| JAMES BOND ULTIMATE EDITION VOLUME 2 |
| MGM HOME VIDEO/20TH CENTURY-FOX |
| STATS DTS 5.1, Dolby Digital 5.1, Color, CC, Languages English, French, Subtitles: English, French, Chapters 32, Price $89.95 |
| THIS REVIEW HAS BEEN FORMATED FOR W-I-D-S-C-R-E-E-N MONITORS |
| THIS IS AN ONGOING REVIEW - NEW ADDITIONS WILL BE IN YELLOW |
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| THUNDERBALL Anamorphic WIdescreen (2.35:1), Original MONO, French 5.1, Subtitles: English, French, Spanish,Mandarin Chinese, Korean, Thai Running Time 125 mins. Rated PG |
| THE SPY WHO LIVED ME Anamorphic Widescreen (2.35:1), French 5.1, Subtitles: English, French, Spanish, Manderin Chinese, Korean, Thai Running Time 126 mins. Rated PG |
| A VIEW TO A KILL Anamorphic WIdescreen (2.35:1), Original Dolby Surround (2.0), French 5.1, Subtitles: English, French, Spanish, Mandarin Chinese, Korean Thai Running Time 131 mins., Rated PG |
| LICENCE TO KILL Anamorphic Widescreen (2.35:1), Original Dolby Surround (2.0), French 5.1, Subtitles: English, French, Mandarin Chinese, Korean, Thai Running Time 133, Rated PG-13 |
| DIE ANOTHER DAY Anamorphic Widescreen (2.35:1) French 5.1, Subtitles: English, French, Spanish, Madarin Chinese, Korean, Thai Running Time 127 mins. Rated PG-13 |
| VISUAL |
| AUDIO |
| PRESENTATION |
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| Review Copyright 2007, Scott Michael Bosco |
| SIGHTS AND INSIGHTS |
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| EXTRAS |
| EXTRAS |
| EXTRAS |
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| Amaray cover, booklet cover |
| Amaray cover, booklet cover |
| Amaray cover, booklet cover |
| Amaray cover, booklet cover |
| Amaray cover, booklet cover |
| DISC 1
AUDIO COMMENTARY with SIR ROGER MOORE – Sir Roger does a commendable job of filling most of the running time of the film with comments and recollections. Expect a fair amount of silent moments and not much in terms of screen orientated comments – but as Sir Roger states, that was not his intention. The listener can sense he is being prodded from behind the mic with questions edited out. Moore’s sense of humor comes through and in the end the listener comes away with plenty good material. As with any of us, Moore’s voice has subtle changes that have taken place with the years, but I think the audio commentary may have been recorded for the PAL format and has been slowed down to match the NTSC standards causing his voice to sound more garbled and drawn out. AUDIO COMMENTARY featuring DIRECTOR JOHN GLEN and MEMBERS OF THE CAST AND CREW - This one goes buy extremely fast as each speaker is edited at break-neck speed, along with comments from the audio host. The commentary is literally wall to wall covering every aspect of the production. In all 17 persons from the film are heard from. DISC 2 This disc is broken down into the following – DECLASSIFIED: M16 VAULT FILM ’85 BBC REPORT – Made up of a selection on location/on location interviews with cast members and the director. There seems to be some music inserted newly – noticeable by the quality difference. There is some very nice behind the sense footage as well. Color, 1.33:1, MONO, Running time 4 mins., 36 secs. ORIGINAL PORMOTIONAL FEATURETTE – This short bit is very much in the no nonsense way of publicizing film of the day. Less flash and more info, than today’s publicity pieces there’s a straight forward form to them which is less insulting than one done currently. The editing isn’t flashy, nor the sound mix but it keeps the attention and informs all the same. 1.85:1, Color, MONO, Running time 7 mins., 44 secs. THE STREETS OF SAN FRANCISCO DELETED FOOTAGE – Introduced by the director a montage of alternate and unused footage is compiled mostly of the fire truck sequence, as the director speaks with added music from the film in the background. 