007 Project #18 You Only Live Twice

This poster represents everything that is terribly, terribly wrong (or right!) with this film.

Finally!  Dr. Evil, err, Blofeld revealed!  Like Dr. No with a budget, You Only Live Twice gives Sean Connery a spectacular send off and pits him directly against the nefarious leader of SPECTRE!  Much like its predecessor, YOLT makes full use of a big Hollywood budget and pulls out all of the stops.  Mini-personal helicopters, rockets blasting into space, ninja training, and a secret volcano base all prove that while it may be difficult to top the previous classic, Thunderball, it is possible to rival it for grand spectacle.

Amidst the incredible sets and exotic locales is a fairly straightforward plot.  The film opens with the very interesting premise that Bond is killed while on assignment.  This sets up the idea that Bond can work covertly to do some serious spying.  Sounds great right?  But then the whole thing is dropped and Bond just goes on as normal.  It is later referenced by Blofeld, but all along the way it is an intriguing, but scarcely used device.  A shame since it could have led to some far more suspenseful moments.  On the flip side, this film also seems Bond undergo “cosmetic surgery” to impersonate a Japanese laborer.  While I applaud the avoidance of a potentially highly racist interpretation of this transformation, James comes out looking more like a Romulan than a Japanese laborer.  If you aren’t going to change him dramatically, why not go ahead and work the cosmetic surgery into the “Bond is dead” device and pull the whole thing together?  The movie misses chances to increase the suspense to the story’s overall detriment.  The rest of the plot is standard fare.

Blofeld and his iconic cat give us the eye.

Connery is solid as always, but is given slightly less Bond-esque things to do in this film.  The romance is toned way down and the opportunities for his somewhat corny sense of humor are few.  Connery delivers a great performance, but it is clear that he is not having the same amount of fun as in previous films.  Great moments like his face-to-face confrontation with Blofeld pale in comparison to his intellectual sparring with Goldfinger or even Dr.No.  This should be a bigger moment, but it just doesn’t feel as big as it should.

Bond girls are another area that is found lacking in this film.  The main reason is a lack of clarity or focus.  In previous Bond films, the main Bond girl is fairly obvious and usually ends up with Bond in some capacity by the middle or end of the film.  In YOLT the movie casts about for a proper Bond girl, but never seems to land on one that it really likes.  Is it Number 11?  Seems like an obvious candidate, but no, she goes to the piranha after only a brief tryst with our hero.  Maybe it’s Kissy.  She certainly has the name of a Bond girl and she’s his ally and love interest at the end of the film, but no, she is introduced way too late in the film and there are never any real sparks between her and Bond.  Furthermore she’s almost Honey Ryder-like in her usefulness to the plot.  So, I guess if it is anybody, it’s Aki.  She doesn’t have a double-entendre nom de plume and she dies at the mid-point in the film, but overall she has the best love affair with James and she is the closest thing he has to an accomplice in the story.  Three possible Bond girls, two of them rather fetching (sorry #11, you look like man, baby!), but none terribly well defined.

As villains go, you’ll not get much bigger than Blofeld!  He’s King SPECTRE after all and he deploys everything from a devious Japanese version of Colonel Sanders to a brawny German to a green pond filled with vicious, invisible piranha to thwart Bond’s advances and see his master plan reach fruition.  He may lack the hands-on approach of a Goldfinger, but more than makes up for it in resources.  He’ll throw the kitchen sink at you, literally, before he’ll give up his plan and if you defeat him, well he’ll just blow up the whole damn volcano.

Commander Tomalok, you seem to have mistakenly wandered into this James Bond movie. 

You Only Live Twice is a good Bond movie, but it suffers in some key Bond areas.  A good, but not great performance by Connery can be accredited to him being given less to do as well as a lack of enthusiasm on the part of the actor.  Indefinite Bond girls do not help.  The whole thing feels like Dr. No done better.  A lot like the Death Star battle in Return of the Jedi feels like the battle they wanted to do all along, but slapped together a Death Star battle for Star Wars just in case ROTJ never got made.  We’ll make Dr. No, but if we get a budget and a following, we’ll do it better in You Only Live Twice.  Huh.  I guess the name has a deeper meaning that perhaps intended.

Aimee here:

I originally lobbied to have this film come in much, much higher. I thought it was 1960's Bond at his Bond-y best! I loved the super-spectacle, I loved the fake death scenario, I loved the Asian setting, and I loved the ninjas fighting in a volcano. I liked the opportunity they almost took advantage of to show Bond as an accomplished linguist. I can't not love seeing Blofeld and his freaked-out cat. (Seriously, that cat was going bonkers. This was before the days of considering whether or not a cat should be on a set that is exploding.)

