#tmwtgg

[nelson-riddle-me-this]

Top 5 Bond Villains

Le Chiffre (Mads Mikkelsen), Casino Royale (2006)

Auric Goldfinger (Gert Frobe), Goldfinger (1964)

Emilio Largo (Adolfo Celi), Thunderball (1965)

Blofeld (Charles Gray), Diamonds Are Forever (1971)

Francisco Scaramanga (Christopher Lee), The Man With The Golden Gun (1974)

[jamesbondlexicon]

Up close with Britt Ekland promoting TMWTGG on the cover of Schweizer Illustrierte in December 1974

[mig15universe]

Ohmss Bond Draco martini

AVTAK conveyor fight

TMWTGG pre-title fingers.gif

[lonita]

For Your Eyes Only

I cannot count the number of times I've seen For Your Eyes Only. I prefer the older Bond films, there's something about the tone of them, and the graininess, but FYEO is one of the few Moore ones I enjoy, along with The Man With the Golden Gun. Because who could ever turn down Christopher Lee? Anyhow. It's been a long-standing joke that Bond girls have suggestive names - and by suggestive I mean they slap you in the face with the subtlety of a brick wrapped in brick. My favourite is from TMWTGG - Chu Mi - though I know many are fond of Pussy Galore ("I must be dreaming.") All that said, and as many times as I've seen FYEO, it didn't sink in until the last time I watched it (which was last week) about the Countess Liesel von Schlong's name. It only took me 33 years to catch that one.

[kinokritik42]

007: Человек с золотым пистолетом

Первоначально предполагалось, что это десятое приключение агента 007 будет снято вместо OHMSS с Роджером Муром в главной роли и снято в Камбодже, однако этого не произошло из-за восстания в вышеупомянутой стране, и поэтому оно было отложено. Перенесемся в 1974 год, Роджер Мур играет главную роль в его второй фильм «007: Человек с золотым пистолетом» о Бонде, и он продолжает расти в роли, демонстрируя свою обычную учтивость и привлекательную манеру поведения, но на этот раз в более жестком стиле. В некоторых сценах вырисовывается тень первого кинематографического Бонда, как в грубом допросе героини Мод, и хотя грубое обращение с женщинами не в стиле Мура, он делает это по-своему и производит впечатление ожесточенного бухгалтера, просящего его счет должен быть оплачен. Есть милитаристская холодность; он почти зол, что его заставили действовать таким образом. Сюжет: есть два сюжета, основной сюжет повествует о попытках Бонда найти первоклассного киллера Скарамангу (Кристофер Ли) до того, как неуловимый убийца выстрелит пулей с «007» в Это, а второе состоит в том, что и Скараманга, и британское правительство ищут жизненно важный компонент для преобразователя солнечной энергии, и тот, кто построит этот преобразователь, получит карт-бланш в отношении солнечной энергии, что означает миллионы долларов. Оба сюжета постепенно сливаются в один, и это делает эту запись немного уникальной. Чисто уникальный сюжет погони было бы трудно растянуть на 2 часа. «Человек с золотым пистолетом» подвергается большому количеству критики за то, что он глупый, манерный, возмутительный, а не напряженный и мрачный, как ранние Бонды, но они не понимают, что это были 1970-е. . Походный юмор был в моде, и, кроме того, культура хиппи и Уотергейтский скандал заставили людей утомиться/подозрительно относиться к правительствам, а поскольку Бонд — слуга правительства, скудный, мрачный и серьезный фильм о Бонде не слишком понравился бы. В большинстве фильмов Мура TMWTGG приятен, полон шика, юмора, полон отличных острот («Сейчас я целюсь точно в твой пах. Так что говори сейчас или держи свою часть навеки»), но есть некоторая острота — сцена драки в трейлере довольно жесткая и хорошо поставленная, Бонд остался с окровавленной губой. По сравнению с «Живи и дай умереть», в TMWTGG не хватает экшена, но есть хорошая автомобильная погоня (слегка испорченная звуком остановки), аккуратная последовательность карате в школе высоких ударов (Бонд Роджера проявляет хитрость, пиная каратиста по лицу, когда он кланяется не глядя), и в доме веселья есть напряженный финал, хотя он должен был быть немного длиннее. Кристофер Ли (без клыков, но все же смертоносный) в роли Скараманги источает угрозу, и его взаимодействие с Бондом забавно. Остальные актеры — Бритт Экланд, Мод Адамс и Эрве — великолепны. Заглавная песня крута. Не так хороша, как LALD, но все же это солидное приключение Бонда.