1.85:1 anamorphic intro and 2.35:1 footage, Color, Stereo, Running time 3 mins., 04 secs. FLOAT LIKE A BUTTERFLY TEST FOOTAGE – This is the actual test footage of the original performer who inspired the “Butterfly” act seen in the film. Color, 2.35:1 anamorphic, MONO, Running time 1 min., 33 secs. DELETED SCENES WITH INTORDUCTION BY DIRECTOR JOHN GLEN – The scenes are broken down into the following – THE PARIS POLICE STATION- Running time 1 mins., 19 secs. STACEY GETS FIRED – Running time 1 mins., 59 secs. PROTESTING ZORIN – Running time 2 mins., 25 secs. ZORIN AND CREW PULL UP TO CITY HALL – Running time 46 secs. Introduction is 1.85:1 anamorphic; scenes are 2.35:1 anamorphic, Color, MONO ALTERNATE AND EXPANDED ANGLE SCENES WITH INTROS BY DIRECTOR JOHN GLEN - There are three separate sequences. After choosing one a multi-screen presentation begins showing the alternate takes and the final cut. Up to 4 small screens are shown at the same time. Sequences shown: THE EFFEL TOWER- Running time 3 mins., 09 secs. THE DRAWBRIDGE – Running time 1 min., 33 secs. BOND RESUES STACEY- Running time 1 min., 55 secs. 007 MISSION CONTROL In this section under the following choices, 007, THE WOMEN, ALLIES, VILLIANS, MISSION COMBAT MANUAL, Q BRANCH, EXOTIC LOCATIONS, the viewer after making a choice, is shown clips from the film accordingly -This for the avid BOND fan who at a glance can bring up a chosen point of reference. EG: Under MISSION COMBAT MANUAL there’s a sub-selection “ZORIN’S LAST LAUGH”, where the viewer gets to watch the clip of the villain’s demise. MISSION DOSSIER INSIDE A VIEW TO A KILL, ORIGINAL DOCUMENTARY – This is the “Making of” which was originally produced for Cable in 1991 like all these retrospective “Making ofs”. This one, which although fairly deals with all aspects of the production, has as its center the, “jumping from the Eiffel Tower stunt – and rightly so. It also bids a fond far well to Roger Moore who bowed out gracefully from the part. 1.33:1 w/various aspect ratio clips, Color, Stereo, Running time 37 mins., 25 secs. THE BOND SOUND- THE MUSIC OF JAMES BOND – This is welcomed piece covering the music that has filled the BOND films and become a staple and trademark for the series in terms of style and sound. The various themes are examined along with the songs. John Barry is the center piece, and rightly so. Although David Arnold has taken over the more recent releases with a flair of his own yet bowing gracefully to Barry the mere mention of Eric Serra’s horrible score for GOLDENEYE is almost laughable in comparison and remains to this day almost unlistenable when separated from the film. Unjustly, in this piece is the total lack of any mention of Tina Turner’s show-stopping rendition of the theme from GOLDENEYE. Color, 1.33:1 w/various aspect ratio clips, Color, Stereo, Running time 21 mins., 37 secs. A VIEW TO A KILL MUSIC VIDEO, PERFORMED BY DURAN DURAN – This is a weird curiosity, even for the 80’s – but it does have a good stereo mix. 1.85:1 letterbox, Color, Stereo, Running time 4 mins., 32 secs. MINESTIRY OF PROPAGANDA THEATRICAL ARCHIVE – 3 TRAILERS – UMISSABLE BOND (1.85:1 letterbox, Color, MONO), DANGER, ACTION, EXCITEMENT, ADVENTURE… (1.85:1 letterbox, Color, MONO), SECRET MISSION (1.85:1 letterbox, Color, Stereo) TV BROADCASTS – 4 TV SPOTS 1.33:1, Color, MONO IMAGE DATABASE STILL GALLERY: Each is viewer advanced and broken down into the following; INTRODUCTION, ROGER MOORE, TANYA ROBERTS, CHRISTOPHER WALKEN, GRACE JONES, PATRICK BAUCHAU, BOND’S TEAM, COLD WARRIOR, LA TOUR EIFFEL, THE GOLDEN GATE, AT HOME WITH STACEY, SAN FRANCISCO FIRE, MAIN STRIKE, MARKETING |
