‘Hunt’ for Bond Revisited: More M:I Connections to 007

Mission: Impossible-Fallout poster

By the by, there are spoilers if you haven’t seen Mission: Impossible-Fallout. For that matter, there are spoilers if you’ve never seen the 007 films cited.

By Nicolas Suszczyk, Guest Writer

Tom Cruise’s Ethan Hunt has returned in Mission: Impossible – Fallout while 007’s next film is scheduled for a 2019 release.

Taking advantage of  Bond’s absence in theaters, many reviewers said Hunt has taken the place of Bond and criticized 2015’s SPECTRE.

Mission: Impossible – Rogue Nation adapted Bond-like settings and scenes in the story. But  Mission: Impossible – Fallout is even more Bond inspired. It has, the escapist tone of the days of Pierce Brosnan, just with a little more grit.

Tom Cruise and director-screenwriter Christopher MacQuarrie redoubled their efforts and made a more spectacular film than its predecessors. The last two M:I films are similar to how Thunderball and You Only Live Twice compared with the three first Eon 007 movies, Dr. No, From Russia With Love and Goldfinger.

In M:I-Fallout, Hunt again faces off against Solomon Lane (Sean Harris), who — like Blofeld’s SPECTRE — is the author of his pain. Lane was the main antagonist of M:I – Rogue Nation.

‘The Girl or the Mission’

The film’s starts in Berlin, where Hunt and Benji (Simon Pegg) pose as buyers of three atomic warheads. Their cover is blown and Luther (Ving Rhames) is captured. Hunt makes a risky decision: to save his friend. That leaves the case with the plutonium unattended and stolen.

This is similar to GoldenEye, where Alec Trevelyan (Sean Bean) asks Bond to choose between “the girl or the mission” while General Ourumov (Gottfried John) held Natalya (Izabella Scorupco) at gunpoint. Finally, Bond saved Natalya by gunning the Russian general down.

It’s also similar to Skyfall. M orders Moneypenny (Naomie Harris) to shoot Patrice (who stole a hard drive with data of infiltrated agents). Hunt makes a “judgment call” by shooting Luther to distract the man holding him at gunpoint and save his life. The “fallout” of M’s and Hunt’s action determines the principal threat of both films.

Also in the Berlin scene. we have another familiar Bond meme: a remote controlled car, a function available in the cars driven by Pierce Brosnan in Tomorrow Never Dies, The World Is Not Enough and Die Another Day.

HALO Jump

Coming next a HALO jump as featured in Tomorrow Never Dies. Although this time, it’s a much riskier scene when Hunt and his teammate August Walker (Henry Cavill) face a storm during the operation and Walker is hit by lightning, losing consciousness.

In a similar situation to Moonraker and Quantum of Solace, Hunt has to do a little skydiving to reach Walker, reconnect his oxygen and deploy Walker’s parachute, as well as his own.

Ilsa Faust (Rebecca Ferguson, from Mission: Impossible – Rogue Nation) returns and saves Hunt’s life after a cruel bathroom fight with one John Lark, the man he had to impersonate, warning him not to complete his mission of meeting the “White Widow” (Vanessa Kirby) to exchange the missing plutonium.

They walk across a mirrored and red-lighted room that reminds us to Die Another Day’s Álvarez Clinic in Cuba. Ilsa tells him that he’ll be a dead man if he meets the woman because Lark has a contract on him. It’s known he’s meeting the White Widow that night, so they’ll kill him on sight. In a similar context in which Bond met Severine in Skyfall, both heroes manage to beat all the assailants and escape alive.

In exchange of the plutonium spheres, the White Widow and her accomplices want Solomon Lane, who’s been transferred to a prison to another in France. Hunt forgoes the originally conceived plan (which dealt with killing every witness) and pushes the prison van into the Seine, having Luther and Benji extract Lane trough the water, the same method in which Franz Sánchez escaped in 1989’s Licence to Kill.

The breakout of Lane pits the French police against Hunt and a chase ensues through the streets of Paris, on motorbike and then on a small BMW, as he is chased by Ilsa who has been given orders from MI6 to terminate Lane.

