The official James Bond Movie Tournament Thread
- Thread starter Mrs. Sawyer
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From Russia with Love
TruerToTheCore
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From Russia With Love
Ajendo
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Both movies are epic in awesomeness and it's a tough one. Dr.No you had Bond at his most ruthless through out the entire series imo and in FRWL you had Bond at his smoothest. I think I'm going to vote for FRWL for two reasons. John Barry's score and Robert Shaw's villainous Red Grant...oh yeah and the gypsy camp girl fight.
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From Russia With Love
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From Russia With Love
Mrs. Sawyer
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I'm gonna keep it up for one or two more days. Maybe Dr. No can stage a comeback. Tell your friends about the tournament!!!
Mrs. Sawyer
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From Russia With love Wins
Mrs. Sawyer
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Casino Royale
[YT]Gzkzv57c5dE[/YT]
Bond Girl
Eva Green as Vesper Lynd
Bond villain
Mads Mikkelsen as Le Chiffre
From imdb, a random user review
In the original Bond series, only a handful of films really attempted to touch base with the novels of Ian Fleming. "Dr. No" showed the Fleming feeling for character and action, but introduced elements to the plot that detracted from the 'hard-boiled' spy story that Fleming thought he was writing; "Thunderball" came close, but that was because Fleming developed the story on commission for the film. "On Her Majesty's Secret Service" had the book's plot pretty down pat, and was made in a kind of 'grand adventure' style, but of course it suffered from the choice of Lazenby - a professional model, not an actor - as Bond. "The Living Daylights" showed the producers' interest in returning to the roots, but Dalton was uncomfortable playing Bond, and uncomfortable with the wisecracks which had become part of the character's schtick - and which were really badly written for the Dalton films. "Goldeneye" was admirable attempt to update the Fleming milieu for the end of the Cold War, but left the character himself as yet without an 'updated' definition.
The decision to make a 21st Century version of Fleming's first Bond novel - and, beyond the update, to remain true to the novel, sans comic patter, sans sci-fi techno-schtick, sans major rewrite of the basic plot - promised to present Bond fans of all ages with a direct challenge. Do we want the hard-boiled spy Fleming first envisioned - patterned after Chandler's Philip Marlowe and W. Somerset Maughm's Ashenden ("or: The British Agent")? Or would we really rather have the suave stand-up comedian and Playboy magazine contributor introduced by Broccoli, Maibaum, Young, and company, in the second Connery film, "From Russia With Love"?
Well, the votes are still being tallied on that.
As someone who came to Bond reading "Goldfinger" at the tender age of twelve (the phrase "round, firm, pointed breasts" has been an inspiration to me since), the closer the films came to the sense of the novels, the happier I was.
So of course, this version of Bond is a joyous surprise for me - my youthful daydreams have been vindicated and at last fully satisfied. There are indeed elements added to the plot, but they are completely congruent with it. There is the use of current technology, but no techno-schtick - i.e., no Q. and no "gadgets". There are the luscious Bond babes (2 - the minimum Bond requirement), but there is no attempt to reduce them to photogenic sex-toys.
Fleming's plot actually requires the film's addition of some heavy action sequences (all done very snappy, with a brutally realistic edge), because the novel is very claustrophobic; the original TV version of the story (1955, with Barry Nelson as 'Jimmy Bond'), only used three indoor sets, because it could - except for the car chase and an attempted bombing at an outdoor café, Fleming's novel took place almost entirely within Bond's hotel suite and the gaming room. The film's opening this novel out to the world is actually quite welcome, and does not affect the central plot or its theme.
The character of Bond presented in this film may disappoint followers of the original films, but the news is, this is FLEMING's Bond - an orphan uncertain of his own identity, a disillusioned romantic trying hard to pretend he's incapable of emotions, a middle class, middle-brow, middle-level management type who just happens to kill people for a living. But he does it extremely well.