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| DISC ONE 1 AUDIO COMMENTARY 1 with DIRCETOR JOHN GLEN and CAST MEMBERS AUDIO COMMENTARY 2 featuring MICHAEL WILSON and CREW MEMBERS - Both commentaries run the length of the feature, both have their silent spots, and both are not really screen oriented. The film runs 2hrs and 13 mins., which means if one listens to both it’s a total of 4 hrs and 26 mins. I did and I have to say – it was a waste of time. There isn’t much said here which the viewer walks away with. It’s all very nice and uninteresting. Everyone is just too politically correct and with absolutely nothing really worth hearing. In fact, if I had to listen to Benicio Del Toro say, “you know”, or “like” in the middle of every sentence - one more time, I’d go crazy. JUST SPIT IT OUT MAN! He brings to mind the old stereo type that actors need scripts in order to say anything worth while. Yikes, he comes off ignorant. Just watch the extras on the bonus disc. DISC 2 This disc is broken down into the following – DECLASSIFIED: M16 VAULT DELETED SCENES – Each segment listed below is introduced by the film director John Glen. All scenes are 2.35:1 Anamorphic, Color, Stereo SHARKY ARRIVES – Running time 27 secs. BOND AND SHARKEY FOLLOW YACHT – Running time 1 min., 05 secs. BOND IN HOTEL ROOM – Running time 1 min., 14 secs. CASH TRANSACTION – Running time 41 secs. BOND IN ISTHMUS – Running time 1 min., 19 secs. “BIENVENIDO MIS AMIGOS – Running time 59 secs. BOND RETURNS TO CASINO – Running time 1 min., 09 secs. BOND CAPTURED BY HONG KONG NARCOTICS AGENTS – Running time 1 min., 5 2 secs. BOATE RIDE – Running time 1 min., 24 secs. BOND ’89 – Introduced by Michael Wilson he explains the following are interviews with cast and crew member done at the time of release of the film for publicity. 1.33:1, Color, MONO, Running time 11 mins., 42 secs. ON THE SET WITH JOHN GLEN – Director John Glen narrates video footage, very much like “home movies” taken on location during the film’s production. This is interesting and full of some great shots.1.33:1, Color, Stereo, Running time 9 mins., 26secs. ON LOCATION WITH PETER LAMONT – Mr. Lamount, the production designer narrates video “home movies” pointing out people and other points of interests. Another very nice piece. 1.33:1, Color, Stereo, Running time 5 mins., 23 secs. GROUND CHECK WITH CORKY FORNOFF– Done at the time of the production, Mr. Fornoff walks the viewer through the plane and scenes which he worked on dealing with all flying sequences. 1.33:1, Color, MONO, Running time 4 mins., 47 secs. 007 MISSION CONTROL In this section under the following choices, 007, THE WOMEN, ALLIES, VILLIANS, MISSION COMBAT MANUAL, Q BRANCH, EXOTIC LOCATIONS, the viewer after making a choice, is shown clips from the film accordingly - This for the avid BOND fan who can bring up a chosen point of reference. EG: Under “007” there’s a sub-selection “TITLES”. From there one can see the film’s opening main titles without the text making it a kind of music video. MISSION DOSSIER INSIDE LICENCE TO KILL – This is the best piece in the bunch and better presents all sides of the production, reveling info and oddities much better than either of the two audio commentaries included on disc one. There is on particular bit concerning a “haunted highway” with some eye opening evidence well worth the viewing. 1.33:1 w/letterbox segments, Color, Stereo (2.0), Running time 31 mins., 59 secs. PRODUCTION FEATURETTE, BEHIND THE SCENES – A simple vintage featurette loaded with behind the scenes video footage of the production. Strangely, it all seems like video. 1.33:1, Color, Mono, Running time 4 mins., 56 secs. KENWORTH TRUCK STUNT FILM – As with the featurettes above, this one also is complied of behind the scenes footage – videotaped. Dealing with the trucks used in the film, there are on screen interviews with those who drove and supplied the vehicles. 