Not only there’s a particular shot as the BMW makes a backwards spin above some steps which is very reminiscent to A View to A Kill, where Bond (Roger Moore) chased a parachuting May Day (Grace Jones) in a Renault 14, but we have Ilsa trying to do the job of any 00 agent: terminate someone who is a threat for national security.

Mole Revealed

Hunt and his team –- and the captive Lane — reunite with IMF Secretary Alan Hunley (Alec Baldwin) in a safe house, much as Bond did at the beginning of Quantum of Solace with Mr. White (Jesper Christensen) in Siena.

Stunt teased by Tom Cruise on Instagram earlier this year.

Walker is revealed as a mole and a shootout ensues, breaking Lane free again. As a result of this confrontation, Hunley is badly hurt by Walker and dies showing his trust to Hunt, much like M at the end of Skyfall.

Just like in the 23rd Bond movie, in pursuit of Walker, Hunt also holds from a scaffold in the bottom of the elevator his enemy is taking, as Bond did in Shanghai when chasing Patrice.

The film’s climax takes place in Kashmir, where Lane and Walker attempt to detonate a nuclear bomb using the plutonium spheres that have fallen into their hands. Ilsa and Benji fight Lane, Hunt goes for Walker.

A long helicopter chase ensues and that includes a few references to SPECTRE’s helicopter fight in Mexico, with Bond fighting Marco Sciarra and the pilot, pushing them away and taking control of the vehicle.

Just like Blofeld at the end of the same film, Hunt and Walker both survive the helicopter crash.

Showdown

This takes us to the final showdown between Hunt and Walker atop the cliff of a mountain, as the remains of the one of the helicopter’s cockpit hang loosely of a wire.

A shot of ice caps falling close to both men looks greatly inspired by Die Another Day, in the scene where a clinging Bond faced the power of the Icarus satellite beam in Iceland.

While this scene overall may be reminiscent of the confrontation between Hunt and rogue IMF agent Sean Ambrose (Dougray Scott) in Mission: Impossible II, but there are some links to the antenna fight between 007 and Trevelyan in GoldenEye.

In the beginning of 1995 film, Trevelyan gets half of his face burned by a chemical explosion in Arkhangelsk. In a similar way, Walker gets an acid fluid from the helicopter straight into his face, leaving him badly scarred side. At the end of GoldenEye, Bond and his former friend fight in a small platform at high altitude as both attempt to make each other fall to the vacuum.

A clapperboard from Mission: Impossible-Fallout

Finally, Bond lets Trevelyan fall and the villain, agonizing, is finally terminated when the whole antenna structure crushes him. In Walker’s case, as he’s about to get Hunt, the IMF agent forces the wire over him and the hook gets impaled into his face, making him fall to his death.

Mission: Impossible – Fallout is, of all the M:I movies, the closest to a James Bond film. While some people may feel offended for the way they ripped the Bond archive in more than a way this time, I’ll recognize the great taste Mr. Cruise has and the respect he had for 007’s legacy during his interviews promoting the movie.

Ford cars, RIP

“Have you not heard? Ford is getting out of the car business!”

This week, Ford Motor Co. said it was virtually exiting the car business in North America, its home (and most profitable) market. By 2020, Ford announced, it will just have two cars in its lineup: the Mustang sports car and the Ford Active crossover due out next year. Ford will concentrate on trucks, SUVs and “crossovers.”

For people of a certain age this seems almost unthinkable. Ford always was aggressive with product placement. Ford cars have been in generations of films and U.S. television shows.

Here’s a look at some prominent examples.

James Bond films: The Bond Cars website provides a list, which says Ford shows up early in the 007 film series produced by Eon Productions. For example, it’s a Ford that serves as the hearse used by Dr. No’s assassins when they kill MI6 operative Strangways.

Ford’s relationship geared up in Goldfinger. A Lincoln Continental is crushed. Felix Leiter rides around in a Ford Thunderbird. Auric Goldfinger uses Ford trucks to transport his larger laser gun to Fort Knox.

And, of course, the movie marked the film debut of Mustang. The sports car was introduced in the spring of 1964 while filming was underway on Goldfinger. Mustangs would also show up in Thunderball and Diamonds Are Forever.