The other problem some general viewers may have is the level of violence in the film; having determined to film the novel realistically, director Martin Campbell has decided to ditch the 'B-movie' violence of most of the earlier films, and present us the violence with a hard 'British neo-noir' edge to it. Given the romantic plot twist toward the end, this would be a perfect date movie - except that the violence left some of the female viewers in the theater I attended clearly unsettled. That's not necessarily a bad thing, it just is part of the gestalt of the film's experience.
Cambell's direction is very good; the writing is crisp; production values are very high; the photography is stunning. Some of the stunt work is truly remarkable, worthy competition for Jackie Chan. The acting is rock-solid and believable for these characters. There is plenty of muscle for the action-film fan, and some real brains for the more general viewer to ponder later.
This film is best viewed with minimal reliance on knowledge of the previous series. In fact, it functions perfectly well as a 'one-off', a film without a series.
But of course, the ending invites a sequel. In Godzilla terms, Connery and Moore having given us the 'showa' Bond, Dalton and Brosnan the "Heisei" Bond, we now have the "Millenium" series James Bond - not a prequel nor even a 'reboot', but, really, an entirely new series about the same character. It is probably too much to hope for, but maybe they can make the sequels just as good as this.
Madasgascar Chase Scene
[YT]8w2oAWzHUfk[/YT]
[YT]Gzkzv57c5dE[/YT]
Bond Girl
Eva Green as Vesper Lynd
Bond villain
Mads Mikkelsen as Le Chiffre
From imdb, a random user review
In the original Bond series, only a handful of films really attempted to touch base with the novels of Ian Fleming. "Dr. No" showed the Fleming feeling for character and action, but introduced elements to the plot that detracted from the 'hard-boiled' spy story that Fleming thought he was writing; "Thunderball" came close, but that was because Fleming developed the story on commission for the film. "On Her Majesty's Secret Service" had the book's plot pretty down pat, and was made in a kind of 'grand adventure' style, but of course it suffered from the choice of Lazenby - a professional model, not an actor - as Bond. "The Living Daylights" showed the producers' interest in returning to the roots, but Dalton was uncomfortable playing Bond, and uncomfortable with the wisecracks which had become part of the character's schtick - and which were really badly written for the Dalton films. "Goldeneye" was admirable attempt to update the Fleming milieu for the end of the Cold War, but left the character himself as yet without an 'updated' definition.
The decision to make a 21st Century version of Fleming's first Bond novel - and, beyond the update, to remain true to the novel, sans comic patter, sans sci-fi techno-schtick, sans major rewrite of the basic plot - promised to present Bond fans of all ages with a direct challenge. Do we want the hard-boiled spy Fleming first envisioned - patterned after Chandler's Philip Marlowe and W. Somerset Maughm's Ashenden ("or: The British Agent")? Or would we really rather have the suave stand-up comedian and Playboy magazine contributor introduced by Broccoli, Maibaum, Young, and company, in the second Connery film, "From Russia With Love"?
Well, the votes are still being tallied on that.
As someone who came to Bond reading "Goldfinger" at the tender age of twelve (the phrase "round, firm, pointed breasts" has been an inspiration to me since), the closer the films came to the sense of the novels, the happier I was.
So of course, this version of Bond is a joyous surprise for me - my youthful daydreams have been vindicated and at last fully satisfied. There are indeed elements added to the plot, but they are completely congruent with it. There is the use of current technology, but no techno-schtick - i.e., no Q. and no "gadgets". There are the luscious Bond babes (2 - the minimum Bond requirement), but there is no attempt to reduce them to photogenic sex-toys.
Fleming's plot actually requires the film's addition of some heavy action sequences (all done very snappy, with a brutally realistic edge), because the novel is very claustrophobic; the original TV version of the story (1955, with Barry Nelson as 'Jimmy Bond'), only used three indoor sets, because it could - except for the car chase and an attempted bombing at an outdoor café, Fleming's novel took place almost entirely within Bond's hotel suite and the gaming room. The film's opening this novel out to the world is actually quite welcome, and does not affect the central plot or its theme.
