I like the stuffiness of Gielgud in the role.

Oh yes. That's a good fit.

Janet Leigh is a solid choice, but my own casting is Marilyn Monroe.

Ooh, interesting. I don't think I would have considered her on the grounds of her being unobtainable. I could envisage her as Wanda but somehow - even in fan casting - I couldn't imagine her doing a non-American film. Then I realised I'd forgotten about The Prince And The Showgirl.

Now I think about it, the business with Wanda pretending to be extremely short-sighted without her glasses does seem to channel Pola Debevoise.

 

[Crimson]

A month on from watching and, yes, this is the scene of the film for me and Maria Aitken makes it.

With no exaggeration, I think it's one of the funniest scenes in cinema. I frequently pull it up on Youtube when I need a solid chuckle. Between Kline's aggrieved lunacy and Aitken's snotty nonchalance, it's a gem of a scene. Aitken's unperturbed delivery of that nonsensical name is peak droll comedy.

Now I think about it, the business with Wanda pretending to be extremely short-sighted without her glasses does seem to channel Pola Debevoise.

Right, Wanda is a perfect mix of Marilyn's 1953 roles -- the scheming feme fatale of NIAGARA and the comedic gold diggers of GENTLEMEN PREFER BLONDES and HOW TO MARRY A MILLIONAIRE. As much as I love the actual film, there is a quite wonderful version circa 1957 floating around in my head. I even have Marilyn film it right after finishing SHOWGIRL, although in real life her experience there with Olivier was awful and she was eager to return home.

 

[Mel O'Drama]

With no exaggeration, I think it's one of the funniest scenes in cinema. I frequently pull it up on Youtube when I need a solid chuckle.

In the short time since I've watched the film, I've probably watched this clip somewhere between eight and twelve times.

Between Kline's aggrieved lunacy and Aitken's snotty nonchalance, it's a gem of a scene.

They bounce off each other wonderfully, and I love that her matter-of-fact dismissal of his oft-repeated line ("Don't call me stupid". "Why on earth not?") is what causes Kline's character to lose it.

The fact that it comes at the end of the farcical sequence with characters hiding behind doors and sofas makes it so much richer.

Aitken's unperturbed delivery of that nonsensical name is peak droll comedy.

Yes. That line never fails to laugh out loud.

Wanda is a perfect mix of Marilyn's 1953 roles -- the scheming feme fatale of NIAGARA and the comedic gold diggers of GENTLEMEN PREFER BLONDES and HOW TO MARRY A MILLIONAIRE.

Of course! Now you've pointed it out, it's screamingly obvious. This would add another layer to a rewatch of the film for me.

As much as I love the actual film, there is a quite wonderful version circa 1957 floating around in my head. I even have Marilyn film it right after finishing SHOWGIRL, although in real life her experience there with Olivier was awful and she was eager to return home.

Perfect. I know Marilyn's life was very tumultuous at the time, so I'm sure it would have taken a great deal of patience from co-stars and director (still George Crichton, presumably), but the end result sounds like magic.

 

[Crimson]

In the short time since I've watched the film, I've probably watched this clip somewhere between eight and twelve times.

Not to beat a dead fish, but AFCW is a rare comedy that gets funnier on repeat. I don't know what your pace is for revisiting films, but I suggest coming back to this in a year or so. I guarantee you'll find it funnier. There are so many small things to catch, such as the way Otto's voice slightly cracks when he realizes his idiotic bluster isn't working against Mrs. Leach.

 

[Mel O'Drama]

Not to beat a dead fish

I don't know what your pace is for revisiting films, but I suggest coming back to this in a year or so.

Thanks. I aim to revisit, but it may be some time. These days I'm very aware of time ticking on and usually favour films I have never watched before. With the exception of Jaws, which I watch most years, the handful of films I do revisit range from about every five years (for those I watch "often") to 15-20 years for others. I'll try to keep Wanda on the five year viewing rotation (I liked it that much!).

 

[Mel O'Drama]

Clockwatchers (1997)

Yesterday, the algorithms suggested a new video in which Lisa Kudrow watches and discusses clips of her work. One of said clips was this one:

I wasn't aware of the film at all, but the clip and Lisa's fond memories of filming it (during the same hiatus from Friends in which she'd shot Romy And Michele) got me interested. In particular she mentioned the quick shooting process (two takes tops) and as she reeled off the names of Toni Collette and Parker Posey I knew I had to watch. And I struck while the iron was hot.