1.33:1, Color, Stereo, Running time 9 mins., 30 secs “LICENCE TO KILL” MUSIC VIDEO – This is a wacky video, first we have Gladys Knight who is dressed like a man in a tux amongst a bevy of hot babes so she comes off like Gladys “Dyke”. Then if you listen carefully it sounds like she’s singing Licence to “Kilt”, not “Kill”. 1.33:1 w/1.85:1 letterbox, Color, Stereo (2.0) Running time 4 mins., 27 secs. “IF YOU ASKED ME TO” MUSIC VIDEO - This is another weird video. To begin with there’s Patti Labelle who slowly gets more unstable as the video progress. Add the erratic movements with that hair and there a visual nightmare in the making. She comes off as a black “Baby Jane” just waiting to swing an axe – frightening. 1.33:1, Color, Stereo (2.0) Running time 4 mins., 01 secs. MINESTIRY OF PROPAGANDA THEATRICAL ARCHIVE – TRAILER 1 (2.35:1 Letterbox, Color, Stereo), TRAILER 2 (2.35:1 Letterbox, Color, Stereo) IMAGE DATABASE STILL GALLERY: Each is viewer advanced and broken down into the following; THE FILMMAKERS, PORTIRATS, KEY WEST MIXICO CITY, SHOTS IN THE NIGHT, SANCHEZ’S OFFICE, ARABESQUE, OTOMI, MEXICALI, THE “LOST” PROMOTIONAL CAMPAIGN, “LICENCE TO KILL” AROUND THE GLOBE, MERCHADISING |
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| DISC 1
AUDIO COMMENTARY 1 featuring TERRENCE YOUNG AND OTHERS AUDIO COMMENTARY 2 featuring PETER HUNT, JOHN HOPKINS AND OTHERS Both commentaries are from a former laserdisc release of the film. Even though the first offers more persons to hear from it is the second that is easier to listen too. The first is a hard listen being very dry and slow. It also fills the film better, but like the second commentary is not really visually related. Both are edited from various interviews made separate from actually sitting and watching the film. There are a few time direct comments are made however. The second offers the main titles with the original song, “Mr. Kiss, Kiss, Bang, Bang”, which is a treat in itself. There are so sequences of the film shown as dubbed in various languages. DISC 2 This disc is broken down into the following – DECLASSIFIED: M16 VAULT THE INCREDIBLE WORLD OF JAMES BOND, ORIGINAL 1965 NBC SPECIAL – 1.33:1, Color, MONO, Running time 50mins., 50 secs. Consisting mostly of film clips from all previous films to THUNDERBALL it is a basic introduction to the series. For archival reasons the real points of interest are behind the scenes footage from THUNDERBALL and the lines of people lining up to see the BOND films. An interesting note is that this special ran on NBC when all the BOND films would air on ABC for years. A CHILD’S GUIDE TO BLOWING UP A MOTOR CAR, 1965 FORD PROMOTIONAL FILM – 1.33:1, Color, MONO, Running time 17 mins., 08 secs. This is something that just would be made today. The title alone says it all. The piece concentrates on the films of a car chase and destruction in a very tongue & cheek manner. Although originally produced in MONO I suppose the beginning music elements have been lost since they are now in 2.0 stereo. ON LOCATION WITH KEN ADAM – 1.33:1, Color, 2.0 stereo, Running time 13 mins., 07 secs. Ken’s home movies are shown as he is heard narrating the footage. Music has been added for the background. BILL SUITOR, THE ROCKET MAN MOVIES – 1.33:1, Color, MONO, Running time 3 mins., 55 secs. This footage is introduced and narrated by Mr. Suitor who worked on the “Jet-pack” that was used in the film’s beginning. THUNDERBALL BOAT SHOW REEL – Anamorphic 2.35:1, Color, 2.0 stereo, Running time 2 mins., 50 secs. Michael Wilson introduces this special footage that was requested to be used for publicity at a major boat show in 65’. It is al alternate edit of the final underwater battle seen in THUNDERBALL. SELLING BONDS, ORIGINAL 