Thunderball also featured a lot of Ford cars, including the Continental, Count Lippe’s Ford Fairlane and a station wagon among other vehicles. Emilo Largo drives a Ford Thunderbird on his way to SPECTRE headquarters immediately after the film’s main titles.

The automaker had an on-and-off relationship with the series. Teresa Bond (Diana Rigg) favored a red Mercury Cougar in On Her Majesty’s Secret Service. A number of Ford cars are crashed in the moon buggy chase in Diamonds Are Forever.

Ford also owned Aston Martin from 1987 until 2007. For Die Another Day, Ford had a huge product placement deal, mostly to promote European brands it owned at that time, including Aston, Land Rover and Jaguar. However, a Ford Thunderbird (driven by Halle Berry’s Jinx) also showed up.

The company’s ties to the film series ended with 2008’s Quantum of Solace. Land Rover would return in the 2010s, but after Ford had sold it off.

Matt Helm and Gail Hendricks (Dean Martin and Stella Stevens) in Matt’s Mercury station wagon equipped with a bar.

Matt Helm film series: For four 1960s Matt Helm movies with Dean Martin, Ford provided the vehicles.

Perhaps the most offbeat car was a Mercury station wagon, which was Matt Helm’s personal car in The Silencers (1966). It was equipped with a bar (!) in the back seat. Matt encourages Gail Hendricks (Stella Stevens) to have a drink or two to loosen up. She ends up consuming too much and passing out.

Other Ford-made cars in the series included a Thunderbird Matt drove around Monte Carlo in Murderers’ Row. It had some extras, including a device where words dictated into a microphone are spelled out on the car’s tail lights. (“If you can read this, you’re too close…”)

Hawaii Five-O (original series): Steve McGarrett’s signature car was a Mercury (a two-door model in the pilot, a four-door version thereafter). Lots of other Ford-made cars showed up during the 1968-1980 series.

Ford even supplied cars for an 11th season episode filmed in Singapore. The cast of that two-hour installment, The Year of the Horse, included George Lazenby, who received “special guest star” billing.

Erskine in a Mercury made by Ford Motor Co. in a sixth-season end titles of The FBI.

The FBI: Ford supplied cars for a number of Quinn Martin-produced shows. But the tightest relationship between the company and QM Productions was this 1965-1974 series.

Ford cut a deal to sponsor the show, which was broadcast on ABC. The automaker agreed to kick in extra money to ensure the series would be filmed in color. Executives felt a color series would show off Ford cars better. When The FBI debuted in fall 1965, most of ABC’s lineup was still produced in black and white.

Ford also vetoed the broadcast of one first-season episode, The Hiding Place, because there had been talk of a boycott being organized. The episode finally saw the light of day in 2011 when Warner Archive began releasing the show.

Symbolic of the ties between Ford and show came in the end titles. Inspector Lewis Erkine (Efrem Zimbalist Jr.) came out of the FBI Building (now the Department of Justice Building) and drove a Ford product home. It was a Mustang for the first four seasons. Subsequent seasons had different Ford-made cars.

The end titles were productions in and of themselves. Zimbalist traveled to Washington for annual meetings with then-Bureau Director J. Edgar Hoover. Ford would transport a car for him to drive in Washington for the following season’s end titles. Some of the cars were prototypes and weren’t the most sturdy.

This post merely scratches the surface. There have been many series over the years featuring Ford cars. It won’t be quite the same with Ford cars going away.

007: News mostly about the past

Image for the official James Bond feed on Twitter

As 2017 enters its final month, James Bond is mostly looking backward, rather than forward.

News item: There’s an expanded soundtrack now available for Die Another Day, a movie that originally came out in 2002 — 15 years ago.

News item: Roger Moore’s diary written during the filming of Live And Let Die is to get a new printing next year. The original was published in 1973 — 44 years ago. The new version will be printed in hardback. It will also feature a forward by David Hedison, a long-time friend of Moore’s who played Felix Leiter in Live And Let Die.

But wait! Isn’t there a new 007 product coming out in 2018? True. That will be the second 007 continuation novel by Anthony Horowitz. It is scheduled to be published sometime in the spring.

However, the literary Bond, in the 21st century, is almost like a distant satellite of the larger 007 entity, the film series.

