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November 7, 2012


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Simon Fallaha


Glad you agree. Royale did more than re-invent Bond in a post-9/11 world; it brought Bond as close to the essence of Fleming as he had ever been, something Dalton's admirable efforts couldn't quite do (The Living Daylights was too Moore-esque; Licence To Kill, commendable though it was, was obviously capitalising on the success of Die Hard and drug dealers as villains). Your comment about Moore also reminds me why a lot of '80s entertainments wouldn't work today; as good as they might have been, they were products of their time. Then again, retro ain't necessarily retrograde, as Super 8 and The Artist have proved - but the directors of those films understood the essence of what make Spielbergian entertainment and silent films WORK, regardless of the era they were placed in, something that Mendes just couldn't manage.


The first two paragraphs of your review sum up exactly how I feel about the film, and also why I rate OHMSS and Royale so highly. (Though the sublime From Russia With Love also deserves a mention.)

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