1965 TELEVISION COMMERICALS – 3 different spots all B&W, MONO. Each is for a different item, raincoat, slacks, toys. 007 MISSION CONTROL In this section under the following choices, 007, THE WOMEN, ALLIES, VILLIANS, MISSION COMBAT MANUAL, Q BRANCH, EXOTIC LOCATIONS, the viewer after making a choice, is shown clips from the film accordingly -This for the avid BOND fan who at a glance can bring up a chosen point of reference. EG: Under MISSION COMBAT MANUAL on sub-selection is “Under Water Battle and Battle aboard the Disco”. Once chosen another sub-selection is given showing all the drinks Bond has during the film. The views clicks on one or the “play all” feature and that scene/s in the film are shown showcasing the drink. Also as with all the other films the final selection EXOTIC LOCATIONS is a video piece has clips from the given film and narrated by Maude Adams. As usual, the main title credits are available textless making them look very much like a music video. (Listed under 007) MISSION DOSSIER MAKING OF THUNDERBALL – 1.33:1, Color, 2.0 Stereo, Running time 27 mins., 31 secs. Made for cable this is documentary is in the same format as the “Making of’” for all the BOND films. It hits all the right marks starting with the book, pre/post production of the film. There are interviews and some very good behind the scenes footage. THE THUNDERBALL PENOMOMEN -1.33:1, Color, 2.0 Stereo, Running time 30 min.. 59 secs. Because the BOND releases are so extensive, much of the material, in terms of archival footage is used over and over again. Aside from that aspect this documentary deals with how popular THUNDERBALL was. THE SECRET HISTORY OF THUNDERBALL - 1.33:1, Color, 2.0 Stereo, Running time 3 min.. 47 secs. This is an odd entry that focus’ on a few scenes in the film that through the years in various formats and releases there were differences with lines of dialog and music cues. MINESTIRY OF PROPAGANDA THEATRICAL ARCHIVE – (3) 2 are presented 1.33:1 the other 1.85:1 letterbox TV BROADCASTS – 5 all 1.33:1 RADIO COMMUNICATION – (10) IMAGE DATABASE STILL GALLERY: Each is viewer advanced and broken down into the following; PORTIRATS, THE ASTON MARTIN, CHATEAU D’ANET, PINDER’S SHOP, SEARCHING FOR THE VULCAN, ROMANCE BENEATH THE WAVES, UNDERWATER ACTION, THE FINAL FIGHT, THE PINEWOOD TANK, “THUNDERBALL” AROUND THE GLOBE, MERCHANDISING On the down side this group of images is a bit blurry. |
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| The mastering is some of the best, every committed to DVD release. The restoration team has delivered extremely high quality masters which perform excellently for the format.
Colors are stunning as is detail. Virtually perfect and clean these presentations are show pieces to show off any hi-end system. Colors are stunning as is detail. Virtually perfect and clean these presentations are show pieces to show off any hi-end system. THE SPY WHO LOVED ME show some annoying signs of over use of edge enhancement that shows up during earlier portions of the film – most noticeable in the scene where we are introduced to the villain at the long table. THUNDERBALL was beautiful and had crisp detail and color. Only optical shots gave way to the film’s age. A VIEW TO A KILL AND LICENCE TO KILL both delivered excellent images too. I expected DIE ANOTHER DAY to super sharp and clean due to its more current production. |
| Upon first glance the bit blue and black box isn’t that impressive. Once the shrink wrap is peeled way the mustard color turns out to be a gold foil and the Bond logo glistens of silver foil. Slide out the inner box/tray and the bulk of this set comes into play. Each film is packed in a slim-line black Plastic Amaray. Included is a booklet for each film with background info, and color photos.