The character of Bond presented in this film may disappoint followers of the original films, but the news is, this is FLEMING's Bond - an orphan uncertain of his own identity, a disillusioned romantic trying hard to pretend he's incapable of emotions, a middle class, middle-brow, middle-level management type who just happens to kill people for a living. But he does it extremely well.
The other problem some general viewers may have is the level of violence in the film; having determined to film the novel realistically, director Martin Campbell has decided to ditch the 'B-movie' violence of most of the earlier films, and present us the violence with a hard 'British neo-noir' edge to it. Given the romantic plot twist toward the end, this would be a perfect date movie - except that the violence left some of the female viewers in the theater I attended clearly unsettled. That's not necessarily a bad thing, it just is part of the gestalt of the film's experience.
Cambell's direction is very good; the writing is crisp; production values are very high; the photography is stunning. Some of the stunt work is truly remarkable, worthy competition for Jackie Chan. The acting is rock-solid and believable for these characters. There is plenty of muscle for the action-film fan, and some real brains for the more general viewer to ponder later.
This film is best viewed with minimal reliance on knowledge of the previous series. In fact, it functions perfectly well as a 'one-off', a film without a series.
But of course, the ending invites a sequel. In Godzilla terms, Connery and Moore having given us the 'showa' Bond, Dalton and Brosnan the "Heisei" Bond, we now have the "Millenium" series James Bond - not a prequel nor even a 'reboot', but, really, an entirely new series about the same character. It is probably too much to hope for, but maybe they can make the sequels just as good as this.
Madasgascar Chase Scene
[YT]8w2oAWzHUfk[/YT]
Last edited:
Mrs. Sawyer
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Goldfinger
[YT]http://www.youtube.com/watch?v=Qj-vmGlAt2Y[/YT]
Bond Girl
Honor Blackman as ***** Galore
Bond Villain
Gert Fröbe as Auric Goldfinger
Harold Sakata as Oddjob
From Imdb, a random user review
Goldfinger could best be described as the quintessential, definitive Bond film, the first of the series to set the necessities of the entire saga in motion. It is also the best of the Bond movies, arguably the most suave and sophisticated, far superior to the Roger Moore era and those who followed in Connery's footsteps. It is the Bond ultimatum, so to speak.
Goldfinger was the first of the iconic legacy to feature Q (Desmond Llewelyn) as a recurring comic relief figure. (He was introduced in From Russia with Love, the second film in the series, where he was credited as Major Boothroyd, and given little screen time.) It was also the first to truly setup the suave nature of 007, the tongue-in-cheek humor (absent in the first movie, Dr. No), the far-fetched gadgetry (including fast cars, this one being an Aston-Martin) and, arguably, the first of the series to feature the famous line, "Bond, James Bond," as a 007 catchphrase, versus a mere line of dialogue. When Bond storms out onto the patio of the motel room, the camera zooms in towards his face, the 007 theme song roars through the speakers, and he says his motto with cool confidence. It's Bond, baby.
Both of Goldfinger's predecessors were darker, more serious motion pictures -- more in-tune with the writing of Fleming versus the suaveness to later be salvaged from the series with the third installment. Although Dr. No was a terrific movie, and although From Russia with Love is exciting, Goldfinger beats them both. It features the best (and most famous) Bond villain to ever grace the screen, constantly spoofed in countless productions: Goldfinger (Gert Fröbe), the target of Austin Powers in Goldmember and, according to IMDb, referenced and spoofed in well over 100 other productions.
There isn't much of a plot, really. Goldfinger plans to rob Fort Knox and become the richest man in the world. Bond finds out and tries to put a stop to his mission. What entices us, and what makes the film so entertaining despite the absurdity, is its leniency towards itself. It doesn't mind being silly because the entertainment value far outweighs any flaws. Plus, it has some of the most memorable scenes in history, and arguably the best Villain Explanation Scene to ever be recorded. "Do you expect me to talk, Goldfinger?" Bond (Sean Connery) asks as a laser beam slowly makes its way towards his groin. "No, Mr. Bond, I expect you to die!" he says with mock ridicule, before walking away. The following shots is one of the only sequences in James Bond history where the iconic character actually seems fairly worried that fate may be playing a deadly hand.
