Has anyone ever done a tally on where the James Bond theme elements have been integrated into the underscore of any of the movies (and where the most interesting use/changes have been made)?
The elements 1. The gun barrel fanfare 2. Rising and falling semitones 3. The twangy guitar theme 4. The big band swing section
Interesting topic, as the James Bond theme appears plenty of times throughout the series' 23 film span. Maybe one day I'll be ambitious enough to actually note down every appearance in every film, but here are what I find to be some of the more interesting and unique instances of the theme.
David Arnold's score for Casino Royale is notable for its restraint in NOT using the classic James Bond theme, but rather a similarly bold and brassy kind of "Bond Begins" theme heard in "Blunt Instrument", "I'm the Money", "Aston Montenegro", and the title song "You Know My Name". This creative restraint makes for a very satisfying final scene where Bond is finally the Bond we all know and love and Arnold lets loose with one of the coolest, most classic sounding renditions of the James Bond theme to date in "The Name's Bond... James Bond".
But earlier in the film, during the dinner jackets scene with Vesper, Arnold playfully and coyly inserts part of the James Bond theme in the bassline beneath his "You Know My Name" theme as Bond checks out his new tuxedo from Vesper in the bathroom mirror. One of the strengths of Casino Royale as a film is how it strips away the traditional trappings of the character of Bond and allows the audience to gradually see how the man becomes the icon. This playful piece of music known as "Dinner Jackets" is one of those fine moments that smartly nods to Bond becoming Bond. The moment I'm talking about plays from 1:07 onward here:
Arnold's next film, Quantum of Solace, continues Royale's more restrained use of the James Bond theme, notably deploying the theme in far subtler statements than in past outings, for example at the tail end of "Pursuit at Port au Prince" or on twangy guitar in "Bolivian Taxi Ride", heard here:
As Quantum of Solace served as a direct continuation of Casino Royale and was still essentially about Bond finding his footing, carving his own way, and becoming a trusted agent of M's, I appreciated having the James Bond theme in the film's "subtext" so to speak. Thought that was a really smart way to go about it.
My personal favorite instance of the James Bond theme appears in On Her Majesty's Secret Service when Bond meets Draco for the first time. Barry uses a subtle fluctuation of the theme to underscore Draco's following outburst regarding the state of his suicidal daughter, Tracy: "What she needs is a man...to dominate her! To make love to her enough to make her love him! A man like you." Amidst the lovely "We Have All The Time in The World" music surrounding this brief inclusion of the James Bond theme, the theme takes on a mysterious and peculiarly dangerous quality, casting a bit of a shadow or a question mark over the nature of the kind of man Bond really is. Brilliant scoring there from Barry.
Other brief instances of the James Bond theme I really like include the striking opening brass of the From Russia With Love titles, the equally striking brass of Skyfall's opening as Bond appears in silhouette, and Kamen's piano sprinkling of the theme as Bond sneaks across the roof of the casino in Licence to Kill.
And as far as interesting uses of the James Bond theme go, you can't forget the one time the theme appeared in the film proper in Octopussy, however much the scene may make some groan:
Has anyone ever done a tally on where the James Bond theme elements have been integrated into the underscore of any of the movies (and where the most interesting use/changes have been made)?
The elements 1. The gun barrel fanfare 2. Rising and falling semitones 3. The twangy guitar theme 4. The big band swing section
A tally would certainly be possible for the clear instances, but there are several other places where a judgement call would be required because one or more musical elements of a cue might be considered a development of the Bond elements.
Take the Venini glassworks from Moonraker. The solo flute snippets that start the cue could be considered altered versions of the tune from the big band section of the Bond theme. Then a slow version of the Bond accompaniment appears but overtop there is a melodic fragment that could be heard as deriving from the end of the guitar riff. Whether these "count" depends on how one defines statements of the Bond theme elements.
Or how about the tune in this lively cue from The Living Daylights:
Is this tune a development of the guitar riff, or something new? I consider it the former, but there's bound to be disagreement on these things. Perhaps there could be a "maybe" category if someone is considering creating such a list.
David Arnold's score for Casino Royale is notable for its restraint in NOT using the classic James Bond theme,
Which they stated was done because "Bond isn't Bond" yet (whatever that's supposed to mean; actually, I do know what it means, but I find it lame) and hasn't "earned" his theme until the end, a notion that seems to have greatly influenced many prequels/remakes/firsts-in-a-series that has become really tiresome. Look at all the older films that were the first of a series (or essentially just one-offs) that had great main themes right out of the gate, providing a hook with which we could identify the character and film, and providing a memorable piece of music. None of this "they have to earn their theme" nonsense.