What grabbed me about the film was the naturalistic tone, almost observational as we just slip into the rhythms of these characters going about their everyday business. The editing - with cuts that sometimes feel choppy - adds to this, and the direction is stylised in a way that feels organic and that stops short of being showy or intrusive. Little choices in things the characters do also create tension (as an example, one early scene in which a character uses a photocopier without closing the lid - the bright light seeping out into the tiny little copy room - felt almost stressful to watch without being entirely able to explain why).

Lisa and Parker are both maestras when it comes to ad libs and improv, with Parker being particularly spontaneous and unpredictable so I can imagine it was a very exciting and unpredictable set. It goes without saying that Toni Collette is a terrific actress, so I'm sure she had no problem keeping up. Being just a few years after Muriel's Wedding, this is the most Murielesque I've seen her in an American film. Even the character arc is similar for her. And as an aspiring actress, there's a hint of Valerie Cherish to Lisa's character.

Most compelling about this film is what we're not told. We are in the same position as the group, not knowing which of their colleagues is the thief, which puts us in the position of needing to watch them closely. And there's a certain amount unresolved (was it really a "false alarm"?, for example, or something a character is choosing not to share). These people know one another a little, and may feel close at times, but there's a sense of holding back and avoiding too much involvement as well (Paula turning down an invitation to meet Iris's dad, who is in a car just on the other side of the street is perhaps the clearest example of this). Which rings true with my relationship with colleagues.

It's an immersive experience, but one that creeps up on the viewer. The artificial lighting, the soulless environment and the tedium really takes hold without even noticing. One begins observing with an idle sense of curiosity, but ends up compelled and needing to know more. Around a third of the way in, it felt very little had happened in terms of story, but the character was so rich I was in it until the end. There's also an unexpected message that for all its hopefulness left me feeling a little sad and a little empty.

 

[bmasters9]

The Luckiest Man In America (about the Michael Larson incident on Press Your Luck on CBS in 1984)

 

[Mel O'Drama]

Night Game (1989)

This has been in my watch list for a long time, purely on the basis that Roy Scheider features. Hand on heart I've put off watching because the little I've read about it hasn't been kind. In short, it's felt that Scheider's talents are wasted in what I've seen described as a lazy, sub-par slasher.

Beyond the fact that Roy plays a detective here, I knew nothing of the plot and it was mercifully better than I'd feared, though it's not without its flaws (a missed marketing opportunity to tap into some nostalgia, perhaps. They could have been upfront about its shortcomings and rebranded the film as "Flaws").

The film could be best described as a Curate's egg, so let's get this over with: the most flawed part of the film is its main plot. The murder sequences are very cheesy and lower the class. Generic young women are chased round and start screaming like bimbos and acting so counter-intuitively they simply deserve to be caught. They all take place at night, of course (especially given the title) and we even have the obligatory killer POV. There's no suspense. It doesn't frighten or even get into one's head. They aren't even entertaining as some bad slashers can be. Frankly, it would have been best for these to occur off-screen. In better news, these sequences only make up a few minutes of the film in total.

I haven't posted the film's original poster as it reveals a key plot point that doesn't come to light until the final act (Prime didn't allude to this and I was grateful since otherwise it would have been even more futile to have watched knowing what was coming). But that revealed fact is what makes it so silly on paper: the killer has an honest to God hook for a hand. The big screen version of The Fugitive pulled off this detail with aplomb, but that was a superior product. Here it simply compounds the low-grade slasher element.

The film's TV movie tone isn't all bad, though. Some decent character actors bring some gravitas and a kinetic energy to the procedural scenes, which played out like a pilot episode of a potentially good crime series based in Galveston. I can't help wondering if the film was somewhat influenced by The Big Easy (in which one of Scheider's recast screen sons had played lead). Both create an atmosphere that's hot and steamy, where characters glow with perspiration while speaking in a southern drawl as they investigate the city's dark underbelly (caveat, though: if there are similarities, Night Game is very much the EDT version of The Big Easy's heady fragrance).

