16 replies to this topic

[JSDude1]

What comes to mind is the parallel storylines in both From Russia with Love and For Your Eyes Only (as well For Your Eyes Only shares many elements with On Her Majesty's Secret Service).

 

Also Have you ever noticed the similar story elements from Goldfinger and A View to A Kill?

 

 

[Janus Assassin]

The Spy Who Loved Me and Moonraker. Basically the same villain's plan, one is start an underwater kingdom and the other to start a space kingdom.

[tdalton]

You Only Live Twice and The Spy Who Loved Me, with both villains capturing nations' military vehicles (spaceships and submarines, respectively) and using that as a means to begin a large scale war.  Tomorrow Never Dies could be thrown into that as well, with the villain manipulating England and China's military vehicles (via GPS manipulation) in an effort to start WWIII.

[Turn]

An orbiting space weapon figures in the plots of DAF, GE and DAD.

 

All the films from LTK through SF feature a "this time it's personal" angle thrown in, TND having the least such focus on such but still counts with Paris Carver. 

[ChrissBond007]

The World Is Not Enough and Skyfall. Attack on MI6, the connection between M and the villain (Elektra King/Silva). Also, both titles of the movies have a personal connection to Bond himself and his family (The World Is Not Enough his family motto and Skyfall the place where he grew up)

Edited by ChrissBond007, 22 January 2014 - 06:00 PM.

[Tiin007]

The World Is Not Enough and Skyfall. Attack on MI6, the connection between M and the villain (Elektra King/Silva). Also, both titles of the movies have a personal connection to Bond himself and his family (The World Is Not Enough his family motto and Skyfall the place where he grew up)

 

Don't forget the locations- London, Scotland, and Istanbul.

[DaveBond21]

An orbiting space weapon figures in the plots of DAF, GE and DAD.

 

All the films from LTK through SF feature a "this time it's personal" angle thrown in, TND having the least such focus on such but still counts with Paris Carver. 

 

Yes, I have a feeling that by the time we get to Bond 33, half of the 007 movies will have been revenge-themed.

 

 

_________________________________________________________________________________________________________________

[glidrose]

An orbiting space weapon figures in the plots of DAF, GE and DAD.

Drax's space station in MR had a nifty laser weapon.
 

All the films from LTK through SF feature a "this time it's personal" angle thrown in, TND having the least such focus on such but still counts with Paris Carver.

If you include TND - and I wouldn't - then you gotta include TLD: Saunders' death. And Bond kinda goes rogue in TLD when M assigns him to kill Pushkin. Instead Bond investigates Koskov and the girl with the cello.

[Turn]

TND much less so than the others, but I actually do count Paris's death in to make it more personal, although obviously it's taken care of through Bond killing Kauffman and not so much Carver later on.

 

TLD does show a little more personal in those instances, but it's still more mission-based.  Then again in a good number of the films there's somebody close to him who dies without revenge being a central part of it. I think of Moore's "And that's for 009" payback on the knife twin (Mischca or Grishca, not sure which) as a way that was handled.

[tdalton]

The thing with Paris is that they're obviously trying to create a character who had a supposedly meaningful relationship with Bond as a means to give the film that personal angle, to give Bond even more motivation to stop Carver, aside from averting World War III.  The entire mission, as given by M, is predicated on Paris' personal involvement with Bond, as M directly instructs Bond to find some way to rekindle that relationship and use it as a means to gain access or leverage against Carver.

 

I don't think Saunders can even equate to that.  He's more akin to the traditional sacrificial lamb that the Bond films usually contain.  Albeit those characters are usually a secondary Bond girl, Saunders fits that bill in TLD. 

[The*SPY*]

The thing with Paris is that they're obviously trying to create a character who had a supposedly meaningful relationship with Bond as a means to give the film that personal angle, to give Bond even more motivation to stop Carver, aside from averting World War III.  The entire mission, as given by M, is predicated on Paris' personal involvement with Bond, as M directly instructs Bond to find some way to rekindle that relationship and use it as a means to gain access or leverage against Carver.

 

I don't think Saunders can even equate to that.  He's more akin to the traditional sacrificial lamb that the Bond films usually contain.  Albeit those characters are usually a secondary Bond girl, Saunders fits that bill in TLD. 