Released in 1964, forty years later it stands as one of the most risqué Bond films to date. Especially for its time, there is brief nudity during the opening credits, sexual scenes, constant innuendo (including a Bond girl named "***** Galore," played by Honor Blackman) and implications of lesbianism.
Galore's sexual orientation is not delved into as deeply and explicitly as it may be dealt with in today's day and age, but the inclusion exists. Bond struggles verbally with Galore, trying to woo and seduce her, and she subtly implies from their very first meeting that she will not be seduced, claiming it is impossible for Bond to get very far with her, thereby insinuating that she is, in fact, a lesbian. According to the director of the film, Guy Hamilton, the entire situation is given much more emphasis in the novel by Ian Fleming, but it was simply too foul a subject for audiences back in 1964. Surprisingly, the verbal exchanges and implications behind the subject matter are much more effective.
All of the actors in Goldfinger are, at the very least, very good. But of course, it is really Sean Connery who demands our utmost attention and respect, for it is Connery whose inhumanly strong screen presence launched Bond into the heights of Movie Legend.
Recently in London I attended a James Bond exhibition, and as I made my way through a maze of Bond memorabilia and objects used in all twenty-something movies, I found myself realizing that the myth of 007 propels the films farther than anything else ever could. There is a sort of iconic legacy surrounding the entire Bond franchise that will probably never die. Different action heroes come and go, and nowadays Rambo looks criminally out of date, but Bond, in his black-and-white tuxedo, with all his suave so[/CENTER]phistication, will never grow old, because he is a timeless hero who is comprised of all the greatest heroic attributes to ever be assembled, and although his style and looks may grow weary amid the changing ages, his character will remain the ultimate hero, and I very much doubt that we will ever live to see a day when Bond becomes outdated.
Bond Laser Scene
[YT]7wyp909mQPM[/YT]
[YT]http://www.youtube.com/watch?v=Qj-vmGlAt2Y[/YT]
Bond Girl
Honor Blackman as ***** Galore
Bond Villain
Gert Fröbe as Auric Goldfinger
Harold Sakata as Oddjob
From Imdb, a random user review
Goldfinger could best be described as the quintessential, definitive Bond film, the first of the series to set the necessities of the entire saga in motion. It is also the best of the Bond movies, arguably the most suave and sophisticated, far superior to the Roger Moore era and those who followed in Connery's footsteps. It is the Bond ultimatum, so to speak.
Goldfinger was the first of the iconic legacy to feature Q (Desmond Llewelyn) as a recurring comic relief figure. (He was introduced in From Russia with Love, the second film in the series, where he was credited as Major Boothroyd, and given little screen time.) It was also the first to truly setup the suave nature of 007, the tongue-in-cheek humor (absent in the first movie, Dr. No), the far-fetched gadgetry (including fast cars, this one being an Aston-Martin) and, arguably, the first of the series to feature the famous line, "Bond, James Bond," as a 007 catchphrase, versus a mere line of dialogue. When Bond storms out onto the patio of the motel room, the camera zooms in towards his face, the 007 theme song roars through the speakers, and he says his motto with cool confidence. It's Bond, baby.
Both of Goldfinger's predecessors were darker, more serious motion pictures -- more in-tune with the writing of Fleming versus the suaveness to later be salvaged from the series with the third installment. Although Dr. No was a terrific movie, and although From Russia with Love is exciting, Goldfinger beats them both. It features the best (and most famous) Bond villain to ever grace the screen, constantly spoofed in countless productions: Goldfinger (Gert Fröbe), the target of Austin Powers in Goldmember and, according to IMDb, referenced and spoofed in well over 100 other productions.
