I love your review of DAF, Chrisno1. You're kinder to the film than I am, but your review gives a very accurate and fair treatment of it. Keep them coming.
The first one of your reviews that I actually read, I liked it but disagree on some key points. "Lois Chiles is only adequate as Holly Goodhead, a virtual clone of Anya Amasova, from the same starchy manner to the equally decorous wardrobe. Haughtily composed, Chiles never seems to warm to the task. She’s good sparring with Moore, cutting him to size, but less convincing when required to do anything emotional. Seduced by Bond, Holly’s acceptance of his advances is calculated; she’s a woman unencumbered by feeling. She doesn’t display any of the vulnerability of Anya, nor is she ever angry or animated. Chiles doesn’t quite have that model poise either, a tantalizing immeasurable that elevates the impact of many Bond heroines. What she does have, which Barbara Bach’s Anya lacked, is a central role to perform. When Bond is shot into space, it is Holly who takes over. Already a NASA trained astronaut she has all the experience and knowledge Bond lacks. During the space scenes, she’s more authoritative, not simply toying with Bond, she’s leading him because he has to ask the questions. Sometimes, in Christopher Wood’s novelization, Holly is given the lines which Bond delivers in the movie and a little more of that would have gone a long way to making Holly Goodhead a worthwhile investment."
I think that in the Venice gadget exposition and her reveal as a CIA agent was a great scene. Roger and Chiles really hit it on there and it doesn't feel like Roger is dragging her along like he did with Barbara in Spy.
The only time that I felt that her performance was a little off was a-top of the cable car where she couldn't properly say "Hang on, James!". Like "I am Zao" that needed to be re-recorded or reshot. I wouldn't have that. They couldn't have Holly deliver all of those lines because then we would be detached from the real star of the movie, Bond.
I noticed in this review that you first mention the many positives of the film, then move on to the neutrals/negatives with some positives stuffed in.
Good review, easy to read. Moonraker/DAF are guilty pleasures of mine.
Should you ever want to see my own reviews, I'd deeply appreciate it.
I love all of your reviews here, Chrisno1. Your thoroughness is really appreciated and I think you treat each film fairly, weighing each of the pros and cons and not forcing your opinion on readers.
Your enthusiasm for Moonraker made me smile because I used to really love that film. It certainly has its charms.
I thought you were a bit harsh on Golden Gun. The film definitely has its problems, but the first and third acts, especially the pistols at dawn and Bond thinking he's being hunted by Scaramanga, are strong enough to make it one of my favourites. I enjoyed your appreciation for Moore's darker side in the film.
The 70s is definitely a mish mash of quality, with Bond losing his identity, apart from Spy, because the producers were more interested in making commercially successful films rather than remaining true to Fleming's character. But the results are some interesting films.
Interesting being a useful 11 letter word as I believe they were all excellent movies.
But even then, it was still ahead of its time, from characters (Wint and Kidd) to spectacular stunts (Side Whistle).
these in-depth reviews would make awesome reading in book form, I could happily spend a long weekend sitting in a Muskoka chair by the lake with a pocketbook full of this type of analysis, along with a couple of cold beverages
though then I'd be shouting at my book "I agree! no I disagree!" so maybe the interactive forum format has its advantages too
I like it how you're clearly appreciative of Moore and give clear and concise praise of his performances - which I wholeheartedly agree with.
I will say that I was expecting the DAF review to be harsher than TMWTGG's, but I like the perspective delivered on DAF - with the context of the American settings/audiences/characters (in particular your take on Jill St. John).
I think your review of TMWTGG is bang on. You've highlighted that the film has clear bright spots (darker Bond, Maud's acting, Bernard Lee's performance/character/motives) but highlight the stupidity of the Kung Fu rescue and Scaramanga not knowing how his island really works. I think TMWTGG suffers from the trio's own demise (Tom M's light movies) - which had to happen to bring back the 60s style in TSWLM...
On the subject of Moonraker, Moore and Lois Chiles really click at times in ways that I don't feel Moore did with Barbara Bach. My favourite scenes between the two are in Brazil where they spar in a very pleasant screwball comedy manner - their escape from the ambulance is very funny and I always get a laugh from their dialogue in the cable car scene:
"Hold on James"
"The thought had occurred to me!"
Moonraker isn't perfect, but when it works it really is very good indeed.
On the subject of Moonraker, Moore and Lois Chiles really click at times in ways that I don't feel Moore did with Barbara Bach. My favourite scenes between the two are in Brazil where they spar in a very pleasant screwball comedy manner - their escape from the ambulance is very funny and I always get a laugh from their dialogue in the cable car scene:
"Hold on James"
"The thought had occurred to me!"
Moonraker isn't perfect, but when it works it really is very good indeed.
