|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Like any of the films, I either like them based on how involved I am in the story, how much I like the actors and dialog and so on. I'm not a "this guy isn't right for Bond, he's classless, a bully, too fey, not fey enough, blonde, Australian, etc." I'm not a fan of the books, most of which I found to be pretty poorly written. Only a few of them were excellent reads, in my opinion. So, with that in mind... Loved Skyfall, the film and music. I thought it was the best 007 film in years. Casino Royale: ditto. Quantum of Solace was hideous, but the music was great. Is John Barry the heart and soul of 007? Not to me. I loved many of his scores, but he also was just as liable to put in a bland effort as anyone. Man with the Golden Gun is easily his least inspired. He called his Bond film works "million dollar Mickey Mouse Music." Fans elevate it to the upper stratosphere, but perhaps he didn't think as highly of it. I'll say this: during his era, very few composers came close to creating scores as entertaining. George Martin's LALD is pretty damned great, but Marvin Hamlisch's TSWLM actually drags the film down. FYEO, by Bill Conti, is equally "disco" but less smarmy and actually excellent for the most part. Michael Keman, who composed some of the best action scores of the 80's, doesn't do the same for LTK and the less said about Eric Serra, the better. However, and this is probably really gonna destroy my cred with the uber fans here, David Arnold returned 007 to his former musical glory. He was the perfect choice for TND. Sadly, the next two scores fell into the techno trap that devoured Brosnan's entire remaining run (a sad fate for the best cast actor to play the role since Connery). However, CR and QoS were musical masterworks, and Arnold's best Bond scores. And, frankly, I loved Skyfall's score. I listen to it a lot. I'll say that Barry put the heart and soul into Connery's (and Lazenby's) Bond and elevated a few of Moore's: Moonraker is gorgeous and AVTAK has a lovely score. But Bond works without Barry. 007 just needs an better composer than many of the fill ins. I'm gonna duck out of the way now while the bricks and tomatoes sail over my head....
|
|
|
|
|
|
Monty Norman gonna sue yo ass! Is there a luckier composer than Norman?
|
|
|
|
|
|
|
Posted: |
Oct 5, 2015 - 6:31 PM
|
|
|
By: |
follow me
(Member)
|
Is John Barry the heart and soul of 007? Not to me. Well, he created the James Bond-music. If that does not mean "the heart and soul of 007", I don´t know what else could be this heart and soul. IMHO he did more for the legend of 007 than Fleming himself. The whole 007-atmosphere would not exist without him. Can you imagine the original version of "Good Sign, Bad Sign" as James Bond theme? That´s the way Bond-music would have gone without Barry. I loved many of his scores, but he also was just as liable to put in a bland effort as anyone. Man with the Golden Gun is easily his least inspired. I disagree - he never put in a bland effort "as anyone". Especially as I happen to like TMWTGG - not his best Bond-score but still a completely better, different universe than Hamlisch/Conti/Arnold/Newman. He called his Bond film works "million dollar Mickey Mouse Music." Fans elevate it to the upper stratosphere, but perhaps he didn't think as highly of it. That seems very probable but that´s irrelevant. However, and this is probably really gonna destroy my cred with the uber fans here, David Arnold returned 007 to his former musical glory. He was the perfect choice for TND. Sadly, the next two scores fell into the techno trap that devoured Brosnan's entire remaining run (a sad fate for the best cast actor to play the role since Connery). However, CR and QoS were musical masterworks, and Arnold's best Bond scores. And, frankly, I loved Skyfall's score. I listen to it a lot. As you say - this destroys your credibility. Still, I agree that TND was an OK score by Arnold. And Skyfall? I get a skin rash when I have to listen to it. Sorry. But Bond works without Barry. 007 just needs an better composer than many of the fill ins. Let´s say the films still work as money-spinner without Barry. That´s because 90% of the audience doesn´t give a damn about the music. They would be happy to hear 20 pop-songs as background-music in a Bond-film...