[artandhue]

On this day in 1974, London held the Royal Premiere of "The Man with the Golden Gun" with Roger Moore, Britt Ekland, & Christopher Lee. artandhue.com #RogerMoore #BrittEkland #ChristopherLee #TheManWithTheGoldenGun #TMWTGG #JamesBond #OnThisDay #OTD https://www.instagram.com/p/Brkx6EMA0Fr/?utm_source=ig_tumblr_share&igshid=1ulo0ha9vv019

[sweetinsanewriter]

I’ve been watching Bond films recently. Good fun.

I may have started writing something... We’ll see if I finish. I’ve written nearly 6k in two days. It’s not a long story at all (maybe 15k-ish?), but if I do end up publising it I’ll probably break it into a few short chapters and won’t be editing as heavily as i normally do. Like...2k-ish chapters, maybe? That’s short for me since I normally have chapters that around 6k.

Anyway...been having TMwtGG song stuck in my head for three days. I like the saloon version from the funhouse scene.

Extremely tiny teaser under cut.

He recoiled, just a little, when Scaramanga stepped to close the distance, pressing the golden barrel against his groin.

“You are not in control here, James.”

[ljones41]

"THE SPY WHO LOVED ME" (1977) Review

"THE SPY WHO LOVED ME" (1977) Review "THE SPY WHO LOVED ME" became EON Productions 10th entry in the Bond franchise in 1977. It also marked Sir Roger Moore’s third turn as British agent, James Bond, Cubby Broccoli’s as sole producer for the first time and Lewis Gilbert’s second time at bat as director of a Bond film. This is the movie that introduced the catchphrase, “Nobody does it better,” and according to many critics and fans, saved the Bond franchise back in the 1970s. Watching "THE SPY WHO LOVE ME", I can understand why many would harbor this belief.