Familiar faces include: Mary Beth Lacey's father; the Principal from The Breakfast Club (also seen in several Murder She Wrotes, a few Dallases and at least one Columbo); and Lois & Clark's Perry White. Even the ones I don't specifically know from anything else look and feel familiar and established, so the casting is good when it comes to the colleagues.

Even though I'm not sure I've seen her in anything. Carlyn Glynn feels familiar as the delightfully brassy mother who disapproves of her daughter's relationship with Scheider's character: a man she herself went to school with and, perhaps, had a bit of a crush on. There are a number of nicely tense scenes between them, including a fun spat in a bridal wear shop, where Scheider walks out, repeatedly ordering her to return the 19" TV he's just bought for her by leaving it outside her front door (as a final gesture, he mimes out the action of a TV being lifted and placed, evidently realising she isn't listening to his words).

The age gap relationship is curious. It's not treated as a significant plot point, or a Chekov's Gun, but rather as a simple matter of fact. I suppose it does help add a potentially personal touch since she fits the killer's demographic. With Chief Brody being Roy's best-known role, the most novel-stroke-disturbing aspect is that Scheider's young girlfriend is played by Karen Young who, a couple of years before this, had played the deceased Chief Brody's young daughter-in-law in Jaws: The Revenge. I find myself wondering if that connection was mentioned in the green room but, given Roy's antipathy towards even the first sequel - not to mention that he'd flatly instructed the powers that be where to stick Jaws: The Revenge upon being offered a cameo where his character was to be devoured by a shark - I can imagine the subject might have been verboten.

Scheider himself is as solid as ever. It's worth watching for him alone. If he had any awareness that this wasn't a great film, it doesn't particularly show. If anything it possibly reads as a slight weariness, which only enhances his character.

 

[Emelee]

Today: Dr Strangelove with Peter Sellers and Evil Under the Sun with Peter Ustinov.

Dr Strangelove is one of the best movies ever made, in my opinion. Dark comedy at its best. A general going "funny in the head" and ordering the H-bomb on the Soviet Union, unaware that they have created a doomsday machine. Lots of weird scenes with weird conversations. Absurd in all the horror.

Evil Under the Sun was a good watch. I've never seen Peter Ustinov as Hercule Poirot before. Weird. But I love all puzzle murder mystery stories by Agatha Christie. Lots of good actors in this one. I have some difficulties with the plot, but I can live with them.

 

[Willie Oleson]

The Man With The Golden Gun (1974)



Whereas sixties Bond was the trendsetter in the spy blockbuster genre, seventies Bond (except for Diamonds) started following trends.
Soul Bond from 1973 is succeeded by Kung Fu Bond and it also looks decidedly more farcical.
The earnestness of Solitaire is replaced with Carry On shenanigans by Bond girl Goodnight - but at least her sexy clumsiness is not without consequences.
Juxtaposingly, the death of the other Bond girl performed by Maud Adams looks surprisingly eerie, like the gold-painted victim in Goldfinger.
Most of the humour works for me, even the cheap and uninspired return of J.W. Pepper.

Scaramanga is a fabulous villain's name but the character itself is unintentionally charismatic and therefore difficult to hate.
In fact, I think he's cooler than James Bond except for the third nipple which is kind of "too much information".
He becomes the main bad guy in an almost casual way and the evil plot isn't very impressive because the solar power device isn't necessarily to be used for nefarious purposes. It could be a Big Gun...or something else.

I think it's a wacky and charming film, and combined with the gimmicky sets it looks more like a The Avengers story.
TMWTGG has a lovely score even though John Barry was not pleased with the result.

 

[Willie Oleson]

The Spy Who Loved Me (1977)



The pre-opening credits sequence shows that the James Bond team has upped the ante, and in fact so much that it hints at a return to form in the style of Thunderball and On Her Majesty's Secret Service.
Bond girl Barbara Bach has revenge on her mind although she has yet to discover her target, and this adds some Cold War suspense to her working relationship with Bond.
The collaboration between the British and Russian Secret Services and especially the magnitude of the crime are the ingredients for a fantastical international spy spectacle.
The villain's lair Atlantis is a beautiful monstrosity and the obligatory disloyal Villain Girl is killed in a tense and twisty fashion.
To cut a long comment short, this film's in the bag.

Until it isn't.