 

Sorry to venture off topic but there were quite a few male sacrificial lambs: Quarrel, Kerim Bey, Campbell, Fekkesh, Luigi Ferrara, Vijay, Tibbett, Saunders, Sharky (but you could designate Leiter's bride), Zukovsky,  ....I think that is it.

[Colossus]

The World Is Not Enough and Skyfall. Attack on MI6, the connection between M and the villain (Elektra King/Silva). Also, both titles of the movies have a personal connection to Bond himself and his family (The World Is Not Enough his family motto and Skyfall the place where he grew up)

Whoa

 

 

 

An orbiting space weapon figures in the plots of DAF, GE and DAD.

 

All the films from LTK through SF feature a "this time it's personal" angle thrown in, TND having the least such focus on such but still counts with Paris Carver. 

 

Yes, I have a feeling that by the time we get to Bond 33, half of the 007 movies will have been revenge-themed.

 

 

_________________________________________________________________________________________________________________

 

 

Hahah

[S K Y F A L L]

Films that have the most similarities to me are;

 

DR & LALD

TWINE & SF

GF & AVTAK

FRWL & FYEO

YOLT & TSWLM

 

 

Different themes and subplots seem to be found intertwined in many films IMO.

Here's one way of looking at it I suppose, I'm sure someone else could do better though;

 

WWIII - YOLT, TSWLM, TND, DAD*

Money/Resources - DR*, GF, TB, OHMSS, DAF, LALD, TMWTGG, AVTAK, TLD, GE, TND*, TWINE, CR*, QOS

World Dominance - TSWLM, MR, DAD

Cold War - FRWL, FYEO, OP, GE 

Assassination/Revenge - TMWTGG, LTK, GE, TWINE*, QOS, SF

[Pussfeller]

There are many similarities between TMWTGG and SF.

 

In both films, the villain is a super-proficient criminal who started out as an intelligence agent. He has a hidden deformity and lives rent-free on a weird Asian island. The plot is ignited when this villain (apparently) sends a death threat to someone at MI6.

 

In an Asian locale full of casinos and oriental splendor, Bond meets the abused mistress of the villain. She agrees to put Bond in touch with the villain, in the hope that Bond will kill him and set her free. Soon afterward, the villain executes her with an unusual pistol.

 

Meanwhile, Bond collaborates and flirts with a female MI6 field agent. A corrupt Chinese businessman is shot to death, a brand of car is shamelessly advertised during a chase scene, and a character shows scorn towards a small kitsch sculpture of an animal.

 

In the third act, the villain is killed after challenging Bond to an unnecessarily risky showdown. After the climax, there is a brief coda involving Bond, the female field agent, and a knick-knack. 

 

[Messervy]

You Only Live Twice and The Spy Who Loved Me, with both villains capturing nations' military vehicles (spaceships and submarines, respectively) and using that as a means to begin a large scale war.  Tomorrow Never Dies could be thrown into that as well, with the villain manipulating England and China's military vehicles (via GPS manipulation) in an effort to start WWIII.

Yep, taht's what came to my mind also.

[Hansen]

Oddly, I saw similiarities between TSWLM and QoS :

- The importance of water in the Vilain's plot

- Bond teams up with a foreign agent who seeks revenge

- The use of the Sterling alias

- Locations : Austria & Italy

- The opera scene vs the light & sound in Egypt (including the editing)

- Bond letting the bad guy fall from the roof...

[glidrose]

There are many similarities between TMWTGG and SF.
 
In both films, the villain is a super-proficient criminal who started out as an intelligence agent. He has a hidden deformity and lives rent-free on a weird Asian island. The plot is ignited when this villain (apparently) sends a death threat to someone at MI6.
 
In an Asian locale full of casinos and oriental splendor, Bond meets the abused mistress of the villain. She agrees to put Bond in touch with the villain, in the hope that Bond will kill him and set her free. Soon afterward, the villain executes her with an unusual pistol.
 
Meanwhile, Bond collaborates and flirts with a female MI6 field agent. A corrupt Chinese businessman is shot to death, a brand of car is shamelessly advertised during a chase scene, and a character shows scorn towards a small kitsch sculpture of an animal.
 
In the third act, the villain is killed after challenging Bond to an unnecessarily risky showdown. After the climax, there is a brief coda involving Bond, the female field agent, and a knick-knack. 

Great observations, especially "knick-knack" (bit of a groaner, that). Our own Dustin had several of his own some time ago.

BTW, welcome back, pussfeller!