The Bond movie franchise’s response to the space-based Star Wars phenomenon of the late 1970’s comes in the form of Moonraker (1979). And this fight scene perfectly encapsulates the movie’s attempt at inserting some James Bond action into the vast bleakness of space.
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I’ve always loved Bond’s great cello case escape trick from The Living Daylights (1987). Although it would’ve been neat to hear Bond (Timothy Dalton) explain the game plan to Kara Milovy (Maryam d’Abo) in this scene (how did they time it so perfectly with the passing tram?), I overall enjoyed how it was filmed and how we the audience are let in on the ruse.
I particularly enjoy the surveyor’s satisfied face and gentle head nod when he witnesses Bond get into his car, only to have his day ruined when he realizes the “person” in the phone booth is an empty cello case clothed with a hat and coat.
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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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This training scene from Die Another Day (2002) was pretty sweet. Not often do we get insight into 007’s training regimen, but here the audience is immersed in it perfectly. I remember thinking this was a dream sequence when I saw it in the theater, and aside from the jarring image of a dead Moneypenny at her desk with a gunshot wound to the head, I knew it was a farce when Bond’s bullet hit M’s hostage-taker’s arm and did no damage.
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Ouch! This stunt had to have hurt George Lazenby at the start of this fight sequence from On Her Majesty’s Secret Service (1969). Maybe a concussion? Whiplash?
After Bond returns to his suite 423 to see Tracy, he quickly finds himself in the middle of a fight and expertly jumps right in. Although the fight is a bit clunky and has that 1960’s sped-up feel (I guess they did that for effect back in those days), I do like the end where the defeated henchman shows signs of life but quickly gives back up and passes out. The decor and post -filled pony walls in this scene are an eyesore, like a lot of the visuals from this time period and movie, and I’m afraid the “gate crasher” quip falls a bit flat.
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It’s surprising to see James Bond (Sean Connery) show some level-headedness in Goldfinger (1964) when Tilly Masterson (Tania Mallet) honks and aggressively passes him on the roadway. Just as 007 is about to floor it and throw into high gear, his better angels overcome the temptation and he keeps his focus on the task at hand: tracking Goldfinger. It’s a rare occurrence to see Bond show such restraint, and refer to himself as 007 in the third person, for that matter.
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This cut sequence from Diamonds Are Forever (1971) showing the power of Blofeld’s space laser is absolutely hilarious. Adding to the camp of the movie, this seemingly quickly put together, crude sequence looks to be more of an inspiration for an Austin Powers movie rather than a flex of a Bond villain’s power.
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Karl Stromberg (Curt Jurgens) shows his ruthlessness in this scene from The Spy Who Loved Me (1977). Although short, I enjoy it because it shows a side of Stromberg that he technically could have avoided revealing.
He didn’t need to be the one to push the button to blow up the helicopter with Professor Markowitz and Dr. Beckman. His minions could’ve done it. He didn’t need to see the video of it either, but he chose to.
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This scene from Licence To Kill (1989) is easily the most bizarre and awkward of the Dalton era. On Della and Felix Leiter’s wedding day, Bond and Della cavort around the wedding reception in a drunken stupor, almost as if they’re the betrothed themselves.
It starts off innocently enough with them falling into the room with the wedding cake, but their subsequent kisses are most definitely *not* innocuous and not innocent pecks on the cheek. I’d argue they are almost passionate. Did Bond and Della have a previous fling?
Although I wasn’t married in the 1980’s when this movie was released, I’m a married American and I’ve never heard of the “custom” where the bride kisses the best man. Did I miss the memo on that? This does not sound like a great custom. Just weird.
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Craig’s 007 is down on his luck after the kind of weird chase scene from No Time To Die (2021). He’s picked up by…007…(Nomi) in yet another car that should be getting more screen time in the movie, similar to Paloma. Wow, great revving of that ridiculous Aston Martin engine on the tarmac, I guess. Couldn’t have had a chase where Bond is the passenger and another 00 agent flexes their skill? Missed opportunity…and I distinctly remember these words enter my head about certain characters and parts of NTTD where screen times or parts of the movie were too short or not emphasized enough. I’d definitely say it’s one of my biggest gripes about the movie aside from (of course) the atrocious ending.
Anyways, back in this scene, Nomi does her best Mayday (O_o) impression ([]-[]) with some weird-ass (probably expensive) uncomfortable-looking sunglasses. Their conversation is interesting though: aside from his stern yet poignant “Where have you been?,” it was a little odd to hear Bond mention Swann’s (and his!) daughter and not speak up that she’s actually his child. Is he not proud of Mathilde? Is he embarrassed? Or does he just want to focus on the mission? Same goes for in the plane. M doesn’t mention that “Dr. Swann and her daughter” is actually Bond’s daughter as well, aside from telling Bond he “hopes they’re there.” If he doesn’t know, why wouldn’t Bond mention it? And if Bond has told no one, how would MI6 know to “give” the Aston Martin DB5 (which is a whole other ball of blah) at the end of the movie? It’s another scene in NTTD where a mention of Mathilde throws off the movie and detracts from its overall plot and flow. Stupid kid.
Luckily in this scene, however, Bond mentions the elephant in the room that exists whenever these two are together – namely, who is actually 007 now that Bond is back?
At the end of the car dialogue, Bond seems okay with passing the torch (“Thank you, 007.”), but getting in the plane, I think Q is about to welcome Nomi on as 007 but hesitates as Bond has passes by. Maybe Nomi can sense Bond wants 007 back or just feels it’s the right thing to do? During the movie, I enjoyed the back-and-forth and debate between them and M, but overall at the end, this small plot point wasn’t really as appealing or worthwhile. Instead, I’d have preferred Bond’s code name put on-hold (or retired?) and awarded to him on his return. Nomi would have been a better 002 or 0010 (yes, why not double-oh ten? The numbers have to go past 9, right? Could’ve put that question to bed…)