Aki is a cute girl Friday... who gets killed too soon.

There were a lot of ladies flying in and out of view, but the girl we want to look at was definitely Aki, who I think Bond really cared about. I found her competent and helpful, which is definitely how I like my Bond girls.

Let's be honest. When a movie is this much fun, the plot doesn't matter, which is good, because if you're looking for the plot to matter, having an honest-to-God ninja battle in a freaking volcano may be troublesome.

But I'll concede a few things. This movie is very overblown. Like, Moonraker overblown. It is weighted by some excellent and very appropriate Bond-movie magic that keeps it from becoming a complete wreck, but since the plot matters a little, I guess I have to admit that the volcano battle is a little... much.

It's all just a bit forgettable, now, which I think diminishes its greatness. I wouldn't readily assign it to the bottom of the list, it's just not top-shelf material. The bits of truly nice Bond work come early, before the plot is lost in epic volcano battles and pointless internal monorail systems.

007 Movie Project: Die Another Day

This summer we are blowing your mind by counting up all of the Eon Productions James Bond films!  We'll rank all 23 official Bond films and tell you which are the very best and which are less than spectacular.  We'll also pick our favorite Bond, Bond girl and Bond villain.  So strap in and join us as we stroll through the Bond library!  We'd love to hear what your favorites are along the way!

We'll get the absolute worst of the bunch out of the way directly

Die Another Day

Too much.  Die Another Day is a Bond movie killed by excess.  Excess of spectacle, excess of useless characters, excess plot, this movie just has too much of everything we don’t need.  The plot is nonsensical, and not in a workable way, but in a “why are we doing this” way.  The scripting is stilted and scenes between Bond and both of his love interests end up being extremely awkward and stiff, never smooth and suave.  And while both of those have been problematic for the series historically, DAD (sorry dads out there) suffers from a third strike in the form of absolutely over-the-topness.  Absolutely.  Case in point, near the end of Act II, Bond engages his nemesis (which is a feint, as his true nemesis is set up to be, though never realized as, the person who betrayed him in North Korea) in a fencing duel that quickly escalates into a full blown sword fight.  That alone is pretty interesting and smacks of the glass museum fight from the Moore era. But rather than enjoy the moment and its novelty, the fight goes on far too long, becomes far too involved, ends up outside and all over the grounds of the private club causing volumes of damage, and ultimately resolves unsatisfactorily with the intervention of the character who fills the role described above.  It’s too much.

All of this is symptomatic of the cinematography and style of filmmaking which also lets the film down again failing to knit together a coherent story.  And when the story starts to lag, the movie fills the gaps with trendy filmmaking gimmicks like slow motion, fast motion, and quasi-Matrix level computer generated camera angles.  The film is so busy being told in a fashionable way that it doesn’t get told very well at all. (see Ghost Rider Spirit of Vengeance)

The opening sequence and the bit with Q (man, oh, man I miss Desmond Llewellyn), played here successfully by John Cleese, are about the only parts of this movie worth seeing.

Brosnan continues to please as Bond, but is given so little to do that you almost forget this is a Bond movie.  He is consistently upstaged by the sidekick he is saddled with, but we’ll get to her in a minute.  It is unfortunate that his era will end on such a low note, but Brosnan certainly has left his mark on the role and to his credit, never had a bad performance as the character.

Bond Girl Miranda Frost: Fetching but wasted in a confusing plot.

Now, I mentioned a sidekick.  Halle Berry is set up as our Bond girl for this film, but she also feels as out of place as Terri Hatcher or Denise Richards felt in the two previous Brosnan era movies.  Honestly, her character comes across more as a second rate Michelle Yeoh from Tomorrow Never Dies than anything else.  Her character is an agent along the lines of Yeoh or Pam Bouvier from Licence to Kill, but lacks the conviction or the impact of either of those characters.  Berry’s performance is less than spectacular and it is unsurprising that the desperate attempt to spin her character Jinx off crashed and burned before it ever left the hanger.  On the flip side, the underused Miranda Frost character provides a bit more meat for a Bond girl, but is also given little to do and is often lost in the shuffle.  This is wasted potential, particularly since she should be the primary villain.  For my money, Rosamund Pike is also far more fetching than Halle Berry here.