David Arnold's score for Casino Royale is notable for its restraint in NOT using the classic James Bond theme,
Which they stated was done because "Bond isn't Bond" yet (whatever that's supposed to mean; actually, I do know what it means, but I find it lame) and hasn't "earned" his theme until the end, a notion that seems to have greatly influenced many prequels/remakes/firsts-in-a-series that has become really tiresome. Look at all the older films that were the first of a series (or essentially just one-offs) that had great main themes right out of the gate, providing a hook with which we could identify the character and film, and providing a memorable piece of music. None of this "they have to earn their theme" nonsense.
Right. One of many reasons i didn't like the first two 'reboot' Bonds! bruce
Yeah, Monty Norman is the only composer to have his music in all 23 films.
And yes, I *am* lighting a rocket and then running away.
Norman or Barry, they do all have at the very least a touch of that iconic theme. Now, I actually haven't seen the last couple of Harry Potters but I'm pretty sure they all have a smidgen of Williams' theme over the Warner Bros logo. These things remind us we're watching the same character, however much he might have changed over the years. For me a Bond film without the Norman/Barry theme just isn't the same. Try watching those other two we all know and see what I mean!
Shame then that someone at Warner couldn't have insisted that the Batman franchise should always carry at least the five note Elfman motif from the first two (Burton) films. Just that little bit of unity..
And yes, I know that franchise was totally rebooted. Still.. At least the last three would have had five more notes of melody than they have!
1. The Gun Barrel Fanfare – (John Barry Composition) 01:14 – 01:17
2. Rising And Falling Semitones – (John Barry Composition) 00:00 – 00:07 – and – 00:34 – 00:40 – and – 01:17 – 01:20
3. The 'Twangy' Guitar Theme – (Monty Norman Composition) 00:07 – 00:34 – and – 01:20 – 01:34
4. The 'Big Band' Swing Section – (John Barry Composition) 00:40 – 01:07
5. Swing Section: 'Extension' (See my link below) – (John Barry Composition) 01:07 – 01:14
6. Coda / Conclusion (based on 'big band' swing section) – (John Barry Composition) – 01:34 – 01:46
And – as some people might say… The John Barry Compositions were composed – because of – Monty Norman’s “twangy guitar theme”… If Monty Norman had not contributed originally – then – … who knows?
John Barry would not have composed what is today considered to be – the ultimate spy theme. Even so – they are John Barry compositions.
I have included two extra sections… Number #5 is the – “Swing Section” Extension… for some reason – I have not really heard in any other James Bond score – (other than “Tomorrow Never Dies”)
Look here in this video – I absolutely love David Arnold’s usage of it here – start watching around the 05:50 mark – as it happens at the conclusion of the video: https://www.youtube.com/watch?v=SG4fW9_yJcY
In the court case the ruling indicated that the middle swing section was based on Norman's "Dr. No Fantasy" or something else he wrote, but I sure don't hear it.
@Reeve I have included two extra sections… Number #5 is the – “Swing Section” Extension… for some reason – I have not really heard in any other James Bond score – (other than “Tomorrow Never Dies”) Look here in this video – I absolutely love David Arnold’s usage of it here – start watching around the 05:50 mark – as it happens at the conclusion of the video: https://www.youtube.com/watch?v=SG4fW9_yJcY
Hans Zimmer uses it in No Time To Die, but obviously without "swing" (for instance, listen to "Cuba Chase", from 03:44 to 04:25)
Yep; that’s it! You can hear it in – “The World Is Not Enough” – the cue being: Track #19: Caviar Factory – it happens between 03:30 – 03:37…
And; I can also hear it rather well in the “GoldenEye” cue as well: “Tank Chase Around St. Petersburg” …which John Altman is responsible for. You can hear it between 05:03 – 05:13 – a very nice variation on that segment… …it is also hinted on that same cue between 02:50 – 02:57.
In Hans Zimmer’s score for – “No Time To Die”….the section of music found in “Cuba Chase” – from 03:44 to 04:25… That is based on the Monty Norman composition. The ‘twangy’ guitar theme – (which the author of this thread calls). I would call it: “distinctive rhythm of the guitar theme”. Anyway; Hans Zimmer based his music on that section.
Also the music used in the “Thunderball” cue – “Chateau Flight” – was based on the Monty Norman composition…. The ‘twangy’ guitar theme… (as well as fragments of – “The Big Band Swing Section”)…
It is sad that it wasn’t a lot more; as whenever John Barry came to the time of using it; he would always conclude the cue. It always annoyed me.
He would use – “The Big Band Swing Section” – and then he would stop it at that. I wonder why? Didn’t he like it?