Many critics and fans tend to credit or blame Roger Moore for helping to usher in the era of “fantasy” Bond – in other words a Bond movie that basically feels more like a fantasy/science-fiction action movie than a spy thriller. I do not really accept this view, since I believe that 1964’s "GOLDFINGER" was responsible for this change of style in the Bond franchise. In fact, Connery did two other movies that continued this very element in the movies. Roger Moore merely continued what Connery had begun in movies like "LIVE AND LET DIE" and "THE MAN WITH THE GOLDEN GUN". The latter, released in 1974, came dangerously close to ruining the Bond franchise – at least in the eyes of many fans and critics. And in a way, I do not blame them for this attitude. Frankly, I consider "TMWTGG" to be one of the worst Bond films in the franchise and Moore’s worst movie. EON Productions had to wait two to three years to release its next movie, due to the breakup of the Cubby Broccoli/Harry Saltzman partnership. Following this, "THE SPY WHO LOVED ME" premiered in 1977 and became the most highly regarded Bond film in the 1970s and is considered by some to be Moore’s personal triumph. I do not know if I would consider "THE SPY WHO LOVED ME" to be Moore’s ultimate triumph. I believe that honor should go to the 1981 movie, "FOR YOUR EYES ONLY". However, I do consider it to be his third best film. At first, the plot seemed reminiscent of the one for 1967’S "YOU ONLY LIVE TWICE". But instead of American and Soviet space capsules disappearing, British and Soviet submarines vanish. Bond, just recently from a mission in Austria that led to the death of a KGB agent, is assigned to track down the missing Royal Navy submarine via a tracking system that has popped up on the market in Cairo, Egypt. His search not only leads to Soviet agent Anya Amasova (who is investigating the disappearance of a Soviet sub), but to billionaire oceanographer, Karl Stromberg. But what makes "TSWLM" so interesting is that the Egyptian sequences have a strong exotic atmosphere that lends a touch of mystery to the story; and Bond’s relationship with Amasova turns out to be more than just a case of the British agent having a female on hand for sex in the finale. Probably the biggest contribution to the success of "THE SPY WHO LOVED ME" seemed to be the movie’s lead, Roger Moore. Many fans believe that he finally grew into the role of 007 in this movie. After seeing him (as Bond) cold-bloodedly push one of Stromberg’s men of a Cairo roof and shoot Stromberg four times, I can see why. Personally, I felt that he had grown into the role at first bat in "LIVE AND LET DIE", but had regressed in an attempt to emulate Connery in "THE MAN WITH THE GOLDEN GUN". But I cannot deny that his performance in THE SPY WHO LOVE ME can not only be considered among his best, but among the best Bond performances in the entire franchise. And he was certainly helped by Barbara Bach’s presence. Although I would not describe the New York born model-turned-actress as a particularly talented actress verbally, but she could be quite versatile through facial expressions, whether expressing jealousy over Bond’s attention to Stromberg’s pilot/assassin, Naomi; amusement over some of Bond’s predicaments or developing attraction toward the handsome British agent. In fact, I can recall at least three scenes in which Moore and Bach interact with each other, beautifully: 1) Their deepening attraction for each other, expressed through smiles after M and Gogol order them to work together; 2) Their discussion regarding their status as enemies turned allies on the train to Sardina; 3) And the piece de résistance – Anya’s discovery that Bond had killed her former lover in Austria Supporting cast members like Bernard Lee, Lois Maxwell and Desmond Llewellyn ably serve the movie. Shane Rimmer, a Canadian actor who has been working in British films since the late 1950s, ably supports Moore as the somewhat sardonic commander of an American sub. Both Walter Gotell (as KGB General Gogol) and Richard Kiel (as assassin Jaws) make their debuts in the movie. Kiel personally came off as menacing in the movie, in compare to his return in "MOONRAKER". German matinee idol, Curt Jurgens became the latest Bond villain, playing a billionaire/oceanographer whose response to the world’s growing corruption and self-destruction is use stolen nuclear submarines to blow up Washington D.C. and Moscow. Actually, Stromberg became the first Bond villain with megalomaniac ambitions to rule the world. All those before him were simply interested in profit. Jurgens is his usual competent self and also had the pleasure of uttering a few bon mots. But . . . I do not exactly find megalomaniacal villains to be interesting. Despite some of the fantasy/science-fiction elements of "THE SPY WHO LOVED ME" – the Lotus Esprit, Stromberg and his two lairs – the Liparus Tanker and his lair/lab Atlantis, the movie is an exciting adventure that features great direction by Lewis Gilbert, a first-class battle between Stromberg’s men and the American/British/Soviet naval personnel, exotic locales in Egypt, a self-assured performance by Roger Moore and great screen chemistry and drama between Moore and Barbara Bach. It is easy to see why it is considered the best Bond film from the 1970s.

[thelaserdiscfiles]

On Her Majesty's Secret Service (1969, Bond no. 6, Dir. Peter R. Hunt)

After a successful run of 5 Bond films, Sean Connery decided to hang up the holster and explore other ventures. This would not be a permanent departure from the series, in fact it would not be his only departure and return to the series, but we'll get into that. After Connery's temporary retirement from the role, series producers Broccoli and Saltzman began pre-production for filming an adaptation of The Man With The Golden Gun, featuring Roger Moore as Bond, intending to shoot it in Cambodia. However, between Roger Moore signing up for another series of the television show The Saint and political instability in southeast Asia at the time, this didn't come to fruition, thus TMWTGG and Moore were shelved for a later day. In fact, OHMSS was originally to be made post-Goldfinger, but the rights legal battle I mentioned a few posts ago was resolved, and EON was able to move forward with Thunderball.

