The Man with the Golden Gun (1974)


Ninth Bond film and the second with Roger Moore, who, throughout the film, wears suits that are too big for him. Bond pursues the “Solex Agitator” device (tied into an interesting plot about the 1973 oil crisis) and arch-villain Scaramanga (Christopher Lee). It’s as racist and sexist as you’d expect from the vintage. That aside, what are the pros and cons of the film?

Pluses:
• M and Q’s base hidden in a wrecked ship in Hong Kong has brilliantly skewed angles with their own dream logic – superb set design.
• Christopher Lee is charming and convincing compared to most Bond villains. He could be the best of all. He certainly out-acts Roger Moore.
• The horror-funhouse in which Scaramanga traps his victims is imaginative and thrilling.
• This dialogue...
Bond: “But where is it collected from? You need the sun.”
Scaramanga: “Watch that mushroom-shaped rock. lngenious, isn't it?”

Minuses: 
• Britt Ekland is terribly weak as “Goodnight”, but the character is so underwritten that she isn’t given much to work with.
• The name “Goodnight” seems to exist only to enable a feeble pun at the very end of the film that isn’t worth the wait.
• Bond hits a woman again (see also From Russia with Love).
• Awful theme tune by Lulu: a breathless dash of a song.
• In one scene, Nick Nack throws countless wine bottles at Bond but no wine spills anywhere. Then Britt Ekland manages to clean up hundreds of shards of glass within minutes.
• The comedy character Sheriff J.W. Pepper returns from Live and Let Die and hasn’t got any funnier.
• A brilliant stunt in which a car corkscrews across a river is ruined by the pointless addition of a “whoopsie” sound effect. What were they playing at?!

Spectre (2015)


The opening sequence in Mexico City is one of the most exciting and visually striking you will ever see, with a glorious long, uninterrupted take without edits that shows James Bond prowling among the masked people in the Day of the Dead parade, entering a hotel lobby with his girlfriend, taking the lift to another floor, entering his room, leaving the room (and the girl) and walking along the top edge of the building to assassinate a terrorist. This flows into a scene with collapsing buildings and a dizzying helicopter fight. And all this before the titles sequence.

As in Skyfall, which this is nearly the equal of, there’s dry humour and the character has been refined to a perfect crystalisation of what Bond is about. Daniel Craig – in his fourth appearance in the role – absolutely nails it.

It’s visually stunning and the pacing is expertly handled. The villain (Christoph Waltz as Blofeld) is convincingly creepy and the Bond girl (Léa Seydoux as Dr. Madeleine Swann) is refreshingly unimpressed by 007 – for a while, anyway, until she inevitably falls for him.

Aside from Bond’s invincibility, the only thing that doesn’t ring true is the big meeting of SPECTRE agents. Would such a top-secret organisation really put all of its members in one room?

Really looking forward to the follow-up.

From Russia with Love (1963)


In the second James Bond film, Sean Connery is reasonably credible if you can accept his character’s psychopathic tendency to make wisecracks when his victims die.

The plot is typically incoherent. For example, the role of the Russian girl (played by Daniela Bianchi) turns out to be completely pointless as she never does any of the work SPECTRE hired her for. It’s rather shocking to see Bond hitting her, but then he was never supposed to be a nice guy.

There’s an utterly ludicrous scene set in a gypsy encampment: Bond gets to see two scantily clad women grappling with each other in a “fight to the death” before saving them and earning them both as his “reward”.

There are engaging moments: for example, the parts on the Orient Express have a certain tension. And Blofeld – face unseen, hands stroking his white cat – has an undeniably iconic quality.

But is it a good film? Not really.