James Bond: a tune-worthy superspy
007 series has produced some of the most well-known themes in cinema
Its a long-established tradition in Bond movies: First, the slam-bang opening action sequence, and then a quick cut to the opening credits almost always filled with scantily clad dancers gyrating while the theme song is belted out (most often by Shirley Bassey, who holds the record with three theme songs to her name). The Bond series has produced some of the most well-known themes in cinema history. Three received Academy Award nominations, while several more hit the Top 10 charts.
The best
The first two Bond movies, Dr. No and From Russia With Love, introduced two now-ubiquitous pieces of music used in every movie afterward: The slinky, guitar-driven James Bond Theme by Monty Norman, and John Barrys 007 Theme, the more orchestral tune often used in chase scenes. But Goldfinger, the third film, topped them both with Shirley Basseys bold, brassy song, perfectly capturing the spirit of Bond, especially its early-1960s incarnation. Its swinging and glamorous in a jet-setting, Vegas-y way, and set the template that many of the subsequent themes followed. Sing it with me now: Gooooold-FIN-gaaah!
The worthy
James Bond Theme: Written by Monty Norman and arranged by John Barry for Bonds debut film, Dr. No, it played over the now-iconic Bond-walks-across-a-gunsight sequence. Fitting the Caribbean setting of Dr. No, it also included a bongo sequence and a calypso version of Three Blind Mice. (It makes more sense in context, trust us.)
Thunderball: Who better to ooze machismo the James Bond way than another 1960s U.K. sex symbol, hairy-chested Welshman Tom Jones?
Diamonds Are Forever: Goldfinger singer Shirley Bassey returns to belt out another classic, this one echoing Marilyn Monroes wise words: Men might not be reliable, but jewelry will never disappoint.
Live And Let Die: Paul McCartney teams up again with Beatles producer George Martin to rock up the Bond soundtrack with one of McCartneys best Wings-era tunes.
A View To A Kill: This slick, synthesizer-driven theme by British poster boys and fashion plates Duran Duran perfectly brought Bond into the age of 1980s glam. The Bond filmmakers tried to capture that lightning with A-Has The Living Daylights, but achieved only fizzle.
Nobody Does It Better: Carly Simons song from The Spy Who Loved Me shows how to make a Bond ballad sultry and sexy without following the Bassey template.
The Man With The Golden Gun: Of the several Bond themes that tried to re-create the Bassey magic without Bassey herself, Scottish singer Lulus Roger Moore-era tune fared best.
Die Another Day: Madonna brings Bond to the dance floor on this techno-driven track; not entirely successful, but an interesting try at something different.
The worst:
All Time High: Rita Coolidges theme from Octopussy was probably intended to have the same soft-but-sexy punch as Simons Nobody Does It Better, but just proved the latter title correct its mere elevator music, and doesnt even seem to be about Bond all that much.
Originally published Nov. 10, 2008 on msnbc.com. Read the complete article.
No Comments
No comments yet.
RSS feed for comments on this post. TrackBack URI
Leave a comment
You must be logged in to post a comment.