He would use the fanfare material to open up the James Bond Movies; but not the section that precedes it? This is the only place where I can ask such questions.
Possibly; would you have an answer Stephen Woolston?
The elements 1. The gun barrel fanfare 2. Rising and falling semitones 3. The twangy guitar theme 4. The big band swing section
I think this is a superficial approach to Bond music though and is why we have some of the most generic music coming out of the Daniel Craig Bond films.
Much of Barry’s music did not contain the twangy guitar and big band swing section at all, and doesn’t sound as “spy” as movies like AUSTIN POWERS and THE INCREDIBLES would make you think they do. I think Barry, very intelligently, adapted his scores to fit the moment and moved away from the big band and guitar pretty much after GOLDFINGER. What you’ll see is that Barry attempts to come up with a concept that fits the setting of the film as a whole. THUNDERBALL introduces elements that sound like floating underwater. YOU ONLY LIVE TWICE introduces deep bass that was popular at the time and little flourishes that match the setting in Japan. ON HER MAJESTY’S SECRET SERVICE has pretty much no guitar at all, innovatively moving into synth.
The only person that brought back the guitars and big band sound was David Arnold, but he doesn’t overuse it and his scores benefit from extremely strong melodic work and orchestrations that make them extremely interesting listens from beginning to end.
But all the Daniel Craig films after Arnold have the most generic, almost spoof-sensibility for the music. How many Daniel Craig title songs just sound like a variation of the Bond theme? Whereas the majority of title songs for Bonds 1-19 were different melodies each time. The elements of a Barry score are not the “spy” sounds but strong melodic material, developments of that melodic material and additional themes, variations of music based on locale, songs for the danger and excitement of the plot of the villain being set into motion, and for James Bond spying.
The latter are missing nowadays - we hear nothing that resembles the type of song like “Searching for the Vulcan”, “Gumbold’s Safe”, “Over And Out”, “In Search of Scaramanga’s Island”, “Flight Into Space”, “Bond At The Monsoon Palace”, “The Sniper Was A Woman”, “Hercules Takes Flight”, etc. Those types of cues are really the heart of Barry’s scores, the danger, intrigue, and mystery - and they are utterly absent from the new scores.
This doesn't count as a film theme, but Lords Of The New Church's guitar riff on "Li'l Boys Play With Dolls" sound a lot like the twangy guitar theme on the original version of The James Bond Theme.
I agree with J. Park that those cues he mentioned are sadly absent from the latter Bond scores, but then, sadly again, so are the types of scenes those cues accompanied.
Barry has deservedly gotten a lot of credit, if not Oscars, for his great Bond scores and songs, individually and collectively, but he doesn't get enough credit for holding the series together for twenty-five years, more or less. He not only composed eleven Bond scores, he's the only Bond composer to compose for four different Bonds--and even more styles while maintaining a consistent style and at the same time creating a unique identity for each score.
As mentioned; John Barry did – NOT – use the – "Swing Section Extension" – music within the scores themselves – which only lasts seven seconds in the arrangement of the James Bond Theme...
However; even so...
I prefer John Barry's orchestrations to the Roger Moore movies... THE SYMPHONIC VERSION – of The James Bond Theme... rather than the more pop influenced approach.
Maybe a lot of people prefer the original version as heard in – 'Doctor No' – because all the elements are there.
However; the most complete – Symphonic Version – of The James Bond Theme – (other than re-recordings) – can be heard in – 'Octopussy' – followed by – 'The Man With golden Gun' – which has a faster tempo than the other Symphonic Arrangements.
As for the unreleased 'Freefall' cue heard in – 'Moonraker' - that probably gives you an example of why I prefer the Symphonic Version rather than the earlier sixties arrangements.
John Barry used a very small portion of the theme in – 'A View To A Kill' - and that was basically based on ' The Big Band Swing Section' - it barely lasted a minute within the score.
Fortunately; he came back to the Orchestral Arrangement of the theme in ' "The Living Daylights' - but it was accompanied by some pop styled orchestrations - to give the New 007 - a distinctive texture you might say. However; he continued to neglect the – "Swing Section Extension".
Here you go! The ultimate arrangement of – “The Swing Section – (Extension)” – as orchestrated in: “Tomorrow Never Dies” – (I don’t know how to post the videos; so I can only provide you with a LINK).
It’s a great cue; but if you need to know what – “The Swing Section – (Extension)” – music really is… It is heard between: 00:29 – 00:41.
Note: In regards to – “Chateau Flight” – from – “Thunderball” – it does resemble – “The Swing Section – (Extension)” – but I always heard it – as – “The Monty Norman Composition” – with a difference. I guess that was the closest that John Barry came to using it within his scores.