Which leads us to….

Bond 25’s status: As of this writing, the film officially has a leading man (Daniel Craig), a pair of producers (Eon’s Barbara Broccoli and Michael G. Wilson), a pair of writers (Neal Purvis and Robert Wade) and a release date (Nov. 8, 2019 in the United States).

And not much else. At least not now.

Around this time a year ago, the blog asked if 2016 was 007’s lost year.

2017 has been more eventful, but not by much. While Bond 25 has a release date, nobody knows — for sure — how it will get to theaters.

The Deadline: Hollywood website reported Nov. 12 that a new joint venture between Metro-Goldwyn-Mayer and Annapurna Pictures was close to striking a deal to distribute Bond 25 in the U.S. But there’s been no announcement. And the Deadline report said international distribution hadn’t been decided.

Since then, no news. For most franchises, the distributor isn’t a big deal. The studio involved controls that. MGM, seven years after exiting bankruptcy, is trying to become a “big boy” studio again. But MGM, which controls half the Bond franchise, isn’t there yet.

And for Bond 25, an international distributor (assuming the MGM-Annapurna deal comes to be) is probably going to kick in a large piece of the production budget.

Obviously, there are things happening behind the scenes. Purvis and Wade have had enough time to complete a first-draft script. Whether they have or not is anybody’s guess.

James Bond can look back to a glorious past with certainty. The expanded Die Another Day soundtrack and new printing of Roger Moore’s Live And Let diary are just two of many examples.

An even bigger example: The death of Roger Moore in May naturally spurred a look back at his seven 007 films. He was the first of six screen Bonds in the Eon Productions series to pass away.

The future? That’s still a little fuzzy as 2017 nears its end. We’ll see if that status changes in the year’s final month.

Meanwhile, here’s a bit of perspective: General Motors Co. said Nov. 30 it expects to launch a “ride-hailing service” of self-driving cars in the United States by 2019. Self-driving cars are supposed to be the next big thing in autos. If GM is correct, that service could be in business before 007’s next screen adventure.

Expanded Die Another Day soundtrack coming

La-La Land Records will offer an expanded, limited edition soundtrack of David Arnold’s score for Die Another Day, the company said on Twitter.

The soundtrack will be offered beginning at 12 noon, Los Angeles time (3 p.m. New York time) on Tuesday, Nov. 28 at the La-La Land Records website, http://lalalandrecords.com/.

The original 2002 soundtrack for Die Another Day was issued on a single disc. The expanded soundtrack will be on two discs.

The price is $29.98, according to La-La Land’s Facebook page (which also has a track list). The expanded soundtrack is being limited to 5,000 sets. The expanded soundtrack has more than 148 minutes of music.

The announcement on Twitter, which was made shortly after midnight Los Angeles time by La-La Land to coincide with the start of “Black Friday,” the beginning of the Christmas shopping season.

La-La Land Records earlier this year began selling a four-disc soundtrack set from The Wild Wild West (limited to 1,000 sets). It also previously began offering a six-disc soundtrack from the Mission: Impossible television series (limited to 1,500 sets).

Die Another Day’s 15th: Eon discovers CGI is hard

Die Another Day’s gunbarrel, complete with CGI bullet

This year marks the 15th anniversary of Die Another Day, the James Bond film where Eon Productions decided to go all in on computer-generated imagery.

Eon had dabbled with CGI before, including the title designs of Daniel Kleinman who had taken over for the late Maurice Binder.

But Die Another was another matter entirely. First up was a CGI bullet fired at the audience by Pierce Brosnan’s Bond in the opening gunbarrel sequence. Evidently, Bond was a better shot than anyone knew. He was able to fire a bullet into the barrel of another person’s gun.

Later, U.S. operative Jinx (Halle Berry) supposedly dives backward into the ocean from a cliff — supposedly being the operative word.

There was also an Aston Martin that could turn invisible. For Bond, it helped that the thugs of villain Gustav Graves didn’t notice the tracks the invisible car was putting in the show.

But, of course, the movie’s most famously bad use of CGI came as Brosnan/Bond parachute surfs to avoid being swallowed up by a tidal wave. Much of the sequence looks like a mediocre video game with insert shots of Brosnan gamely trying to sell the audience he’s actually concerned about the proceedings.