Menus are simply outrageous and classy – some of the best EVER put onto DVD. Although the layout is the same for every film it is also made unique by that film’s music and scenes. Animated, and with sound there are also transitions to each sub-menu. I would advice all views to just sit down and enjoy each menu because they are done so well. Unlike the over burdened DISNEY menus these are fitting, and straight to the point, and easy on the eye. Sleek is the word that comes to mind. With so many sub-menus it can become daunting and confusing, but in this case it isn’t. Best of all, when needed the viewer can skip ahead of the animation to make your choice. Hands down this is probably one of the best laid out releases ever for DVD. |
| DISC 1
AUDIO COMMENTARY 1 with SIR ROGER MOORE AUDIO COMMENTARY 2 featuring Director LEWIS GILBERT, Production Designer KEN ADAM, Co-Writer CHRISTOPHER WOOD, and MICHAEL G. WILSON Both commentaries are good but I’d say in terms of sticking with the film at large the second is the better. Sir Roger quickly states that he will talk not just about the film but rather whatever strikes his fancy in relation to himself, his career and the film – which is does. With the film having a long running time doing this on his own without a moderator isn’t easy. He fills his time with some humorous recollections and points of interest. The second commentary moves much quicker, as it should do to the number of persons and inactivity amongst them. There are fewer silent spots, and more is covered specifically about the film – especially on a technical side. DISC 2 This disc is broken down into the following – DECLASSIFIED: M16 VAULT OO7 IN EGYPT – 1.33:1, Color, MONO, Running time 16 mins., 12 secs. Introduced and narrated by Michael Wilson 16mm behind the scenes footage is shown of various locals and set ups. ROGER MOORE, MY WORD IS MY BOND – 1.33:1, Color, MONO, Running time 4 mins., 32 secs. Michael Wilson introduces these clips of Roger Moore being interviewed by the press while on the giant 007 set. Roger’s sense of humor, and razor wit is showcased. ON LOCATION WITH KEN ADAM – Color, Stereo, Running time 5 mins., 55 secs. Ken Adam, Production Designer, narrates his home movies while at various locations during the filming. 007 STAGE DEDICATION: ORIGINAL 1977 FEATRETTE – Color, Running time 1 mins., 10 secs. This short piece was a publicity short showing the opening of the new 007 giant set. This is more a new reel piece. ESCAPE FROM ATLANTIS: STORY BOARD SEQUENCE – Color, Stereo, Running time 2 mins., 20 secs. Michael Wilson introduces this story board sequence which is shown as music, some sound effects and even dialog is heard. The interesting part of this are the differences in what was originally planned then finally filmed. 007 MISSION CONTROL In this section under the following choices, 007, THE WOMEN, ALLIES, VILLIANS, MISSION COMBAT MANUAL, Q BRANCH, EXOTIC LOCATIONS, the viewer after making a choice, is shown clips from the film accordingly -This for the avid BOND fan who at a glance can bring up a chosen point of reference. EG: Under VILLIANS THE sub-selection are “Stromberg”, “Jaws” and “Sandor”. Once chosen another sub-selection is given showing all the drinks Bond has during the film. The views clicks on one or the “play all” feature and that scene/s in the film are shown showcasing the drink. Also as with all the other films the final selection EXOTIC LOCATIONS is a video piece has clips from the given film and narrated by Maude Adams. As usual, the main title credits are available textless making them look very much like a music video. (Listed under 007) MISSION DOSSIER INSIDE THE SPY WHO LOVED ME – 1.33:1 w/letterbox clips, Color, Stereo, Running time 40 mins., 39 secs. There’s a lot of background and legal drama behind the development of this film. All the fore mentioned is covered as well as the production, and problems filming in Egypt in terms of the food. Aside from lacking the presence of Barbara Bach this is yet another excellent BOND “making of”. KEN ADAM: DESINGING BOND – 1.33:1 w/letterbox clips, Color, Stereo, Running time 21 mins., 41 secs. The incredible designing talents are covered via interviews with various persons who worked with him. Ken himself is interviewed and tells his story and choices in creating the sets on the BOND films he worked on. MINESTIRY OF PROPAGANDA THEATRICAL ARCHIVE – 3 TRAILERS - Two are presented 1.85:1 letterboxed, and the third is 2.35;1 anamorphic. All are Color, and MONO. TV BORADCASTS – 6 SPOTS, all 1.33:1, Color, MONO RADIO COMMUNICATION - 12 SPOTS IMAGE DATABASE STILL GALLERY: Each is viewer advanced and broken down into the following; THE FILMMAKERS, PORTIRATS, PRE-CREDITS SKI ACTION, SARDINA, BAHAMAS, EGYPT, PINEWOOD, THE 007 STAGE, AROUND THE WORLD WITH 007 |
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| THE SPY WHO LOVED ME has had some bad history behind it in previous incarnations on home video. It suffered from bad phase errors that caused dialog to leak, and produce an echo from the rear channel. In the past it was usually in Pro-logic (with a rear MONO surround. However, DOLBY in films was not a standardized format at the time of the theatrical release so films were still being produced in 4-track stereo for 70mm presentations. The scheme of that sound mix can, with a little guidance, be formatted for Dolby Surround (a 4.2.4 format consisting of 4 tracks, encoded into 2, then decoded back into 4). Why SPY suffered from audio problems in the past is beyond me if a little attention was paid in the transfer process it could have been avoided. Now we have a new 5.1 mix both in DOLBY and DTS. As with the other BOND FILMS IN THESE BOX SETS I’ve found that all suffer from lack of bass in the DTS tracks compared to the DOLBY ones. There are also some strange mixing differences in terms of panning and separation when comparing the original Dolby Surround (2.0) mixes and the new 5.1. This should not be. Panning and other steering (aside the ones between split rears, should be the same.
