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 Posted:   Jan 9, 2011 - 2:44 PM   
 By:   Peter Greenhill   (Member)

Goldfinger definitely deserved it. The perfect Bond score.

 
 
 Posted:   Jan 10, 2011 - 6:56 AM   
 By:   neotrinity   (Member)



Re ‘Stalking’’s Sinister Style Department:

We quite concur with both your appraisals, Hands & TeeGee; it’s a striking piece of work



that superbly sets the stage for the vicious cat-and-mouse-deadly-game to come. All hands
Messrs. Young, cameraman Moore, Hunt, Connery, Shaw and, a’course,

the musical JB himself

– deserve eternal distinctive due.

 
 Posted:   Jan 10, 2011 - 7:54 AM   
 By:   Ron Pulliam   (Member)

No question about it:

OHMSS!

 
 
 Posted:   Jan 12, 2011 - 2:51 AM   
 By:   villabourani   (Member)

OHMSS


www.musicatthemovies.wordpress.com

 
 
 Posted:   Jan 31, 2011 - 3:43 PM   
 By:   neotrinity   (Member)



And Leave Us Not Forget His Fantastic Odes to the Final Frontier Department:



 
 
 Posted:   Jan 31, 2011 - 4:26 PM   
 By:   Redokt64   (Member)

On Her Majesty's Secret Service

 
 
 Posted:   Jan 31, 2011 - 7:15 PM   
 By:   Ken Longworth   (Member)

Goldfinger. The music, especially in the scenes of the raid on Fort Knox, really boosted the film.

 
 
 Posted:   Jan 31, 2011 - 8:19 PM   
 By:   Eugene Iemola   (Member)

"Goldfinger definitely deserved it. The perfect Bond score."

The perfect Bond film.

 
 Posted:   Jan 31, 2011 - 9:46 PM   
 By:   Steve Johnson   (Member)

"Goldfinger definitely deserved it. The perfect Bond score."

The perfect Bond film.


I agree it's the definitive Bond movie- "You are a woman of many parts, Pussy"

and I love the score but I still after all these years pull a 1968 Academy and give it to YOU ONLY LIVE TWICE/OHMSS.

I can't choose between them- they are equally great.

 
 
 Posted:   Feb 3, 2011 - 9:47 AM   
 By:   neotrinity   (Member)

eek narf eek Narf eek NARF ...

 
 
 Posted:   Feb 3, 2011 - 1:42 PM   
 By:   Ellington   (Member)

If I have to have just one, I find it very difficult to choose between these three:

Diamonds Are Forever
On Her Majesty's Secret Service
You Only Live Twice

I also think these meet a benchmark of quality worthy of an Academy Award:

Goldfinger
The Living Daylights
Moonraker

(probably in that order).

 
 Posted:   Feb 3, 2011 - 1:56 PM   
 By:   Warlok   (Member)

OHMSS, You Only Live Twice, or The Living Daylights.

I think The Man With The Golden Gun is up there as well... I seem to receive that one more seriously than some.

Thor, I too love the Golden Eye title track.

 
 
 Posted:   Feb 4, 2011 - 12:41 AM   
 By:   Dr Lenera   (Member)

On Her Majesty's Secret Service for me. After that, in order
You Only Love Twice
Thunderball
The Living Daylights

I agree to an extent on The Man With The Golden Gun, the score is quite underrated in my opinion and seems to have been lost in the general negatve opinion of the film [which is partially justified!].

 
 
 Posted:   Feb 4, 2011 - 1:24 AM   
 By:   filmusicnow   (Member)

Best Score - "Goldfinger", "On Her Majesty's Secret Service", "Raise The Titanic"
Best Song - "Goldfinger", "We Have All The Time In The World"

 
 
 Posted:   Feb 4, 2011 - 3:18 AM   
 By:   kcm1986   (Member)

i think overall THE LIVING DAYLIGHTS was his best score. of course, there was nothing wrong with his other scores. i just really think that he really put his heart into DAYLIGHTS as it was his last film.

 
 
 Posted:   Feb 4, 2011 - 1:13 PM   
 By:   Ellington   (Member)

I thought that the reason he didn't do Licence To Kill was simply that he was not available because of his ruptured oesophagus? I don't think he approached The Living Daylights thinking "this is my last, better make it a good one." Actually, I was listening to TLD today, and was just thinking that it was about as "modern" as JB got, and I wonder, if he hadn't become ill, would he have gone further down that line, and not down the very lush and slightly melancholy route he went down post 1990? A route that, I rush to emphasise, I enjoy very much - scores like Chaplin and Playing By Heart are among my favourites.

 
 
 Posted:   Feb 14, 2011 - 1:02 PM   
 By:   neotrinity   (Member)



 
 
 Posted:   Feb 14, 2011 - 1:35 PM   
 By:   Timmer   (Member)

I thought that the reason he didn't do Licence To Kill was simply that he was not available because of his ruptured oesophagus? I don't think he approached The Living Daylights thinking "this is my last, better make it a good one." Actually, I was listening to TLD today, and was just thinking that it was about as "modern" as JB got, and I wonder, if he hadn't become ill, would he have gone further down that line, and not down the very lush and slightly melancholy route he went down post 1990? A route that, I rush to emphasise, I enjoy very much - scores like Chaplin and Playing By Heart are among my favourites.

I suspect that very near death experience plays a large part in what you say, Ellington, something like that would affect anyone and would have you re-evaluating your life. We should all be thankful that John Barry gave us so much more music to love, if it wasn't for the Doctors who so profoundly saved his life we could all have been talking about John in the past tense for over 20 years now and pontificting about what films he might have worked on.

p.s. I think MASQUERADE ( 1988 ) was the last film he completed before his illness.

 
 
 Posted:   Feb 14, 2011 - 1:55 PM   
 By:   Ellington   (Member)

I must listen to Masquerade again - I haven't heard it for some time. Thanks for reminding me of it.

 
 
 Posted:   Oct 5, 2012 - 2:04 PM   
 By:   neotrinity   (Member)



Mind yu, it’s been quite awhile since this question has been out on the
retrospective floor, sooooo -



on this auspicious 50th year Global Bond Day, we thot we’d wave the Barry flag again - hopefully eliciting further perceptions to augment, balance and advance all the worthies that contributed previously.

Bond Hailing Frequencies Open Once Moore wink Department smile

 
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