285 replies to this topic

[dee-bee-five]

The aerial shot of the skiing in TWINE - a shot that should have been in any other movie since it had by then totally lost its way.

Ah, but some of us don't think TWINE DID ever lose its way. Speaking personally, I believe it to be, currently, the most underrated Bond film.

I too think it is underrated. This may come as a surprise but really I do.

If we are to rate it along side a freshly squeezed turd, or perhaps a slab of cheese left to putrify in the midday Sahara sun, or even a newly released sulphur bubble from the jurassic period, then yes, it is vastly underrated and perhaps should require a revisiting.

Is this what you meant, per chance?

It is not what I meant, as well you know.

However, if one were to compare NSNA against your colourful list, I reckon it would come off a poor second to any of them.

Edited by dee-bee-five, 28 February 2007 - 04:07 PM.

[the other fellow]

I'm updating my all-time fave to this: the knockout shot of Lazenby standing before M's window after Tracy has been kidnapped. In the four-pane window Laz appears in the top left pane...while a memory image of Tracy being dragged away flits across the other three. I've never seen that done before. It takes my breath away,

Absolutely brilliant. Glad you mentioned that one Dodge.

Some others from OHMSS -

The opening shot reflecting Big Ben and a double decker bus off the Universal Exports brass plate.

The shot of Tracy walking into the sea as seen through Bonds telescopic
sight.

Birds-eye view of Bond carrying Tracy out of the sea.

First full glimpse of Bond.

The long shot of Bond and thug fighting in the sea with a hook laying on the beach in the foreground.

The shot of Bond looking up at Tracy as she gets into the Aston Martin on the beach.


And that's just the PTS!

Does OHMSS have a higher quota of great shots than any other Bond film?

[00Twelve]

The aerial shot of the skiing in TWINE - a shot that should have been in any other movie since it had by then totally lost its way.

Ah, but some of us don't think TWINE DID ever lose its way. Speaking personally, I believe it to be, currently, the most underrated Bond film.

I too think it is underrated. This may come as a surprise but really I do.

If we are to rate it along side a freshly squeezed turd, or perhaps a slab of cheese left to putrify in the midday Sahara sun, or even a newly released sulphur bubble from the jurassic period, then yes, it is vastly underrated and perhaps should require a revisiting.

Is this what you meant, per chance?

It is not what I meant, as well you know.

However, if one were to compare NSNA against your colourful list, I reckon it would come off a poor second to any of them.

Any brawlin', it's 14 days in the county jail!

[erniecureo]

The opening shot reflecting Big Ben and a double decker bus off the Universal Exports brass plate.

That's a great shot, glad you mentioned it. It's also an example of good visual shorthand--the mark of a good director, IMO. In one brief shot, we're told that we're in London at MI6 HQ. No subtitles needed, no explanations--perfect example of "show, don't tell."

Does OHMSS have a higher quota of great shots than any other Bond film?

I'd have to agree...the montage stuff with Bond and Tracy was all very well done too--especially the shot at dusk, when they're next to the fountain and dressed to the nines. The color palette is wonderful.

[Simon]

Is this what you meant, per chance?

It is not what I meant, as well you know.

However, if one were to compare NSNA against your colourful list, I reckon it would come off a poor second to any of them.

It was as well I knew; I was just playing with whether you knew I knew you knew. Or you knew I knew you didn't know. It was a long time ago and I find it all very confusing.

[Daddy Bond]

I like the shot where Connery looks at his watch during the PTS of GF - right when the explosion occurs.

The shot on the beach in GE where Brosnan is looking out at the sea is another great shot.

Regards

[plankattack]

It's a nothing moment really, but I love FRWL, so my favourite scene is out of the carriage window as the train pulls into Zagreb, stopping so the sign is perfectly framed and music sidles to a stop.

It's quite innocuous, but at that moment I know that Bond v Grant is about to go off. Those next fifteen minutes sum the whole Bond thing up for me.

[mrsbonds_ppk]

One favorite I could think of at the moment is in TWINE when Bond tries to save the girl and he is blown off the tent and just barely hangs on then it goes right into the title sequence and he falls down, gets up and dust himself off holding his arm.

And in DAF when connery gets on top the elevator riding up outside he looks so cool.

Edited by mrsbonds_ppk, 12 March 2007 - 06:23 AM.

[ACE]

Great thread.

A lot of mine have been mentioned.

Some clever bits of business I really like:

DN - the introduction to Bond. Because we all know what is coming, we sometime miss the bits of busines with Trench, the card game and internal tension of the drama and editing. The "Bond...James Bond" announced in a puff of Morelands smoke is subtle but wonderful. Colours are glorious too.

GF - the aerial establishing shot of Miami with the diver then cut to the interior of the pool.