Director Lee Tamahori was a big enthusiast of what digital imagery would bring to the table of the 20th James Bond film.

The “manipulations” enabled by CGI “are endless and effortless,” Tamahori said. “The high-end action sequences that are done for real are still going to exist …but I think …half of them will exist for real.” The rest, he said, might move into entirely digital effects. (You can view Tamahori’s comments at the start of the first of two videos reviewing the movie at the HAPHAZARD STUFF website.)

John Cleese and Pierce Brosnan in Die Another Day

Tamahori was indeed correct that digital effects would become more prominent in future Bond movies. Safety cables for stunt performers can be hidden, for example. Also, mice can be created and rail cars can be added to trains. (For the latter two examples, CLICK HERE for a post about CGI use in 2015’s SPECTRE.)

Unfortunately for Die Another Day, the director and production company found out CGI is hard. Better execution of CGI in a Bond would movie would have to wait for another day.

Poor CGI wasn’t the movie’s only problem. For the first time, Eon decided to make a big deal about a 007 film anniversary (2002 being the series’ 40th anniversary). Tamahori & Co. opted to put all sorts of Bond film references that tended to distract from the film’s plot. Look, a set based on a Ken Adam set from Diamonds Are Forever! Look, there’s the Thunderball jet pack! Look, there’s the same electronic noise that accompanied the Dr. No gunbarrel! Look, there’s a Union Jack parachute! And on, and on, and on, and….

At the same time, Die Another Day proved to be the end of the line for Pierce Brosnan.

When the film was released, Brosnan said during talk show appearances that Eon wanted him back for a fifth Bond film and he was looking forward to it. Two years later, Brosnan got a telephone call from Eon’s Barbara Broccoli and Michael G. Wilson informing the actor that his services were no longer required.

Brosnan was the last Bond chosen by Albert R. Broccoli. “The kids” were about to pick their own.

Spanish in James Bond movies

Goldfinger poster

Goldfinger poster

By Nicolás Suszczyk, Guest Writer

SMERSH’s dossier on James Bond stipulates he is fluent in three languages: English, French and German.

However in the films, Bond and those he encounters speak a fair amount of Spanish on occasion.

 

From Russia with Love (1963)

The audience hears a few words in Spanish during the SPECTRE training sequence in the pre-title sequence.

As Red Grant terminates the fake 007 during his exercise, a few headlights are turned on and a voice in an unidentified dialect says: “Silencio, cada uno donde está”, which in English means “Silence! Everyone, stay where you are.”

Goldfinger (1964)

In the pre-title sequence of Goldfinger, James Bond breaks into a heroin-making laboratory in Latin America.

After setting up explosive charges over nitro barrels in Ramírez’ lab, Bond goes to a nearby canteen. There, a dancer named Bonita makes up a flamenco step show with people cheering.

The charges explode and as the crowd moves along, Bond talks to a man in English. It’s his contact. He warns 007 not to go back to his hotel and to take the first plane to Miami. He addresses Bond as Señor, not Mister.

Bond disregards the advice and goes to see Bonita. He is attacked by an assailant, whom he terminates with electricity in a “shocking” way. The assailant, played by stuntman Alf Joint, is wrongfully credited in publications as “Capungo” as if it were a name or a surname. In Ian Fleming’s novel, we know capungo is a Mexican slang for “thug” or “hitman.”

The Man With The Golden Gun (1974)

Villain Scaramanga (Christopher Lee) says a single line in Spanish when having lunch with Bond, claiming the death of 007 “mano a mano, face to face” will be all his.

FYEO U.S. Insert

For Your Eyes Only (1981)

This is the first film in the series where 007 speaks in Spanish. Roger Moore has the distinction of being the first Bond to use the language.

007 is sent to Madrid to capture and interrogate Héctor González, a Cuban hitman responsible of the death of Timothy and Iona Havelock. While spying on the González estate, Bond is captured. The agent escapes after a diversion caused by Melina, the daughter of the late Havelocks, when she shots a bolt into González’ back.

