Qual é um melhor 007

Certamente já se deparou com esta questão, isto se gosta de cinema...
E qual é o melhor filme? qual o melhor Vilão ou Vilã?

Por hora não emitirei a minha opinião isto porque me falta ver o Quantum of Solace... não não deixares de postar o que outros pensam sobre estas questões

A pointless diversion: The Best of James Bond

March 21, 2009

As
I pointed out before, there’s a long way to go before opening
day, so I find myself with little to write about the Yankees.
Let’s face it: This team is pretty much set, unless Mike Cameron
shows up. I’ll get into more specifics with the Bombers once
there’s a week to go.

That's a great movie poster.

But I’ve had James Bond on the brain of late. “Quantum
of Solace” will be released on DVD and Blu-Ray on Tuesday, and
the Encore/Showtime/Starz family of channels has been showing almost
the entire collection for the past month to my great delight.

I’ve always kicked around the idea of my favorite 007 movies
in my head, but never made a firm list, so I figured, “Why
not?” In the end, I decided to do a top-10 list of Bond films
rather than a top-to-bottom ranking to save time. A couple of rules
about my findings:

• “Quantum of Solace” gets an incomplete until I’ve
  seen it at least one more time. I won’t make a judgment on just
  one viewing, but I suspect it could make its way into the 8-10 area.
• The actor who plays Bond is important, but only to a certain degree. George Lazenby and Timothy Dalton do not disqualify a film.
• “Never Say Never Again” doesn’t count. It was better as “Thunderball” anyway.

10. “Tomorrow Never Dies.” Jonathan
Pryce was a little too campy as media villain Elliot Carver, but a
terrific opening sequence at a terrorists’ yard sale gets it off
to a great start. Pierce Brosnan started hitting his stride as Bond
after a lackluster debut two years earlier.

9. “Live And Let Die.” Roger Moore’s debut gets bonus points for excessive use of the word honkey.
The biggest factors drawing this film down this low are the awful
disguise Yaphet Kotto wore as Mr. Big and his character’s need to
kill 007 in some exotic fashion rather than just putting a bullet
through his head. We’ll call this “madman’s
folly” and refer to it when necessary.

8. “Dr. No.” The first. But not the
best. Sean Connery hadn’t figured out the role yet, the effects
and fight sequences were unspectacular, and Dr. No himself blazed a
trail for madman’s folly by inviting Bond to dinner and basically
telling him about the secret terrorist organization he was a part of
that no one had ever heard of before. As Lenny on “The
Simpsons” would say, “Well, it was a real nice secret
organization we had once.” But it was new, it had intrigue and it
got the ball rolling.

7. “Licence to Kill.” Yes, I spelled licence
properly. The producers spelled it wrong, which is to say they spelled
it in the British fashion. Dalton’s films were not bad at all,
but his casting was not great. He couldn’t pull off suave Bond.
He basically looked silly trying to do it. But he had hard-edged Bond
down to a tee, and we see plenty of it in this film.

6. “For Your Eyes Only.” Roger
Moore’s fifth turn as Bond gets a big boost because it was the
first film after the disastrous “Moonraker.” Someone woke
up and said, “Hold on here! We had James Bond shooting lasers
at genetic supremacists in space? Just have him kill communists on
the ground, OK?” They got back to basics and did it well.

(A big plus due to a hilarious scene early in the film.
It’s what Bill Simmons would call unintentional comedy. Bond is
sent to find a guy who killed two secret agents searching for a secret
naval tracking device that was lost at sea. When Bond finds the
assassin, he sees someone hand the assassin a large briefcase full of
money. The assassin is killed before Bond can get to him. When Bond
gets back to England, the Minister of Defense, played by Geoffrey
Keen, regrets the case has gone cold since the assassin’s dead.
When Bond points out he saw a man pay the assassin, the minister
doesn’t get what it has to do with the case. Huh? Who put this
guy in charge? No wonder Great Britain never became a true superpower.
Bond withholds the urge to literally draw a picture for the minister,
but is still able to make his case that he should chase down the guy
who had the briefcase full of money. When someone else suggests he use
a new computer to identify this guy, the minister gives his consent by
saying, “Urrrrrrrgh.” It’s like having George W. Bush
in charge of your military. Who would let that … oh.)

5. “Goldfinger.” This movie kind of
suffers from Alex Rodriguez syndrome for me. A-Rod will probably never
be loved by the majority of Yankees fans unless he wins the World
Series MVP four years in a row while pumping out 55 dingers a season
because of his reputation of being the best in the game. Same thing
with “Goldfinger.” It gets a ton of credit as the film that
truly cemented the Bond series in place, a blockbuster so big it
ensured the producers of a cash cow for years to come.