THUNDERBALL seems to have a very different mix that what was previously made available on DVD. There doesn’t seem to be as much panning amongst the frontal speakers so very common in early stereo films. The mix presented however is very clean and has a more modern tone to it. Again the DTS track is not only louder in volume, but has less bass than its Dolby counterpart. |
| DISC 1
AUDIO COMMENTARY with ACTORS PIERCE BROSNAN and ROSAMUND PIKE The two stars have been recorded separately and edited. Each are obviously responded to unheard (edited out) questions. Pierce is snide while Rosamund gushes over and over about being in a “BOND” film. Between the two not much is really said and there are a lot of quiet spots. Pierce doesn’t shut-up about his wanting to make BOND grittier and more real. Personally I don’t think he really walked into to the character but rather always wanted to change the character to fit him. AUDIO COMMENTARY with DIRECTOR LEE TAMAHORI and PRODUCER MICHAEL WILSON – This commentary is almost wall to wall. Director Tamahori barely takes a breath before starting with yet another wind fall of behind the scenes stories – so much so there’s hardly enough time for Producer Wilson to get a word in. Both were recorded at the same time so there is some interplay. Both commentaries have been recorded in stereo allowing each person within the pair to he heard on either the right or left speaker. MI6 DATASTREAM – This feature is supped up text caption option commentary that shows pop-ups containing info on the production and history of BOND. What makes this one different is that at times a “Video Transmission” box opens; next the movie image shrinks down as a new video image takes its place. These can be of interviews with stars, or production crew, or behind the scenes footage. Basically, it a kind of feature one would find on Blu-ray. Very nice! DISC 2 This disc is broken down into the following DECLASSIFIED: M16 VAULT FROM SCRIPT TO SCREEN – Anamorphic 1.85:1, Color, 2.0 Stereo, Running time 51 mins., 37 secs. In a departure from the other “Making ofs” this one was produced by a different company – and it shows. This has got to be on of the most boring “Making ofs’ I’ve every sat through. As of this writing I still have more BOND releases to review but I have to say this is, so far, the worst. It’s not that it doesn’t cover the right material, or show enough footage, it just that it lags and lack “umph”! Things do improve a bit about 20 mins. into the documentary but, ouch, it stinks. SHAKEN AND STIRRED ON ICE – Anamorphic 1.85:1 w2.35:1 clips, Color, 2.0 Stereo, 23 Running time 33 mins., secs. Centering on the car chase on ice this piece covers the production and location challenges of bring this exciting segment to the screen. Via on camera interview and lots of behind the scenes footage this documentary is much better than the previous “making of’. Granted, it’s much lower key than other BOND film pieces but it is good. JUST ANOTHER DAY – Anamorphic 1.85:1, Color, 2.0 Stereo, Running time 22 mins., 37 secs. This piece covers the challenge of dealing with limited time and locations constraints of film outside the Buckingham Palace, for the entrance of the film’s villain via Para shoot. This is another interesting and entertaining piece. THE BRITISH TOUCH: BOND ARRIVES IN LONDON – Anamorphic 1.85:1 w/2.35:1 clips, Color, 2.0 Stereo, Running time 3 mins., 32 secs. The filming on board a British Airways plane is covered where Roger Moore’s daughter play a stewardess. There’s also an added bonus of a few shots of a deleted bit. Fun stuff. ON LOCATION WITH PETER LAMONT – Anamorphic 1.85:1, Color, 2.0 Stereo, Running time 3 mins., 32 secs. As with the past Ken Adams home movies this is much the same – but video taped. Peter Lamont narrates his videos of various locations hunted out for the production. 