As Bond and Melina escape, we hear some words: “¡Vamos, que no se puede escapar!” (Come on, we can’t let him escape). Later, 007 and the girl try to find a way out while driving Melina’s Citroen 2 CV.

The car flips down while taking a low road and some of the natives try to help the couple. As the henchmen of González try to reach them in their more powerful Mercedes Benz, Bond asks the citizens to help them push the car: “Por favor, ¡empujen!”

Safe in his hotel, Bond reserves a flight back to London and thanks in Spanish: “Muchas gracias.”

octopussy

Octopussy (1983)

Spanish is much heard during the first ten minutes of the film, when 007 infiltrates an air base in an unknown Latin American country (probably Cuba) to sabotage a missile. We hear trough the radio phones one Colonel Alvarado is performing an equestrian show.

Bianca, a Latin American agent, helps 007 don his disguise (fake moustache included): Colonel Luis Toro. A detail to note is that the prop department wrongfully abbreviated the word “Colonel” in English (Col. Toro) when it should have used the Spanish abbreviation (Cnel. Toro).

Moore makes a good use of his double entendrés with Toro’s surname: “Toro? Sounds like a load of bull” (The English for toro is “bull”).

Bond –- posing as Toro -– infiltrates the compound and greets one of the officers working on the missile. “Coronel,” the man says.  007 replies “Continúe” (Carry on) before knocking the man unconscious and getting discovered by the real Toro.

“Interrogación”, the military orders for the impostor to be arrested and interrogated. One of the officers complies while replying: “Sí, Coronel. Métanlo al camion” (Yes, Colonel. Get him on the truck).

007 escapes with the aid of Bianca’s seductive skills and, before taking a leap on the Acrostar jet for the definitive runaway, he thanks her with a “gracias, querida” (Thank you, darling).

Licence to Kill's poster

Licence to Kill’s poster

Licence to Kill (1989)

Given the film had major locations shot in Mexico, Spanish is present in the last film with Timothy Dalton as 007.

Bond himself only uses the language by addressing the villain as “Señor Sánchez” and by translating to Leiter the villain’s statement: “Plomo o Plata” (literally translated as “Lead or Silver”).

The villain played by Robert Davi uses a handful of Spanish words: “No te preocupes” (Don’t worry) to his girlfriend Lupe before whipping her; “amigo” (friend) to Krest and Bond); and even a mouthful: “¡Este hijo de p*ta!” (son of a bitch) before shooting the dead body of double agent Kwang, who killed himself with cyanide to avoid capture.

So does Lupe Lamora –often addressed as señorita instead of Miss– mixing words in Spanish with English phrases: “You loco” and “You borracho” (loco: crazy, borracho: drunk) to Bond and Krest.

Milton Krest, one of Sànchez’ associates, says a “muy bien” (all right) while searching for Bond as he escapes his troops. We can notice Anthony Zerbe’s voice is dubbed.

More of the language is heard when Bond and Pam (Carey Lowell) arrive at Isthmus City, when a radio is playing a populist narration claiming the benefits for the people given by the president (a puppet of Sánchez): “Beneficios para el pueblo con Héctor López, su Presidente”.

The World Is Not Enough (1999)

The film begins in Bilbao, Spain, while visiting a corrupt banker, Lachaise. The mission for Pierce Brosnan’s Bond is to recover Sir Robert King’s money and extract information on who eliminated a fellow agent.

Bond fights Lachaise’s thugs and manages to escape from the Spanish police trough the office window. We hear officers speculating about the crime scene and shouting warinings: “Creo que son dos o tres, están armados… se oyeron cinco disparos y una explosión… ¡Abra la puerta, Policía!” (I think there were two or three, they’re armed. We heard five shots and an explosion. Police! Open the door!).

007 calmly escapes and, as he walks through the streets close to the Guggenheim, museum, one of Lachaise’s guards is caught: “¡Quieto ahí! Levanta las manos!” (Stay right there! Hands up!).

DADposter

Die Another Day (2002)

Bond (Brosnan) visits Cuba to eliminate assassin Zao. His first stop in Havanna is Raoul’s tobacco factory, where he asks for Delectados, a kind of cigars not made anymore.