There isn't much of a plot, really. Goldfinger plans to rob Fort Knox and become the richest man in the world. Bond finds out and tries to put a stop to his mission. What entices us, and what makes the film so entertaining despite the absurdity, is its leniency towards itself. It doesn't mind being silly because the entertainment value far outweighs any flaws. Plus, it has some of the most memorable scenes in history, and arguably the best Villain Explanation Scene to ever be recorded. "Do you expect me to talk, Goldfinger?" Bond (Sean Connery) asks as a laser beam slowly makes its way towards his groin. "No, Mr. Bond, I expect you to die!" he says with mock ridicule, before walking away. The following shots is one of the only sequences in James Bond history where the iconic character actually seems fairly worried that fate may be playing a deadly hand.
Released in 1964, forty years later it stands as one of the most risqué Bond films to date. Especially for its time, there is brief nudity during the opening credits, sexual scenes, constant innuendo (including a Bond girl named "***** Galore," played by Honor Blackman) and implications of lesbianism.
Galore's sexual orientation is not delved into as deeply and explicitly as it may be dealt with in today's day and age, but the inclusion exists. Bond struggles verbally with Galore, trying to woo and seduce her, and she subtly implies from their very first meeting that she will not be seduced, claiming it is impossible for Bond to get very far with her, thereby insinuating that she is, in fact, a lesbian. According to the director of the film, Guy Hamilton, the entire situation is given much more emphasis in the novel by Ian Fleming, but it was simply too foul a subject for audiences back in 1964. Surprisingly, the verbal exchanges and implications behind the subject matter are much more effective.
All of the actors in Goldfinger are, at the very least, very good. But of course, it is really Sean Connery who demands our utmost attention and respect, for it is Connery whose inhumanly strong screen presence launched Bond into the heights of Movie Legend.
Recently in London I attended a James Bond exhibition, and as I made my way through a maze of Bond memorabilia and objects used in all twenty-something movies, I found myself realizing that the myth of 007 propels the films farther than anything else ever could. There is a sort of iconic legacy surrounding the entire Bond franchise that will probably never die. Different action heroes come and go, and nowadays Rambo looks criminally out of date, but Bond, in his black-and-white tuxedo, with all his suave so[/CENTER]phistication, will never grow old, because he is a timeless hero who is comprised of all the greatest heroic attributes to ever be assembled, and although his style and looks may grow weary amid the changing ages, his character will remain the ultimate hero, and I very much doubt that we will ever live to see a day when Bond becomes outdated.
Bond Laser Scene
[YT]7wyp909mQPM[/YT]
Last edited:
The Joker
The Clown Prince of Crime
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Goldfinger all the way. It is the quintessential Bond movie:
- The Bond/Q relationship was established here
- The immortal Aston Martin DB5, complete with all it's nifty weaponry and gadgets made it's debut
- Gert Frobe's Auric Goldfinger stomps all over La Chirffe. And I haven't even mentioned Oddjob yet.
- Oddjob, the quintessential henchman. Fantatically loyal, practically invunerable in hand to hand combat, and that fabulous lethal bowler hat. Unlike with Jaws, Oddjob didn't devalue into a love sick puppy in space. Oddjob went out in style.
- Shirley Eaton, the infamous girl who was painted gold.
- ***** Galore, wow just her name alone makes her so memorable. But she was the first Bond woman to be sassy, smart, and it took a lot of effort for Bond to charm her and eventually sleep with her. She didn't just fall into bed with him like so many Bond girls.
- The classic laser sequence. "No Mr Bond, I expect you to die"
- The fantastic golf match between Bond and Goldfinger.
- The brilliant pre credits sequence. Bond takes off his scuba gear to reveal a tux underneath. The assassination attempt on him in his hotel room. "Shocking. Positively shocking"
- Shirley Bassey belting out the score.
- The brilliant assault on Fort Knox.
- Goldfinger's brilliant speech to the criminal mob bosses about his plan, and then murdering them all a few minutes later.
I could go on and on. It's the best of the best.
- The Bond/Q relationship was established here
- The immortal Aston Martin DB5, complete with all it's nifty weaponry and gadgets made it's debut
- Gert Frobe's Auric Goldfinger stomps all over La Chirffe. And I haven't even mentioned Oddjob yet.