The big problem is: the Mad Scientist angle doesn't work in the spy genre, and the only thing that's left to do for James Bond is to be a superhero in command of the captured submarine crews.
Furthermore, the characters employed by the villain need to have a reason to do their job. It can be as simple as money when it's about an epic extortion scheme, it can also be a matter of not having a choice when they're employed by an evil regime or a dangerous organisation like SPECTRE.
The fact that Stromberg's men are willing to nuke the whole world and continue to live underwater (!) indicates a cult-like attitude à la Logan's Run, but zero effort has been made to make them look like Stromberg worshippers.
They're just ordinary sane-looking men pressing various control room buttons and there doesn't seem to be any profit or a promise of something better.
To add insult to injury, even Stromberg's motive is pretty vague. It doesn't matter how wacky the motive is, it needs to make sense from his point of view.

Stromberg's demise is very underwhelming and he doesn't even need to watch the destruction of his life's work.
Similar to the destruction of Scaramanga's island it's just blowing up a lot of concrete which doesn't mean very much if there's no sense of casualties or suffering.
It would have been more rewarding if they had turned Atlantis into a fabulous underwater hotel.

It's a frustrating experience when all the successful ingredients are in place only to be squandered on a nonsensical plot.
SPY also has one of the best theme songs sung over the best opening sequence so far. This love/hate combination will make it a tough one to rank.

 

[Willie Oleson]

Moonraker (1979)



This was the first time I watched it in pristine streaming picture quality. WOW!
But we're not there yet because there's plenty to dislike in Moonraker, starting with Roger Moore who no longer pretends to be in a spy movie.
He was still a very good-looking man in 1979 but a little bit of over-the-hillness has started to creep in. The "sex" scenes that used to be playful - and I always rooted for Sean Connery to get the girls - are becoming alarmingly predatory.
And to think he would make three more Bond films. Ha!
Lois Chiles may be one of the most beautiful Bond girls ever but she delivers her lines as if she's citing a telephone book. She can do better (the Yellow Pages?)

The Man With The Golden Gun is wacky but Moonraker is downright cartoonish especially the scenes featuring the indestructible Jaws.
James Bond zigzags around the globe as effortlessly as walking into the next room only to encounter an instant assassination attempt, which is repeated over and over again.
On top of everything, Moonraker copies most of the previous Bond film including the boat-becomes-ground-vehicle scene.

However, it is also this completely unrealistic approach that makes villain Hugo Drax's God complex perfectly digestible. If anything, he's the star of this movie.
The zany sci-fi premise delivers the cult-following vibe that was missing in The Spy Who Loved Me, and overall it also looks more violent. The pre-opening credits scene is a good appetiser.
I, for one, love the redemption of Jaws. Besides, it was impossible to destroy him so he would continue to be the villainous henchman in subsequent Bond films. The love interest and Bond's clever observation was the only way to get rid of him. Pretty smart, actually.

Production wise, oh boy, they really went to town on this one. That doesn't necessarily make it a great Bond movie (Spy looks terrific, too) but as a spectacular crowd-pleaser it ticks most if not all of the boxes.
Despite its significant shortcomings I thoroughly enjoyed this film.

 

[Willie Oleson]

For Your Eyes Only (1981)



It's about yet another nifty device that could give an antagonistic country or organisation the upper hand.
This ATAC thing is only relevant in the first and last part of the film, and in between we are treated to a James Bond Greatest Hits compilation. Luckily, they've selected some of the best moments.
For once, the worst part happens in the pre-opening credits scene - and even that looks entertaining.
Perhaps it could be argued that most of the Bond story is being told in the cinematography rather than the narrative.
I mean, if that's accepted and celebrated for an arty-farty film like Il Deserto Rosso then why shouldn't it work for Fleming & Broccoli?

Moore looks even older in 1981, but with a surprisingly positive effect.
Firstly, they had the good sense to tone down Bond's amorous exploits even when a teenage ice-skating nymphomaniac throws herself at him.
Secondly, this somewhat weary secret agent is less cocky and that makes him more likeable. I'm not saying that this is the ideal formula for a Bond film, but it works for Roger Moore.

It is still very much an adventure in the sense that things need to be discovered, with a nice plot twist regarding the main villain that results in an ensemble mission.
Come to think of it, even the antagonist is a group of super-mean characters rather than a larger-than-life villain.
The stunts are amazing and, yes, sometimes silly, but some of the scenes are actually very suspenseful. The dead bodies inside the underwater wreckage is the kind of macabre that you don't often see in a James Bond film, and even the killing of a Bond girl looks particularly graphic.
The satisfying body count should please the more bloodthirsty Bond fan.

