The nerd in me likes when the title of a movie is explicitly stated in the movie itself, like in this scene from A View To A Kill (1985).
As Max Zorin (Christopher Walken) and Mayday (Grace Jones) get a bird’s eye view of the Golden Gate Bridge and San Francisco, CA from the Zorin blimp, they call out the name of the movie in this quick exchange. To this day, I *still* don’t really think it’s that great of a movie title, or quote in this context, but it’s still cool, I guess.
These psychopaths are hyped for the great view of a city they are about to destroy, which is a bit morbid. And Mayday’s look here, as in all of her scenes is…something. And here, her over-accentuated eye shadow and misplaced painted-on “mean” eyebrows are fitting for the lunatic these two are.
Well, here it is. The actual “view to a kill” from A View To A Kill (1985)
It really is a great view of the city, though. And of course, who can forget the shot of Zorin’s eponymous blimp in the same frame as the Golden Gate bridge – an iconic shot of the series, for sure!
Zorin’s blimo next to the Golden Gate Bridge in San Francisco, CA in A View To A Kill (1985)
Although the fire engine chase in A View To A Kill (1985) is over-the-top and a bit eye-roll inducing, I did enjoy when the sleepy bridge operator attempts to stop James Bond (Roger Moore) and Stacy Sutton (Tanya Roberts) in their tracks.
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Bond (Roger Moore) and Tibbett (Patrick Macnee) have a great rapport in A View To A Kill (1985), and it peaks in this scene. Just after arriving in their room at Zorin’s compound and setting up their recorded dialogue as cover for eavesdropping ears, the two make their way to the balcony where they focus on their mission of investigating Zorin more deeply. They playfully comment on the hilarious, charade relationship they’ve exhibited since they arrived, but then get down to business.
Bond trusts Tibbett’s play-by-play of the parties welcoming and arriving on the helicopter, and when an absolutely stunning Stacy Sutton (Tanya Roberts) arrives, focus quickly turns to her. Side note: the jazzy/mysterious 80’s music of this scene is great, and it’s some of my favorite from the movie. This is also by far the best look for Sutton in the movie, and she seems a bit star-struck herself when she meets Zorin (Christopher Walken) on the launchpad.
Bond cracks a joke to Tibbett that Sutton needs “closer inspection” after they silently acknowledge her good looks, and a more serious Tibbett can’t believe Bond would suggest such a thing: “We’re on a mission!” – to which Bond quips that any interaction between the two would be his own “sacrifice” for the mission – a win-win for Bond and her majesty’s secret service, no? I think their characters’ dynamic (although short-lived) is some of the best Moore’s Bond has with any other during his tenure as 007.
One of the, if not *the*, most out of place sounds/music in any James Bond movie has to go to the use of the song “California Girls” from the “snowboard” scene from the opening sequence of A View To A Kill (1985). Yes, I get that Bond eventually travels to California (and meets girls there I guess?) in the movie and he is technically snowboarding with the snowmobile blade (which is like “California surfing” I guess?), but I’m still going to give the song choice a thumbs down.
I may have approved if the song chosen was the original version by the Beach Boys, but a quick Google also shows this is a cover by Gidea Park, and it sounds like an average one at that. They should have scrapped the idea. How Bond maintains his feet on the blade and gains enough momentum to surprise the skiing bad guys was puzzling enough for the chase, let alone the song choice. It’s fun for sure, but not particularly great.
I was also unfortunately reminded of this scene after watching Pierce Brosnan’s Bond’s absurd snowboarding/gliding scene from Die Another Day (2002):
*shudders*