The movie is good. And for the first time we actually have a villain
with a valid reason to keep Bond alive rather than kill him. But it
doesn’t blow me away. A hat that kills people? That’s
really the best they could come up with? But it is full of action and
spy games that are at the heart of the series.

4. “The World Is Not Enough.” Easily
Brosnan’s best Bond film. It has just enough plot twists to keep
you intrigued, but not so many you can’t follow what’s
happening. A pre-Charlie Sheen Denise Richards plays a nuclear weapons
physicist, which is always welcome. A plausible evil plot is always
welcome, too, and we have that here. We don’t have a mad man who
wants to create an underwater civilization or the son of a North Korean
general who gets plastic surgery in an attempt to destroy South Korea
with some virtual-reality glove. “The World Is Not
Enough” has a rich oil heiress who wants to damage her
competition to become richer.

And Brosnan is flawless. He’s nailed the role by this point.
And the way he ultimately deals with Sophie Marceau’s character
at the end of the film is fantastic.

A major flaw, though, is the way M is portrayed. It wasn’t
Judi Dench’s fault — the story itself made her part look
weak and slightly incompetent. It seems the producers figured it out,
though. Her character has toughened since then.

3. “On Her Majesty’s Secret Service.”
I told you the actor playing Bond wasn’t a disqualifier. A truly
fabulous film. This is when we see 007 find the woman who becomes Mrs.
James Bond; it’s a doomed marriage that is hinted at a few
times in later films. And Mrs. James Bond is played magnificently by
Diana Rigg. As the cold, emotionally distant woman who isn’t
interested in Bond and as the woman who warms to him and eventually
falls in love, she hits the notes just right each time. On first blush,
Blofeld’s hypnotic scheme is a little out there, but when you
consider the brainwashing the Nazis did in 1930s Germany and the
techniques Middle East terrorists use to convince all types of people
to blow themselves up, it doesn’t stretch the imagination that
far.

The only problem with the film, however, is Lazenby in his lone
turn as Bond. He does an admirable job, but ultimately it’s clear
he wasn’t yet an actor. It may have been different if Lazenby had
played the part a few more times and made himself more a part of the
Bond legacy. He’d be more accepted in the role. But that
didn’t happen. If Connery had made this film or if it was remade
today with Daniel Craig, it could be higher on this list.

And it’s at No. 3 as it is.

2. “Casino Royale.” It’s time to
start splitting some hairs. Top to bottom, left to right, this movie is
great. It’s paced well. It tells a part of Bond’s story
we’ve never seen before. It throws you a gut-wrenching twist you
never see coming. And it explains what made 007 a cold-hearted assassin
who knows he can only trust himself.

It’s also a film that’s grown on me. On my first
viewing, I thought the scenes showing Bond’s recovery from what
can only be described as mind-numbing injuries was too long. After
watching again, however, I realized it was done just right. It’s
also the time when he falls in love with Vesper. If those scenes
aren’t given their proper time and aren’t done right, the
conclusion doesn’t resonate the way it should. Instead,
you’d wind up with Padme Amidala crying over the evil changes in
Anakin Skywalker even though you were never convinced they were in love
in the first place.

Craig is able to do what Dalton couldn’t — merge suave
Bond with hard-edged Bond. The key is in playing suave Bond differently
than Connery or Brosnan did. You don’t play it as the handsome
guy who is fun to be around and can sweep you off your feet. You play
it as the bad guy that women know they shouldn’t love, but do.

The last shot seals the deal for me. Music composer David Arnold
made a subtle nod to the premise of the film: That this story tells how
a man named James Bond became a super spy named James Bond. Hence, you
don’t hear the traditional theme music until the movie cuts to
black after Bond uses his classic introduction for the first
time: ”The name’s Bond. James Bond.” Fantastic.

1. “From Russia With Love.” No less an
authority than John F. Kennedy declared this as his favorite book. As a
movie, no less an authority than I declare this my favorite Bond film.
An inspired evil plot by SPECTRE, the bravado of Bond deciding to
spring the trap he thinks has been set by the Soviets, the twists and
turns the story takes (especially while riding the Orient Express), and
Connery defining the role of 007 all combine to make this the best
of Bond.

The fight sequences, particularly with Robert Shaw on the train,
were superb, particularly compared with laughable ones in movies like
“You Only Live Twice” or “Thunderball.” The
plot successfully intertwined Ian Fleming’s fictitious SPECTRE
with the all-too-real Cold War between the nuclear superpowers of the
time, giving it a dose of realism. Even an unintentional comedy moment
adds to the charm for me: When Bond calmly walks around his room
checking for bugs and opening his luggage, the main theme music blasts
at full volume in the background.

But the clincher is Daniela Bianchi as Tatiana Romanova, the best Bond girl … ever.

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