Enter George Lazenby, a 29 year old Australian model who had more or less no acting experience aside from appearing in a chocolate bar commercial. Lazenby is kind of the movie star that was never to be. He kinda lucked into an astonishing amount of potential by starring in this movie, but unfortunately for him, he squandered it by declaring shortly into filming that he would only be starring as James Bond in one film, as he had been convinced by his manager the the Bond franchise would not remain solvent into the seventies. Yes, time has born this out to be an incredibly poor decision, and incredibly ironic, as the franchise has stood the test of time very well. But, going from the tumultuous 60s into the more civilized and freer 1970s, who's to say if it would have been at the time? Yes, hindsight is 20/20. It's easy to, in 2019, laugh at Lazenby's decision as very poor judgment and mismanagement, but at the time it was not known that the Bond franchise would be a titan that transcends decades.

The movie begins with James Bond driving along in his sweet new Aston Martin DBS Vantage, when he gets passed by a totally bitchin' red Mercury Cougar XR-7. Given that the Merc was driven by a pretty woman, Bond naturally takes an interest, and prevents her from drowning herself in the ocean.....and is attacked by two thugs who presumably want the woman. After beating them down, the women takes off as Bond quips "this never happened to the other fellow", and opening credits role.

The woman, revealed to be contessa Teresa di Vicenzo, or, just Tracy to her friends, is the troubled daughter of an Italian crime lord. Her father, seeing some kind of potential in Bond, attempts to bribe him into wedding his daughter with a princely dowry of one million pounds. Bond refuses, however, he continues to romance Tracy on the condition that her dad reveal the location of his nemesis, SPECTRE numero uno, Ernst Stavro Blofeld. Finally having a shot at Blofeld, Bond returns to London only to be told by his superior M to drop it, and Bond resigns from MI6. Well, tries to, at least, as M's secretary Moneypenny changes the resignation notice to a request for vacation. Bond then makes tracks to Tracy's dad's birthday, where he finds himself in a genuine romantic relationship with her. Inevitably, her father's sources lead Bond to a geneologist for London's College of Arms, and learns that Blofeld is scheming to attain a title of nobility, claiming to be Count Balthazar de Bleuchamp, and that he is holed up in a mountain in neutral Switzerland, running an allergy clinic. Impersonating the geneologist and donning his silliest outfit, Bond heads for Piz Gloria, Blofeld's compound high in the Alps, and, after seducing several of the young patients and finding out that they're being brainwashed to taint the world's food supply, Bond is caught and outed at the spy he is, despite coming face to face with Blofeld, who apparently remembered him looking more like a certain Scotsman. Bond is imprisoned, but escapes by skiing down the mountain with the bad guys, including Blofeld's head henchwoman, Irma Bunt, behind him. Hiding from his pursuers in a mountain town, he comes across, of all people, Tracy, who is in town doing some skating. Together they take flight in her Cougar, and more skiing ensures. Blofeld triggers an avalanche, and manages to abduct Tracy. Along with her father and his men, Bond stages a daring raid on Piz Gloria, and rescues Tracy, but Blofeld manages to escape on a secret bobsled. Later, with M, a weepy Moneypenny and a proud Q present, Bond and Tracy wed, only for Blofeld and Bunt to gun her down in a drive-by shooting, leaving James Bond to weep over the body of his dead wife.