- Oddjob, the quintessential henchman. Fantatically loyal, practically invunerable in hand to hand combat, and that fabulous lethal bowler hat. Unlike with Jaws, Oddjob didn't devalue into a love sick puppy in space. Oddjob went out in style.
- Shirley Eaton, the infamous girl who was painted gold.
- ***** Galore, wow just her name alone makes her so memorable. But she was the first Bond woman to be sassy, smart, and it took a lot of effort for Bond to charm her and eventually sleep with her. She didn't just fall into bed with him like so many Bond girls.
- The classic laser sequence. "No Mr Bond, I expect you to die"
- The fantastic golf match between Bond and Goldfinger.
- The brilliant pre credits sequence. Bond takes off his scuba gear to reveal a tux underneath. The assassination attempt on him in his hotel room. "Shocking. Positively shocking"
- Shirley Bassey belting out the score.
- The brilliant assault on Fort Knox.
- Goldfinger's brilliant speech to the criminal mob bosses about his plan, and then murdering them all a few minutes later.
I could go on and on. It's the best of the best.
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Goldfinger...the definitive Bond movie
childeroland
Superhero
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Goldfinger
Mrs. Sawyer
Avenger
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You guys may be surprised, but I'm going with Casino Royale on this one. The action sequences, the suspense, and Craig's Bond have me picking it, but definitely not by much. As awesome as ***** Galore is, I just plain adore Vesper Lynd.
Ajendo
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Both movies are awesome and defining moments not just in Bond history but in cinematic history and popular culture.
CR produced an awe-inspiring performance from Daniel Craig and gave us a Bond movie that was of a style and calibre of the older classics. It made Bond not just a BO heavy weight but once again a movie worth talking about with much respect and admiration.
However, GoldFinger is by far the winner for sheer iconography alone.
Shirley Bassey's thunderous theme song.
Barry's score (welcome to miami at the start of the movie after the TS is classic 60s cool)
The PTS is legendary...shocking
Shirly Eaton as gold-painted jill
***** Galore...I don't know how they got away with it back then, hell they couldn't get away with it now...bloody feminists!
Oddjob is iconic in every way from his bowler hat to his muted performance
the storming of fort knox
the AM db5.....with ejector seat
Connery Connery Connery Connery. The greatest Bond there was there is and ever will be.
Gert Frobe as goldfinger himself was just such a masterful villain. My favourite Bond villain of all time.
CR produced an awe-inspiring performance from Daniel Craig and gave us a Bond movie that was of a style and calibre of the older classics. It made Bond not just a BO heavy weight but once again a movie worth talking about with much respect and admiration.
However, GoldFinger is by far the winner for sheer iconography alone.
Shirley Bassey's thunderous theme song.
Barry's score (welcome to miami at the start of the movie after the TS is classic 60s cool)
The PTS is legendary...shocking
Shirly Eaton as gold-painted jill
***** Galore...I don't know how they got away with it back then, hell they couldn't get away with it now...bloody feminists!
Oddjob is iconic in every way from his bowler hat to his muted performance
the storming of fort knox
the AM db5.....with ejector seat
Connery Connery Connery Connery. The greatest Bond there was there is and ever will be.
Gert Frobe as goldfinger himself was just such a masterful villain. My favourite Bond villain of all time.
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Goldfinger. This is the perfect Bond film and is the one every one since has been trying to emulate.
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Goldfinger
Love CR, but Goldfinger IS Connery's Bond in a nutshell. It is awesome.
Love CR, but Goldfinger IS Connery's Bond in a nutshell. It is awesome.
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Goldfinger
I hate to do it, but this is ****ing Goldfinger. 'Nuff said.
I hate to do it, but this is ****ing Goldfinger. 'Nuff said.
Mrs. Sawyer
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Haha this looks like I'm gonna be the lone guy who picks Casino Royale. 
TruerToTheCore
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He loves only gold
GOldfinger
GOldfinger
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