OHMSS - I love the bit where Draco puts on his glasses to look at the where Bond's knife goes in the calendar. The shot goes in and out of focus to match the action - BRILLIANT!

MWGG - Bond's flight to Scaramanga's island

SWLM - the PTS pull back reveal that Bond is skiing into oblivion

MR - the PTS skydiving editing is so good, especially the shot where Bond goes after the pilot - not even ruined only by clumsy back projection

TLD - the bursting of the "Smiert Sphionam" balloon and close up of Dalton's eyes after Saunders is killed. The most powerful shot in all Bond IMHO.

TND - the PTS travelling shot dipping under the plane wing as Bond dukes it out

DAD - the Iceland establishing aerial shot tracking the Aston Martin on the road to the Ice Palace

CR - the Venice reveal. Marc Woolf's aerial shot is a WOW! Venice never looked so good!

[Lounge Lizard]

I love the swooping camera move in CR, I think it is placed at the opening of the poker sequence, when the camera moves dreamily from the 'green baize (?) battlefield' to the tournament director who says something about the stakes. Classic translation of Fleming to screen.

Also: the introductory shot of Dalton in TLD. Classic image.

[DaveBond21]

I like these ones:-


- the shot of the chess match in FRWL, and Tatiana in Istanbul

- Tilly Masterson's view of Goldfinger, Oddjob and Bond in Goldfinger

- The first entire hall view of the Sumo wrestling in YOLT

- Many of the snow scenes from OHMSS and FYEO

- the underrated opening shot in TLD

- the Q-boat hits the bowl of Strawberries, and lands in the Thames with the Dome in the background.

- Casino Royale - Orient Express and welcome to Venice

[sharpshooter]

One of my absolute favorites in CASINO ROYALE is the shot looking up at the trees with the rain during the "Bond in recovery" sequence. Something about it stays with me.

Indeed, the music by David Arnold helps it a lot as well.

[codywan24]

This is a cool thread. I personally really like the HALO jump from TND, especially when Bond comes out of the clouds and you finally see the water glistening below. Looks awesome!

I also love the Egypt cinematography in TSWLM, very atmospheric and exotic. Also love when Anya is talking to Gogel about Barsov being killed, and it flashes to Moore in the helicopter in his Royal Navy garb. Cool shot and nice music cue as well.

Another one already mentioned early in the thread from CR where it shows Bond and Mollaka simultaneously jumping downward, one on the right, one on the left, one higher, one lower. Looks pretty neat to me!

[MarcAngeDraco]

I can't wait to see what Marc Forster and Roberto Schaefer are going to help us add to this list...

[RivenWinner]

One of my favorites...


The Spy Who Loved Me.

When Bond is walking through (was it Cario, I guess) and there's a great shot of this doorway/arch, and Moore walks into it, where we only see his profile. I've always liked that shot, and the scene in general. The music helps too.

Edited by RivenWinner, 11 February 2008 - 08:35 PM.

[HildebrandRarity]

The shark attacking the privates of the man who's thrown overboard in the FYEO keel-hauling sequence. I don't know how they accomplished that one.

[DaveBond21]

Also love when Anya is talking to Gogel about Barsov being killed, and it flashes to Moore in the helicopter in his Royal Navy garb. Cool shot and nice music cue as well.

Excellent one. I've always liked that too. Actually, I love the sky and light in the scene where Bond is walking with Freddie Gray following the briefing.


Another good one - many of the shots of Bond following Drax's girls to his lair in the Amazon.

[Zorin Industries]

Although it's my least favourite film, the 380 degree camera spin in THE WORLD IS NOT ENOUGH - when BOND and ELEKTRA hit the slopes having jumped from a Pinewood helicopter is still stunning.

And the dinner banquet scenes in OHMSS are beautiful - and made more so when you realise those icy sunsets over the Alps was shot for real in real time.

[Mr. Blofeld]

I've always loved that shot of Bond looming at the camera with a knife in OHMSS; really dramatic, in my opinion.

[DaveBond21]

Some more good shots:-


- Clown knifed in back, and falls into the river in Octopussy

- Naomi's helicopter waiting around the corner for Bond's car in TSWLM and firing

- FYEO sunset in Corfu

- OHMSS avalanche

[Eddie Burns]

Legendary post...

Here are few that haven't been mentioned yet...

DN - The shot of Ms. Taro reaction when opening the door and seeing Bond, while Bond's left hand was still on the doorbell. 'You did invite me'

GF - When Bond's in the cell surrounded by like 10 of Goldfingers Korean security men...I laugh everytime I see that

LALD - Solitaire reading her cards while we see Bond's plane landing at JFK airport simultaneously with the Bond theme

- That whole scene with the serial number on the watch till Solitaire's on the ground. Superbly acted, wonderfully shot and the tension is expertly delivered.