Fifteen or so years ago, when I was first REALLY getting into the series, Lazenby and OHMSS were stalwarts of worst Bond/Bond movie lists everywhere. Contemporary reviews seemed to focus on one thing: George Lazenby isn't Sean Connery. Connery had been the face of the series since the beginning, a series for which the public had a voracious appetite for. In my personal opinion, they just weren't ready for the face of that to change. However, in 2019, as I right this, the movie has undergone considerable reappraisal. Industry bigshots Steven Soderberg and Christopher Nolan have cited it as their favorite of the series. Lazenby himself is still rather polarising. You either like him or you don't. I do. I personally believe that had he stuck with the role, and gone on to make Diamonds are Forever and especially Live and Let Die, and we had not had poor Roger Moore languish in the role til 19-80-fucking-6, we would have had a vastly different franchise. A franchise that I lement the loss of the possibilities of, and had Lazenby been the face of that franchise, matured with it, I think he would be infinitely better remembered. He has a youthful flippancy about him, and a greater physicality than Connery ever had. I genuinely enjoy the dynamic between him and Tracy, who is played by Diana Rigg, who modern audiences will probably NOT (it has been 50 years since OHMSS) recognize and Olenna Tyrell from the HBO juggernaut Game of Thrones. A lot of people didn't like when Bond wept over her dead body. I do agree that Connery probably would not have done that. For me Lazenby balances the quintessential hard drinkin' Aston Martin drivin' PPK shootin' womanizin' tropes that the series had become known for with a healthy dose of humanity. The things he could have done...even though it was literally 20 years before my birth....still bothers me.

The action in this movie is both thrilling and beautifully shot. The skiing scenes put that of Moore-era flick The Spy Who Loved Me, which was made nearly a decade later, to shame. The car chase with the big, brawny Cougar XR-7 is just awesome, a chase made better for me by the fact that it's Tracy, not Bond, behind the wheel. The penultimate bobsled scene is, goofiness aside, pretty damn exciting. The music, including the driving opening theme (the first, and only theme in the series to be an instrumental piece) and the Louis Armstrong-sung tune We Have All The Time In The World are really good and have a great late 60's feel.

If I had to pick one thing that doesnt do it for me....it's easily Telly Savalas....Mo'fucking Kojak, as Blofeld. Savalas, despite being a bigger and more physical and intimidating figure than Donald Pleasence,..I just can't take him seriously. I seriously expect him to say "who loves ya, Bondy" and start sucking on a lollypop at any moment. That said....he is easily the most fun rendition of Blofeld, despite Savalas playing the character deadly serious.

Depsite middling reviews and reception, OHMSS brought in over ten times it's budget of 7 milion, which was 3 mil less than YOLT. But Lazenby was out. Who would fill the tux next? Well....to the great joy of the general public, EON would manage to tempt back Sean Connery for one last (official) Bond film....James Bond would be back in Diamonds are Forever.

[auraofcoolness]

Basically anything from TMWTGG belongs on this list!

[diecastcarzer]

CORGI - JAMES BOND 007 ULTIMATE COLLECTION - AMC HORNET HATCHBACK - TMWTGG - MIB https://ift.tt/36SeNoD

[mig15universe]

Quarter Frame NTTD.png  What happened to TMWTGG boy.png

[artandhue]

On this day in 1974, London held the Royal Premiere of "The Man with the Golden Gun" with Roger Moore, Britt Ekland, & Christopher Lee. artandhue.com #RogerMoore #BrittEkland #ChristopherLee #TheManWithTheGoldenGun #TMWTGG #JamesBond #OnThisDay #OTD

[ljones41]

"Roger Moore As James Bond"

"ROGER MOORE AS JAMES BOND" I always found it odd that many Bond fans tend to dismiss Roger Moore's performances as a non-threatening Bond. While watching the "Special Features" segment for my "CASINO ROYALE" DVD, I saw the "Bond Girls Are Forever" segment in which Jane Seymour described her character's relationship with Moore's Bond. From what she and Maud Adams had said, I got the distinct impression that in his own way, Moore's Bond was just as ruthless as the other Bonds. 