Toby Stevens (Gustav Graves) and Rick Yune (Zao) share the role of top villain playing dual foes for Bond.  Gustav is the primary villain and mad planner, but his plot is beyond megalomaniacal and borders on the insane, along the lines Dr. No or Moonraker (which this film is a veritable remake of).  The scenes where he matches wits with Bond are exceptional, the rest is a bit off.  Zao, on the other hand, is a great top level henchman, and is sadly not given as much to do as might have been helpful to the film.  I still don’t know why they never take the diamonds out of his face?

Overall, Die Another Day is a definite low point for the franchise.  Excessive everything, ridiculous plotting and terrible stylistic filmmaking drown competent actors and potentially interesting story elements to create a mess that guaranteed that this would be the last film of the Brosnan era.  They tried so hard to pack this film with homages to the franchise due to the release falling on an anniversary year, but it comes across, instead as a James Bond garage sale where everything is overpriced and no one has a clue what they are selling.  This was an easy pick for the bottom of the barrel.


Aimee here:

Wow, that Marvel Project seems like it was over fast. What are we reviewing again? Bond films? Ok. This is something I thought I was already comfortable with doing, but after watching them all again (some for the first time!) I realized that some long-held biases were completely unfounded, and some assumptions I made were totally false. I came to know what a "true" Bond film really was, and which films lived up to that weighty standard. Too over-the-top? Too much action? Not enough levity? Severe dearth of sharks? Over the coming weeks we'll see many examples of the finest tropes in 007dom, and many, many examples of James lurching across the big screen like a cinematic Frankenstein, cobbled from bits of unused scripting from his previous films.

Unfortunately, there is no worse film in this regard than Die Another Day.

Die Another Day started off rough for me, and while I was of movie-going age when it came out, I refused to see it--despite a deep love of the Pierce Brosnan Bond. I must say, my opinion of it did not change much having finally sat down with it. The Madonna title song (and her subsequent unnecessary cameo!) are pretty dismal, as Bond anthems go. It's certainly no Goldfinger.

Hello, Madonna, you're looking strange as always.

This film's plot makes no sense. I had Stan explain it to me half-way through because I honestly wasn't at all following it. Like my husband, I have no idea why a henchman/villain wouldn't remove diamonds from his face. You can get all the plastic surgery you want, but I'm pretty sure like Interpol or the CIA would be only too happy to ID you based on the diamonds lodged in your face without a fuss. Seriously. How many people are there out there who have 1) the opportunity to have at least a dozen diamonds lodged in their face and 2) the opulence necessary to say "nah, no need to remove these!" Maybe it's different in the universe that this film takes place in (as it clearly wasn't ours) but I think that just having that kind of injury would make you subject to a lot of unwanted attention during daily tasks like walking outside or talking to people.

So it's a diamond-smuggling plot about a North Korean kind-of-defector I think who becomes a German man in about 4 months. Assuming Bond is captured and immediately put in prison, he's only gone for a few months before getting out, in which time the North Korean that he (supposedly) killed has built up an enormous infrastructure for his nefarious plots, turned Frost to his side (or was there ever a question?), had enormous amounts of surgery/DNA therapy to become German-looking but also British, remove all trace of previous accents, and put together a mega-plan that will allow you to rule the world and get revenge on your father. In four months.

In the middle of this, we have Halle Berry wearing the Ursula Andress bikini for no other reason than to wear it and we have the signature vehicle for no other reason than to see it and we have a lot of miserable homage that goes way, way over the top and is just painful, really, and bad. Halle's character is just worthless here. A terribly forgettable Bond girl and a performance that is really very flat are the only standouts for one of the most-heralded castings in the history of the franchise.

Look, she's astonishing in this bikini, make no mistake, but there's no reason for her to wear it. None.

We have Q branch providing a really over the top cloak for the vehicle which, honestly, makes little sense for the application of this film. I won't judge too harshly as Q is the only good thing in this film...although no one could take the place of Desmond Llewellyn, who had recently died. The scene with Q is good, though, and one can definitely appreciate all the previously-featured gadgets that make cameos here. But for the much-hyped 40th anniversary, I must say that they should have stopped there with the homage.

The film suffers greatly at the hands of absolutely dated film-making techniques, that I am personally glad have managed to stay in the early-2000s.

This was the only Bond film on the entire list that I had trouble sitting through. To say that I didn't enjoy it would be an understatement. I detest the virtual reality Moneypenny/Bond "love scene". Really, everything in the movie was like that--unnecessary, over-the-top, and painful to endure. It's quite plain they wanted this to be a loving homage, but they fail all over the place. There's a basic lack of respect and understanding for the films that came before--even the ones that featured Brosnan.

Die Another Day is terrible. Next!