7 replies to this topic

[Walecs]

Which one do you prefer? Classic James Bond Theme by Norman and Barry or John Barry's On Her Majesty's Secret Service title theme?

 

It's really impossible for me to choose one, because they're both catchy and beautiful, though OHMSS is the one I could listen over and out over.

[Double Naught spy]

Although the addition of the (organ?) to OHMSS's gun-barrel score makes it feel a bit dated (as opposed to "classic sound" - no pun intended - of the Classic James Bond Theme by Norman & Barry), I like them both.  Whereas the original boldly announced to the audience that they are about to enter the (equally bold) world of Connery's 007, the OHMSS score is noticeably down-key, much like Lazenby's performance vs. Connery's.  In some ways it sets a tone of humility by the powers-that-be and acknowledges to the audience that they realize they've replaced Connery.  I imagine that it subtly/subconsciously set the bar a bit lower for the audience's expectations for the new 007 back in 1969.

 

As for the OHMSS soundtrack - absolutely brilliant! and one of the best, most effective of the franchise!  The theme song is haunting and serves as a reminder to those who are aware of how the film (and novel) ends.   Louis Armstrong's 'We Have All the Time in the World" (as odd as it is to have a song with lyrics in the middle of a 007 film) transforms from a heartwarming "two people falling in love" song to a somber and bittersweet song about two people's love for one another that is ultimately doomed depending on if this is your first viewing or you've seen the film before.  Or in other words, the brilliance of the OHMSS soundtrack is akin to Bruce Willis's character in The Sixth Sense - it (or Willis's character) transforms into something entirely different for the audience who watches it the second time. 

 

On a side note:  It just occurred to me, aside from her being an obviously talented actress, the casting of Diana Rigg was truly inspired.  I mean, if you're going to kill 007's bride at the end of the film, you might as well cast someone with a reputation (ala The Avengers) as someone who plays characters who 'survive to fight in next week's episode' and the audience isn't accustomed to seeing dying (as opposed to an actress with no discernible reputation).  Must have been a "gut-punch" for anyone who was unaware of the novel's ending and who was a fan of Ms. Peel.  

Edited by Double Naught spy, 30 January 2014 - 11:47 PM.

[sharpshooter]

The OHMSS theme is a thing of beauty, but for me, you can't go past the James Bond theme. It's perfect. 

[Bucky]

I go with the James Bond theme when I want to feel like James Bond and go with the OHMSS theme when I am going for an epic feeling.

[RedsBaron]

I like them both very much but I prefer OHMMS.

[Satorious]

In terms of being iconic - then of course the Bond theme wins this purely because it gets everywhere!

 

However out of the two renditions - it has to be OHMSS for me. I love the fact it's 100% pure John Barry at the peak of his game - classy, bold, different yet Bondian and timeless. It has the elegance to compliment the (ski-chase) scenes, whereas the original 1962 Bond Theme pops up all over the place in the earlier films and not always in the most best of places/mixes.

[kaiserthegreat]

James Bond Theme is the best, but I sure hum OHMSS a lot. 

[Odd Jobbies]

That's a tough one, but it's OHMSS - probably the coolest action score ever written.