Ideally, this was the moment for Roger Moore to bow out gracefully and install Timothy Dalton as Bond #4 (even though Dalton wasn't ready to do it in 1983).
Either way anyway, FYEO is a marvelous action flick and probably the one I'd suggest to a first-time Bond watcher.
The only serious disappointment is the theme song (but the worst is yet to come!)

 

[Willie Oleson]

Octopussy (1983)



After a relatively professional mission in For Your Eyes Only, the Third Bond returns armed with his trademark raised-eyebrow humour and zero suspense.
While Moonraker mostly stays on the right side of camp and OTT spectacle (supported by its sci-fi theme) Octopussy cranks it up a few notches and lands on the other side with a painful thud.
The examples have already been described in many other reviews so I won't even bother to mention them here.
Bond girl Octopussy (Maud Adams) is wasted in this story which makes the film's title all the more embarrassing. This would have been the perfect opportunity to introduce a female character as the main villain, and that shouldn't even stop her from bedding her nemesis.

Instead we get two male villains and as a result the plot doesn't make much sense.
Dissecting this plot I'm actually very much on board with General Orlov's diabolical scheme to increase Russia's military power, and the fear of nuclear warfare was a huge issue in the 1980s.
Sometimes I read online comments like "the 1980s was so simple and peaceful". Oh, please, it was a mess.
Btw, it was only at the end of the film that I realised that Orlov (in an hysterical performance by Steven Berkoff) was supposed to be Russian, not German.
But what does prince Kamal Kahn have to gain by an occupied Europe, his market for the jewellery smuggling?
Also, for Orlov to use the Indian smugglers to get the bomb where he wants it to be seems rather convoluted.
Actually, for most part of the film I had no idea what the jewellery scam was all about.
The assassination mission by Octopussy's sisterhood of acrobats is a throwback to Pussy Galore's Flying Circus in Goldfinger, but that's fine.

Overall, a disappointment in this rewatching-reappreciating-reevaluating-reranking Bond Binge (netflix will remove them all next week, why does this always happen to me?)

 

[Willie Oleson]

Never Say Never Again (1983)



An "unofficial" Bond release which means that it simultaneously does and doesn't exist in one and the same movie universe.
Since Sean Connery rejected the idea of extending his comeback in an alternative Bond series (talk about mind-boggling concepts) NSNA can't escape the feel of a "reunion" movie. Which also happens to be based on the sixties classic Thunderball.
The odds are against it, or so it seems.
It could not use the traditional opening sequence but of course they could make a theme song. I kinda like it for nostalgic reasons because it reminds me of the soundtracks used in 80s TV productions like the Judith Krantz mini-series or something like that.

I watched it as a double bill with Octopussy and I must say there are quite a few differences.
Both movies look beautiful and make use of wonderful locations, but compared to the EON Bond movies the cinematography in NSNA looks distinctively more European.
From my personal point of view that also makes it the most eighties Bond film.
I kind of expected to hear a Grace Jones song being played in the background.
The missed opportunity of female villainy in Octopussy is corrected here with Fatima Blush getting more screen time than most of the henchwomen in previous Bond films.
This remake of SPECTRE agent Fiona Volpe is sort of a cross between Milady De Winter and Catwoman, always sashaying in the most outrageously glamorous outfits (another very 80s thing to do).

The characterisation of the Bond girls has never been the series' strongest point which makes Kim Basinger's Domino a breath of fresh air.
And, you know, she can act.
But the best part is Klaus Maria Brandauer as the neurotic villain Largo. I wish he had done more scenes, even if that would extend the film's running time by 15 or even 30 minutes.
Sean Connery as a "senior" secret agent is cleverly addressed with comments about his physical strength and even the demand to shape up in a health clinic. Edward Fox's portrayal of M is surprisingly unpleasant, I must say.
Whether or not Sean Connery's second come-back has contributed anything significant to the Bond saga remains a matter of personal opinion, but it's undeniable that he effortlessly out-Bonds Roger Moore.
The humour in this film is just so much better: no eyebrow raising to explain the mood or double entendre, and no winking at the camera (except for the closing scene!).