Unlike his fellow Bond actors, Moore’s ruthlessness usually did not involve grittiness of any kind or overt menace. Judging from Seymour's description of Moore's Bond and my own memories, I suspect that Moore's ruthlessness was a lot more subtle, but equally cold-blooded. I believe that Moore had portrayed Bond as a manipulative and cold-blooded cad, who would use anyone to achieve his goal . . . while smiling in their faces or whispering soft words. And thinking about this made me realize that Moore's portrayal of Bond had more than just tongue-in-cheek humor. He had portrayed a Bond that turned out to be very unique from the others. Perhaps the other Bonds have used or manipulated others (think of Bond's use of Solange in "CASINO ROYALE"), but they have never done it with such cold-blooded style as Moore. Roger Moore had first been considered for the role of James Bond back in 1961 or early 1962, about a year before he began his six-year run as another British literary icon . . . Simon Templar aka “THE SAINT”. He eventually took over the Bond role from Sean Connery in 1972 and his first movie became 1973’s “LIVE AND LET DIE”. Moore would spend the next twelve years portraying the British agent. And during that period, he would gain the reputation of being a lightweight Bond – one who resorted to jokes, light charm and gadgets, instead of ruthlessness and sheer grit. A reputation – in my opinion – that I believe was unfairly dumped on him. Whereas other actors who have portrayed Bond (Connery, Dalton and Craig, especially) tend to show the agent’s more ruthless side in gritty action sequences and overt violence, Moore’s take on Bond’s ruthlessness tend to be a little more subtle. Moore has shown Bond’s grittier side in movies like ”THE MAN WITH THE GOLDEN GUN” and ”FOR YOUR EYES ONLY”. However, his grittiness more plausible in the 1981 film, in which he did not seem bent upon impersonating Connery like he did in the 1974 film. However, subtlety and caddish behavior seemed to be the hallmark of Moore’s performance. And here are a few examples (if you know of any more, please let me know): - In ”LIVE AND LET DIE”, he deliberately tricked Solitaire into believing they were destined to be lovers, so that he could have sex with her and manipulate her into revealing all about Kanaga’s operation. One of the low moments in Bond’s career. - Also in ”LALD”, Bond unceremoniously shoved a shark pellet into Kanaga’s mouth, causing the latter to expand before blowing up. Rather cruel way to kill someone. - In ”THE MAN WITH THE GOLDEN GUN”, he seduced fellow MI-6 agent, Mary Goodnight into spending the night with him. But when Scaramanga’s mistress, Andrea Anders, comes knocking at his door, he forced Goodnight to hide in a nearby closet, while he has sex with Anders. Hmmmm . . . - Also in ”TMWTGG”, Bond offered a young Thai boy to fix his boat engine for money. When the boy does as he asks, Bond shoved the kid into the water. That was . . . pretty shitty. - In ”THE SPY WHO LOVED ME”, Bond started to enjoy the favors of a young woman that was hired to distract him at Fekkish’s home. But when he saw that Sandor is about to kill him, he used the young woman as a human shied. This is debatable, since there are those who believe that she simply became an accidental target. - Also in ”TSWLM”, Bond shoved Sandor off a roof, after the latter grudgingly gives him the information that he needs. And later, he shot an unarmed Karl Stromberg in the chest . . . four times. - In ”MOONRAKER”, Bond sexually seduced one of Drax’s employees, Corine Dufour, so that she could lead him to Drax’s personal safe for information. This action eventually led to Corine’s death at the jaws of a pair of Dobermans. I can only assume that Bond never realized the consequences of his actions. - Finally in ”FOR YOUR EYES ONLY”, Bond shot Emile Loque in the shoulder, forcing the Belgian hitman to swerve to the edge of a cliff. In what is considered to be a very celebrated scene, Bond slowly sauntered over and kicked Loque’s car over the cliff. I tried to think of any real cold-blooded acts on Bond’s part, in Moore’s last two films - ”OCTOPUSSY” and ”A VIEW TO A KILL”, but I was unable to. Perhaps by 1982 or 1983, Moore had slowly become aware of the fact that his Bond was a lot more cold-blooded than he had originally intended. Or perhaps his Bond had matured into a man who realized that he did not need to resort to cold-blooded and caddish acts to complete his assignment. Who knows? But I hope that this puts an end to the idea that Roger Moore’s Bond was simply some light and sophisticated man who seemed more concerned with jokes and beautiful women. Because from what I have seen from most of Moore’s films, his Bond seemed quite capable of being ruthless. Perhaps he was not as gritty as the likes of Sean Connery, Timothy Dalton or Daniel Craig, but Moore’s Bond could be quite a dangerous and cold-blooded man.

R.I.P. Sir Roger Moore (1927-2017)