|
|
|
|
|
|
Disagree away, no worries. I'm usually Johnny Minority when it comes to these things. Is John Barry the heart and soul of 007? Not to me. Well, he created the James Bond-music. If that does not mean "the heart and soul of 007", I don´t know what else could be this heart and soul. Cubby Broccoli and Harry Saltzman. After they were gone (and I think even Saltzman's departure made an impact), the films lost something. It's kinda hard to pin it down, but they just don't feel the same. For better or worse. John Barry deigned the Bond SOUND, and to this day, composers ape his style. But Broccoli and Saltzman were, for me, the real heart and soul of cinematic James Bond. Sometimes I feel like Barbara and Wilson are in it because they wouldn't be making films otherwise. I loved many of his scores, but he also was just as liable to put in a bland effort as anyone. Man with the Golden Gun is easily his least inspired. I disagree - he never put in a bland effort "as anyone". Especially as I happen to like TMWTGG - not his best Bond-score but still a completely better, different universe than Hamlisch/Conti/Arnold/Newman. Yeah, we're gonna disagree here, because TMWTGG and Octopussy are, for me, two of the weaker scores in the series. Yawners, actually. He sounds like he was on autopilot. He called his Bond film works "million dollar Mickey Mouse Music." Fans elevate it to the upper stratosphere, but perhaps he didn't think as highly of it. That seems very probable but that´s irrelevant. Not to me. If he did feel that way, then it could have meant it was a "take the money and run" assignment after awhile. When you get those you don't necessarily put your heart into it. Where he might have felt more passionately about Out of Africa, The Last Valley or The Lion in Winter. And the two 007 scores I mentioned feel exactly like that to me. Uninspired. Disinterested. And, for me, boring. However, and this is probably really gonna destroy my cred with the uber fans here, David Arnold returned 007 to his former musical glory. He was the perfect choice for TND. Sadly, the next two scores fell into the techno trap that devoured Brosnan's entire remaining run (a sad fate for the best cast actor to play the role since Connery). However, CR and QoS were musical masterworks, and Arnold's best Bond scores. And, frankly, I loved Skyfall's score. I listen to it a lot. As you say - this destroys your credibility. Still, I agree that TND was an OK score by Arnold. And Skyfall? I get a skin rash when I have to listen to it. Sorry. Ha, no worries. You could try an analgesic cream.
|
|
|
|
|
|
|
|
Posted: |
Oct 6, 2015 - 7:00 PM
|
|
|
By: |
follow me
(Member)
|
Cubby Broccoli and Harry Saltzman. Hard to say how much THEIR (artistic) influence was on the end product. There were so many people involved in making those films, especially the directors Terence Young and Guy Hamilton, then Richard Maibaum. Hard to say "from the outside" if it wasn´t rather their work that created the look & feel of the original (the first 6 or 7) Bond-films. I´m probably "Johnny Minority" myself here, but for me Bond-films are first and foremost "films that have the John Barry-James Bond-sound". Everything else is (was) of secondary importance to me. After they were gone (and I think even Saltzman's departure made an impact), the films lost something. It's kinda hard to pin it down, but they just don't feel the same. I agree - but that´s only proof that they had SOME (big) influence on the end product. Hard to say how much that influence really was. Sure, they certainly supervised everything, but in the end it were really OTHER people who did all the creative work. From Maurice Binder, Ken Adam to John Barry. For better or worse. John Barry deigned the Bond SOUND, and to this day, composers ape his style. But Broccoli and Saltzman were, for me, the real heart and soul of cinematic James Bond. Sometimes I feel like Barbara and Wilson are in it because they wouldn't be making films otherwise. I guess this depends on the definition of "heart and soul". They certainly were the ones who made the films possible, who "lived" for Bond (and the money)...Saltzman at least until he left. But were they the ones who made the films look like they did, created the "Bond-atmosphere"? I really don´t know. What I know is that John Barry certainly created the musical Bond-atmosphere - and for me that´s 90% of the "overall atmosphere" (OK, now it sounds like a weather report ). Not to me. If he did feel that way, then it could have meant it was a "take the money and run" assignment after awhile. When you get those you don't necessarily put your heart into it. Where he might have felt more passionately about Out of Africa, The Last Valley or The Lion in Winter. And the two 007 scores I mentioned feel exactly like that to me. Uninspired. Disinterested. And, for me, boring. I find TMWTGG to be a very exciting score and Octopussy, while it has the only Barry title-song which did not really sound very Bondian (but very beautiful), is a great score otherwise. I can´t remember WHEN Barry said this Mickey Mouse-thing, but it could well be that it was BEFORE he wrote some of his best Bond-scores. Let´s not forget that Barry was pressed for time when he wrote the score to TMWTGG. He had, I think, only three weeks time to write it, and he - contrary to me - was not happy with the song. Ha, no worries. You could try an analgesic cream. Yes, I could try this, but I guess it´s easier to avoid the pathogen.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|