On the subject of Moonraker, Moore and Lois Chiles really click at times in ways that I don't feel Moore did with Barbara Bach. My favourite scenes between the two are in Brazil where they spar in a very pleasant screwball comedy manner - their escape from the ambulance is very funny and I always get a laugh from their dialogue in the cable car scene:
"Hold on James"
"The thought had occurred to me!"
Moonraker isn't perfect, but when it works it really is very good indeed.
"...ice maiden coolness..." ) . "The coldest weapon of all." especially to your retinas.
There was a story between Lois and Cubby, not being entirely politically correct, he made a positive comment on Lois's behind.
She was offended by the way Cubby made the comment and started making a bit of a scene. I would understand where Holly would come from but I can't imagine of a way that he would've made such a comment without coming across as a weirdo.
Between Barbara and Lois, I prefer Lois's Holly Goodhead for the sheer fact that it doesn't feel weird watching her scenes with Roger.
A competent actor with a very inexperienced actress is never a good sight, especially if said actress isn't particularly talented.
Lois and Roger look natural and real on screen, despite the scenarios they are facing.
On the subject of Moonraker, Moore and Lois Chiles really click at times in ways that I don't feel Moore did with Barbara Bach. My favourite scenes between the two are in Brazil where they spar in a very pleasant screwball comedy manner - their escape from the ambulance is very funny and I always get a laugh from their dialogue in the cable car scene:
"Hold on James"
"The thought had occurred to me!"
Moonraker isn't perfect, but when it works it really is very good indeed.
Thanks, I'll have a read of that. TMWTGG seems to me to have been the nadir of the series with regards to sexism in Bond's general behaviour and the way Mary Goodnight is written. Andrea's plot line is all the more affecting in comparison, trapped in a loveless relationship with the abusive, sexually inadequate Scaramanga.
I tend to think that every Bond picture since has been a retrenchment from TMWTGG. By Moonraker when Bond acts like a sexist jerk (ie by being surprised that Dr Goodhead is a woman) we cringe, but we're meant to.
Back in the day, I saw this on first release. My friend and I liked it so much we didn't leave at the end of the movie. We stayed sat in our seats and watched it all over again. In those days you could do that without getting a torch shone in your face.
In my opinion, Barry's score is one of his finest. The "Flight Into Space" track on the album, has so many textures and contrasts, and it is genuinely haunting and uplifting.
On the subject of Moonraker, Moore and Lois Chiles really click at times in ways that I don't feel Moore did with Barbara Bach. My favourite scenes between the two are in Brazil where they spar in a very pleasant screwball comedy manner - their escape from the ambulance is very funny and I always get a laugh from their dialogue in the cable car scene:
"Hold on James"
"The thought had occurred to me!"
Moonraker isn't perfect, but when it works it really is very good indeed.
"...ice maiden coolness..." ) . "The coldest weapon of all." especially to your retinas.
Between Barbara and Lois, I prefer Lois's Holly Goodhead for the sheer fact that it doesn't feel weird watching her scenes with Roger.
A competent actor with a very inexperienced actress is never a good sight, especially if said actress isn't particularly talented.
Lois and Roger look natural and real on screen, despite the scenarios they are facing.
That's a very good point. Lois Chiles doesn't get enough credit for the skill she brings to the repartee with Moore. It makes a really nice change for Rog to have someone to bounce lines off who is more that just a straight man/gal. A couple of their scenes really sparkle.
Comments
#1.TLD/LTK 2.TND 3.GF 4.GE 5.DN 6.FYEO 7.FRWL 8.TMWTGG 9.TWINE 10.YOLT/QOS
8. TSWLM 9. TMwtGG 10. AVtaK 11. SF 12. TND 13. LtK 14. NTtD
15. MR 16. LaLD 17. YOLT 18. GF 19. DN 20. SP 21. TWiNE
22. TB 23. DAD 24. QoS 25. DaF
"Lois Chiles is only adequate as Holly Goodhead, a virtual clone of Anya Amasova, from the same starchy manner to the equally decorous wardrobe. Haughtily composed, Chiles never seems to warm to the task. She’s good sparring with Moore, cutting him to size, but less convincing when required to do anything emotional. Seduced by Bond, Holly’s acceptance of his advances is calculated; she’s a woman unencumbered by feeling. She doesn’t display any of the vulnerability of Anya, nor is she ever angry or animated. Chiles doesn’t quite have that model poise either, a tantalizing immeasurable that elevates the impact of many Bond heroines. What she does have, which Barbara Bach’s Anya lacked, is a central role to perform. When Bond is shot into space, it is Holly who takes over. Already a NASA trained astronaut she has all the experience and knowledge Bond lacks. During the space scenes, she’s more authoritative, not simply toying with Bond, she’s leading him because he has to ask the questions. Sometimes, in Christopher Wood’s novelization, Holly is given the lines which Bond delivers in the movie and a little more of that would have gone a long way to making Holly Goodhead a worthwhile investment."