“Raoul, aquí hay un tipo que busca delectados, de Universal Exports” (Raoul, there’s a guy asking for delectados, from Universal Exports), an old man notifies via telephone. Delectados were used as an understanding code between the agents.

In the tobacco factory, a man is reading the newspaper aloud to the employees, an article about the selling of lenses and recording cameras.

As Bond and Raoul talk about Zao, he calms down the tense looking old man, holding a gun to protect his boss, given the case: “Bueno, ¡pero relájate, hombre!”

Strangely, Raoul is a French name and the Spanish version of that name should have been “Raúl.”

Enjoying a bit of the Cuban culture, Brosnan makes use of his Spanish knowledge as James Bond: “Un mojito, por favor”, he asks ordering the famous Cuban drink.

To gain access to the Álvarez Clinic in Los Órganos, where Zao a patient for DNA makeover therapy, he knocks down a grumpy patient, carries him unconscious in a wheelchair and uses his papers to transport him. Before he does, he greets the prostitute: “Buenos días” (Good morning). Then, he delivers his papers to a boat transbord agent, calling him señor, and as the man grants him permission Bond replies “gracias”.

International poster for Quantum of Solace

International poster for Quantum of Solace

Quantum of Solace (2008)

The 22nd film in the series is set in Latin American locations, with Panama and Chile doubling for Bolivia.

For the first time, Spanish was an important language in a Bond film and not restricted to a few words. The Spanish dialogue was so important that in most countries it was subtitled.

In Haití, Camille greets General Medrano. Before capturing her, the military, responsible for the death of her parents, tells her: “Conocí a su familia, tristemente, creo que fui el último que los vio vivos” (I met your family. Sadly, I think I was the last one who saw them alive).

As Bond (Daniel Craig) rescues Camille, the general will throw orders in Spanish: “¡Síganlos!” (Follow them!).

Following the lead to villain Dominic Greene, Bond visits La Paz with Mathis, returning to the series after Casino Royale.

Upon reaching the city, they’re joined by Fields, a British agent sent to return Bond to London but who ends up joining the quest.

Stationed in Bolivia for almost a decade, Mathis is a friend of the Police Colonel, Carlos, whom he calls as a chatterbox taxi driver complains of the poor state of the country: “Calentamiento global… llueve mucho o no llueve nada” (Global warmth, it either rains or it never rains) and of the high taxes. Mathis continuously shushes him: “Cállate, ya, ¡chito!

When Bond checks into the luxurious Grand Andean Hotel, Craig says, “Hola, somos maestros en año sabático, y nos ganamos la lotería” (We’re teachers on sabbatical, and we have just won the lottery).

The concierge replies, “Felicidades, señor. ¿Les puedo ayudar en algo?” (Congratulations. How can I help you?). The voice of the concierge was dubbed by noted Mexican director Guillermo del Toro.

There are some mistakes in the subtitles added to the film: when 007 approaches a villager asking for the DC-3 plane to escape with Camille, the man rudely asks: “Buenos días, ¡¿Qué es lo que quiere?!” Subtitled as the polite “How can I help you?”, it should have been translated as the more literal “What do you want?” given the rudeness of the voice tone of the man.

Another Mexican director, Alfonso Cuarón, provided the voice for the radio guiding the Bolivian jet planes sent by Greene to hunt Bond and Camille, with the first phrase being “Objetivo eliminado” (Target terminated).

Something rather funny happens near the end of the film, when General Medrano and the Chief of Police have a chat on the Perla de las Dunas hotel.

Both characters are Bolivian, yet Medrano is played by a Mexican actor (Joaquín Cosio) and Carlos, the Colonel is played by a Spaniard actor (Fernando Guillén Cuervo).

The different dialects show up, and there’s yet another mistake in the subtitles.

Complaining by the noise made by the fuel cells to give electricity to the complex, the Colonel says: “Maldito quebradero de cabeza, la verdad”. Subtitled as “Pain in the ass, really”, the more literal “This sound wrecks my head” would have been more appropriate.

Daniel Craig in SPECTRE's main titles

Daniel Craig in SPECTRE’s main titles

SPECTRE (2015)

The movie begins in Mexico City during the Día de los Muertos (Day of the Dead) celebration. Bond (Craig) is seen, in disguise, with a girl called Estrella, who in the hotel elevator mutters him some words in Spanish to his ears – presumably “te deseo” (I desire you) is logical since she kisses him as they both reach the room.