007 MISSION CONTROL In this section under the following choices, 007, THE WOMEN, ALLIES, VILLIANS, MISSION COMBAT MANUAL, Q BRANCH, EXOTIC LOCATIONS, the viewer after making a choice, is shown clips from the film accordingly -This for the avid BOND fan who at a glance can bring up a chosen point of reference. EG: Under “Allies” on sub-selection are “M”, “Q”, and “Miss Moneypenny. Once chosen another sub-selection is given showing all the drinks Bond has during the film. The views clicks on one or the “play all” feature and that scene/s in the film are shown showcasing the drink. EXOTIC LOCATIONS is narrated by Samantha Bond (Moneypenny) MISSION DOSSIER None for this film. MINESTIRY OF PROPAGANDA None for this film. I don’t understand why there weren’t any Trailers or TV spots included – this is a newer release – this is low point and major minus for fans. IMAGE DATABASE STILL GALLERY: Each is viewer advanced and broken down into the following; CAST PORTIRATS, “SPECIAL SHOOT PHOTOS”, “SETS AND LOCATIONS, “STUNTS AND SPECIAL EFFECTS”, “VEHICLES & GADETS” This is another area where the selection is short handed compared to the other BOND film. Also, the photos are annoying presented with an overlay which interferes with the color. |
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| One of the most incredible aspects in THE SPY WHO LOVED ME is the miniatures designed and presented by Derek Meddings. As discussed in the commentary Derek’s work was made all the more challenging due to the added dimension of water. One can fool an audience with almost any size miniature but water behaves to rules of its own, and can easily throw off the believability factor. Derek’s training in the use of miniatures goes back to his work on the Gerry/Sylvia Anderson shows as STINGRAY, THUNDERBIRDS, CAPTAIN SCARLET and the like. His finite detail to his miniatures and the artistic way he photographed them is a style and credit to his artful eye. |
| As mentioned above one of the spookier aspects that took place during the filming of LICENCE TO KILL was a location on a stretch of highway thought haunted –abandoned and unused for that reason. When the final confrontation between BOND and the villain was filmed with a tanker exploding a still photographer captured a startling, and unexplainable image on film. Weirder perhaps is how real life recreated art in the film THE CAR made years earlier! Go to this link to see more on that comparison… LINK |
| From its desaturated color pre-credit sequence, to its sped-up-jump-frame edits DIE ANOTHER DAY is another Brosnan entry given “another” example of how low BOND has fallen to mediocrity. There was a time when BOND not only meant class, but innovation. “DIE” holds only a glimpse of that past tradition with its glorious Ice Sculpted building and frozen local, but nothing else here could even fall into the shadow of what has been visited previous. Even though Spain represented Cuba it was done in such a way that suggest a horrid seedy place where people do nothing else but dance in the streets to music all day – which would explain why Miami has become the trash dump of Florida compared to the yesterday vacation spot as seen in GOLDFINGER. The “grittier” look and feel Brosnan constantly has promoted and forced since gaining power with the success of GOLDENEYE hasn’t improved BOND but rather taken away its glitter with his idea of shanty Irish cool. His choices have not deepened the character but rather made it more approachable to the rabble of the world instead of the masses wishing they could be better, more stylish and suave. What has been add in terms of style here is nothing short of what is typical in music video and commercials – if it were done here first that might have been creative and innovative; but since it is not it’s hack and unfitting. Bond doesn’t have to wait to “die another day”, he did the moment Brosnan stepped into the gun barrel sight in his second outing as BOND. |