I think that in the Venice gadget exposition and her reveal as a CIA agent was a great scene. Roger and Chiles really hit it on there and it doesn't feel like Roger is dragging her along like he did with Barbara in Spy.
The only time that I felt that her performance was a little off was a-top of the cable car where she couldn't properly say "Hang on, James!". Like "I am Zao" that needed to be re-recorded or reshot. I wouldn't have that. They couldn't have Holly deliver all of those lines because then we would be detached from the real star of the movie, Bond.
I noticed in this review that you first mention the many positives of the film, then move on to the neutrals/negatives with some positives stuffed in.
Good review, easy to read. Moonraker/DAF are guilty pleasures of mine.
Should you ever want to see my own reviews, I'd deeply appreciate it.
Your enthusiasm for Moonraker made me smile because I used to really love that film. It certainly has its charms.
I thought you were a bit harsh on Golden Gun. The film definitely has its problems, but the first and third acts, especially the pistols at dawn and Bond thinking he's being hunted by Scaramanga, are strong enough to make it one of my favourites. I enjoyed your appreciation for Moore's darker side in the film.
The 70s is definitely a mish mash of quality, with Bond losing his identity, apart from Spy, because the producers were more interested in making commercially successful films rather than remaining true to Fleming's character. But the results are some interesting films.
8. TSWLM 9. TMwtGG 10. AVtaK 11. SF 12. TND 13. LtK 14. NTtD
15. MR 16. LaLD 17. YOLT 18. GF 19. DN 20. SP 21. TWiNE
22. TB 23. DAD 24. QoS 25. DaF
But even then, it was still ahead of its time, from characters (Wint and Kidd) to spectacular stunts (Side Whistle).
though then I'd be shouting at my book "I agree! no I disagree!" so maybe the interactive forum format has its advantages too
I will say that I was expecting the DAF review to be harsher than TMWTGG's, but I like the perspective delivered on DAF - with the context of the American settings/audiences/characters (in particular your take on Jill St. John).
I think your review of TMWTGG is bang on. You've highlighted that the film has clear bright spots (darker Bond, Maud's acting, Bernard Lee's performance/character/motives) but highlight the stupidity of the Kung Fu rescue and Scaramanga not knowing how his island really works. I think TMWTGG suffers from the trio's own demise (Tom M's light movies) - which had to happen to bring back the 60s style in TSWLM...
"Better make that two."
"Hold on James"
"The thought had occurred to me!"
Moonraker isn't perfect, but when it works it really is very good indeed.
I love that line! MR has some great quotes. On the girls, maybe I just prefer Barbara's ice maiden coolness to Lois's businesslike efficiency. There's an article you can read this excerpt from Shaken and Stirred on line about feminism in the Bond universe which talks up Lois Chiles' performance as Holly. Worth a read.
https://books.google.co.uk/books?id=IZoCadIP2DMC&pg=PA327&lpg=PA327&dq=feminism+in+james+bond+holly+goodhead&source=bl&ots=pBZam7TB3v&sig=dv--DhB4p8TRLTTsahCJdWNOoB4&hl=en&sa=X&ved=0ahUKEwixjpiP7LPVAhXDbVAKHVUTAfoQ6AEIVjAL#v=onepage&q=feminism%20in%20james%20bond%20holly%20goodhead&f=false
There was a story between Lois and Cubby, not being entirely politically correct, he made a positive comment on Lois's behind.
She was offended by the way Cubby made the comment and started making a bit of a scene. I would understand where Holly would come from but I can't imagine of a way that he would've made such a comment without coming across as a weirdo.
Between Barbara and Lois, I prefer Lois's Holly Goodhead for the sheer fact that it doesn't feel weird watching her scenes with Roger.
A competent actor with a very inexperienced actress is never a good sight, especially if said actress isn't particularly talented.
Lois and Roger look natural and real on screen, despite the scenarios they are facing.
Thanks, I'll have a read of that. TMWTGG seems to me to have been the nadir of the series with regards to sexism in Bond's general behaviour and the way Mary Goodnight is written. Andrea's plot line is all the more affecting in comparison, trapped in a loveless relationship with the abusive, sexually inadequate Scaramanga.
I tend to think that every Bond picture since has been a retrenchment from TMWTGG. By Moonraker when Bond acts like a sexist jerk (ie by being surprised that Dr Goodhead is a woman) we cringe, but we're meant to.
In my opinion, Barry's score is one of his finest. The "Flight Into Space" track on the album, has so many textures and contrasts, and it is genuinely haunting and uplifting.
Kind of appropriate, now I come to think of it.
That's a very good point. Lois Chiles doesn't get enough credit for the skill she brings to the repartee with Moore. It makes a really nice change for Rog to have someone to bounce lines off who is more that just a straight man/gal. A couple of their scenes really sparkle.
"Better make that two."