OHMSS - Bond lighting a cigarette in the car, and Blofeld's hanging legs after the bobsled fight.

TLD - The shot of the 00 agent mountain climbing seconds before the assasin cuts the rope and he screams noooo!...you see a wonderful backdrop of Gibralter along with the silhouette of the agent

CR - Valenka rising out of the water and Solange riding the white horse with the kids chasing after her. Both So Bondesque, atmospheric, glamarous and classic but still remaining simple.

-Bond arriving in Nassau by the water plane with the first hint of the Bond theme in the whole movie. A great nod to Connery's arrivals in Kingston and Istanbul in Dr. No and FRWL respectively.

-The scene where Mollaka jumps down from one crane to the next and then to the building. A great shot, great stunt, and really gave me a sense of vertigo.

I'm sure theres more trapped in my memory bank somewhere...

Edited by Eddie Burns, 14 February 2008 - 03:52 PM.

[dee-bee-five]

The camera pulling away from the factory roof at Kobe Docks in You Only Live Twice while Connery flattens the opposition. No contest. It was utterly, utterly inspired.

[Judo chop]

The camera pulling away from the factory roof at Kobe Docks in You Only Live Twice while Connery flattens the opposition. No contest. It was utterly, utterly inspired.

Obvious: The sole miracle camera that captured the parachute jump in SPY.
Not obvious: The first view we get of Hai Fat

[DaveBond21]

Bond arriving in Nassau by the water plane with the first hint of the Bond theme in the whole movie. A great nod to Connery's arrivals in Kingston and Istanbul in Dr. No and FRWL respectively.

I love that entire sequence, from water plane to sneaking into the security office to watch the tape.

[dee-bee-five]

[quote name='Judo chop' post='838221' date='14 February 2008 - 18:49'][quote name='dee-bee-five' post='838187' date='14 February 2008 - 10:53']The camera pulling away from the factory roof at Kobe Docks in You Only Live Twice while Connery flattens the opposition. No contest. It was utterly, utterly inspired.[/quote]
Obvious: The sole miracle camera that captured the parachute jump in SPY.
Not obvious: The first view we get of Hai Fat

[Mr. Blofeld]

Ah, but for me YOLT was a massive improvement over its dreary predecessor...

Really? For me, it's vice-versa...

[DaveBond21]

Ah, but for me YOLT was a massive improvement over its dreary predecessor...

Really? For me, it's vice-versa...

I prefer Thunderball, but I must say that the YOLT fight camera shot is one of the best in the series.

[sharpshooter]

I like the shot where Connery looks at his watch during the PTS of GF - right when the explosion occurs.

This is an extremely iconic shot. White tuxedo, Rolex watch, cigarette in mouth and hanging on to a lighter. Add cool as ice facial expression whilst the bar is freaking out, and there you have it.

[David_M]

I think TSWLM and MR both are chock full of beautiful shots, especially the former, in which the locations are almost characters in themselves. Roger probably never looked better than he did wandering those ruins in his tuxedo, for instance.

The shot that always sticks with me wasn't even shot by a "cinematographer" per se...it's the shot of Bond being pushed out of the jet without his parachute and falling directly at the camera. Jake Lombard was such a good match for Roger Moore that in those days before VCRs and freeze-frames I would have sworn they really shoved ol' Rog himself out the door.

The whole ski chase in OHMSS is awe-inspiring to me, but I'm always struck by the scene where Bond is trying to strangle that one bad guy as quietly as possible, lest the others find him and kill him. That is a wonderfully tense scene and the close-ups on both combatants help Laz pull off a great, human moment for 007.

I can't quite fathom the love that rooftop scene in YOLT is getting, though. That's always so hard for me to watch, because you can clearly see the stuntmen waiting their turns to attack Bond one at a time, and the ones "chasing" him slow to a walk whenever they start getting too close. This is the kind of thing you can mask with multiple shots and careful editing, but when you shoot everyone at once from that kind of distance you can see how fake it all is.

On the other hand, the shot of the sun coming up (or was it going down) behind the fleet of Japanese fishing boats is breathtaking.

[Mr. Blofeld]

The whole ski chase in OHMSS is awe-inspiring to me, but I'm always struck by the scene where Bond is trying to strangle that one bad guy as quietly as possible, lest the others find him and kill him. That is a wonderfully tense scene and the close-ups on both combatants help Laz pull off a great, human moment for 007.

You can thank John Glen's fantastic editing skills for that; he was very underrated in that department.

On the other hand, the shot of the sun coming up (or was it going down) behind the fleet of Japanese fishing boats is breathtaking.

Only to be spoiled (for me, at least) by the obvious in-studio shots of Bond and Kissy in the fishing boat.