Not much more is heard except for the melody sang aloud by the attendants: “Los muertos vivos están, siento ya su poder, vengan todos aquí, este día llegará” (The dead are alive, I can feel their power. Let’s get all together, this day will arrive).

At around the half of the film, the SPECTRE agents are reunited in Rome to discuss the job in hand after the death of Sciarra in Bond’s hands. One of Blofeld’s assistants claims the next duty for Sciarra was the assassination of Mr. White, and offers the assignment to a Spaniard member known as Guerra.

Guerra, played by Benito Sagredo, complies by showing his loyalty to the organization in his own language: “Por supuesto. Mi lealtad a esta organización es absoluta. La protegeré hasta mi último aliento. No habrán más… aficionados. No veremos más muestras de debilidad” (“Of course. My loyalty to this organization is total. I will protect it with my last breath. There will be no more… amateurs. No more shows of weakness”).

 

2016: 007’s lost year?

Image for the official James Bond feed on Twitter

Image for the official James Bond feed on Twitter

While there’s a little more than month yet to go, 2016 is shaping up as a kind of lost year for the cinematic James Bond — when pretty much nothing substantial happened.

Decision made about a studio to actually release Bond 25? No.

Release date, if only the year? No. Can’t set a release date without somebody to distribute it.

Script? Not that anyone knows about.

Director? No.

Bond actor cast for sure? Not really. Incumbent Daniel Craig said in October of Bond, ” Were I to stop doing it, I’d miss it terribly.” But that’s not the same thing as saying, “I’ll be back.”

Something else of note that Craig said was, “There’s no conversation going on because genuinely everybody’s just a bit tired,”

That evokes the 2002-2006 period when Eon Productions co-bosses Barbara Broccoli and Michael G. Wilson were going through a creative mid-life crisis.

Or, as Wilson told The New York Times in 2005, describing that period: “We are running out of energy, mental energy. We need to generate something new, for ourselves.”

That creative mid-life crisis followed the release of Die Another Day, a big, sprawling and expensive (for the time) movie. The current exhaustion followed the release of SPECTRE, a big, sprawling and expensive movie.

On top of the usual pressures, much of the behind-the-scenes issues on SPECTRE became public knowledge because of the Sony computer hacks in 2014.

Thus, e-mails about the film’s budget, script problems and negotiations for tax incentives in Mexico became public knowledge. The Gawker website described the plot in detail based on a draft of the script made available by the leaks. So, to be fair, you could argue SPECTRE was more stressful than the usual big-budget movie.

Still, nobody — especially this blog — expected that things would seemingly shut down in 2016.

Michael G. Wilson said late last year he thought Metro-Goldwyn-Mayer would select a new distributor by January or February. Wilson also said MGM had talked with executives at three studios, although he didn’t identify them. Sony Pictures has distributed the past four 007 films but its contract expired with SPECTRE.

By March, MGM said no deal was struck and it wasn’t hurrying to reach one. Studio boss Gary Barber said he expected Bond movies to come out on a “three-to-four year cycle.” Eight months later, that’s still the status quo.

As a result, right now there appears to be no momentum on the 007 film front.

By contrast, in November 2012 (the same month Skyfall was released in the U.S.), a writer (John Logan) had been hired and publicly announced by MGM. In July 2013, a fall 2015 release date for the then-untitled Bond 24 was disclosed, along with an announcement that Skyfall director Sam Mendes would return for an encore.

Much of the year has been taken up by reports of supposed contenders for the Bond role or, conversely, supposed major offers for Craig to come back.

Remember how Tom Hiddleston, among others, was a cinch to be the next 007? Remember how Sony supposedly “should be announcing any day” it had a new deal to release Bond 25 and was offering Craig $150 million for two more movies?

Months and months later, neither has become reality.

Maybe there will be a flurry of news in December, such as MGM finally selecting its studio partner. Still, Bond 25 development is behind the pace of SPECTRE at a similar point three years ago. Maybe 2017 will be more eventful.