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Posted: |
Dec 23, 2008 - 5:44 AM
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By: |
neotrinity
(Member)
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No Disputing Your Points on the 'M' Line, Eric-O Department:
That's always been the singular distraction (if you wanna dub it so) since Mr. Brosnan beamed aboard but it's non-abstractly problemmatical, too, 'cause even if she did come in with an entirely new identity,
the associations of the film franchise's legacy would still be disarmingly distinctive simply by the presence of
(Less so, a'course, in that Q could simply be seen as accommodating each new incarnation of Mr. Fleming's uber-fantasy).
Still, thou dost see how little quantum of solace remains, n'est ce pas?
[ For the royal record, however, Penelope Lois
rings right wondrously well ] ... 
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Posted: |
Mar 2, 2009 - 7:33 AM
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By: |
neotrinity
(Member)
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What Becomes of the UnBonded Broken-Hearted? Department:
Outside (never-to-be compared to or equaled with) Diana Rigg’s sublimely tragic Tracy, she’s the most pivotally important woman in 007 history. And, for the second time (in our ever Unhumble estimation), the film-makers got it remarkably right with beautifully bullseye casting.
From her first unanticipated appearance on the train, Eva Green captures Vesper Lynd’s complexity in all its compelling dimensions.
The 'hate-at-first-sight not-wanting-to-get-to-know-you-you-arrogant-bastard' sequence is just about the best damn scene between Bond and a (not-potential) paramour unencountered since The Great Scot’s exemplary era. Kudos to Paul Haggis’
exquisite character structure – everything is right there via the distinctive dialogue: the competitive disdain ( via one of our all-tyme favorite lines: “You think of women as disposable pleasures rather than meaningful pursuits”), icy but passionate intelligence, shrewd insight, playfully poisonous repartee and absolute equality of essence.
We believe Maibaum and Fleming would've proudly approved.
Ms. Green’s British accent is smoky, impeccable and convincing. As to that, Vesper's various shades -
cooly calculating where measuring men (sartorially no less than emotionally and psychologically),
haughtily imperious,
stubbornly determined,
not-always-in-control but, more importantly, still In Charge.
Which leads to our Second Favorite Scene that unexpectedly showcases Vesper’s vulnerability
and Bond’s evolving intimacy.
[ Ms. Green is also responsible for one of the best Bondian quips in an interview when she said, “He’s the Bond girl in this, not me!” ].
So when the tables are turned and things shift into substantially grayish (rather than convenient black-and-white) areas,
there’s a subtle inevitability to it all.
And the denoument is well worth the wait (however chagrined one is knowing what’s ahead). To their credit, the Venice sequences are every inch as Bond-spectacular as ever – when’s the last time you witnessed an entire building incredibly capsizing in all its riveting splendor?
All of which gives David Arnold his chance to rise-to-the-occasion by crafting his most emotionally-moving musical cue for the heart-tugging watery farewell which Mr. Craig and Ms. Green – and Martin Campbell’s detailed direction – sock over smashingly.
Ah, “another time … another place”? 
No, not quite that cavalier. She’s unmistakably right after Tracy in seminal significance - even tho she was, conceptually, born before her. And Ms. Green acquits this key character admirably.
Most memorably so …
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The legacy of 007 is such that even as he has transcended the Cold War generation of the 50s-60s he was born into, and is still going strong nearly 50 years later, I predict it will still be the same when it comes time to mark the hundredth anniversary of the first Bond film.
Thanks neo, for making this entertaining thread possible!
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) mem’ry.
