123 replies to this topic

[Nicolas Suszczyk]

It's just a succession of chases briefly intermingled with conversation to give only the slightest appearance of a plot. Even the dialogue scenes are shot with that annoying handheld-for-the-sake-of-it style that directors shoot for in order to create "immediate artistic" effect. Though it wasn't as awful as Supremacy, I'm glad I didn't spend money on a ticket.
The question to all those who champion QoS remains, if you like this kind of crap that much, why don't you join a Bourne forum since evidently you're not satisfied by Bond and yo'd rather it aped Bourne to the core?
It's like a Bond fan complaining about the absence of casino scenes in Star Wars movies. That dumb.

Hi Don! In the trip from Bariloche to Buenos Aires in the TV of the bus were tunning a Bourne film and I did the best thing one can do when it comes to watch Jason Bourne: Sleep

Down with Bourne!

[Mr. Blofeld]

And unfortunately in the Slate fight, Slate has to be someone that Bond can be mistaken for, so it is a little hard to tell the difference between them but not impossible.

I think that's another thing Forster was trying to convey by that, thematically, if I may: Bond fighting with himself, both emotionally and literally (in the form of the Slate/Bond fight)

Well, you're free to think that of course, but I don't know if it was intended. More that Slate sort of had to look like Bond so that it would make sense for Camille to mistake Bond for him: well-built blond chap in a black jacket and with a metal briefcase.

Not just Camille (who technically had never seen Slate or the geologist he was masquerading as, but probably had a description of him so she would know who to look for), but also the fellow chasing them on the motorcycle.

The geologist had probably told her he'd be carrying that briefcase with the information she wanted (which is why Greene sent it to Slate, with the needed gun inside), but the guy on the motorbike probably already knew Slate's description, which is why he approached Bond in the manner that he did after Camille booted him out of the car.

Also, let's not forget that Bond actually stole a dead man's jacket, so he's metaphorically becoming less and less of the person he used to be (dead to his emotions) throughout the film, enveloping himself in layers of armour so that, when we get to the final scene in Kazan, he's wearing a thick overcoat, both literally and metaphorically, which he has accumulated over the last film and a half in order to confront Yusef. Really a lot of layers to look at, there, no matter what The Shark, or anyone else, might think.

[Harmsway]

But doesn't Bond also wear a thick overcoat when dealing with M towards the beginning of the film?

[Mr. Blofeld]

But doesn't Bond also wear a thick overcoat when dealing with M towards the beginning of the film?

You'll notice it's not as heavy as the coat he wears in the final scene; he's still in the process of re-establishing that armour, you would think.