On her majestys secret service (1969) online,personal development for jobs,the secret sisters the secret sisters youtube - Videos Download


More free artwork that could be used for desktop wallpaper can be found on the James Bond 007 Film Posters page. If you head over to Bullz-Eye’s James Bond Fan Hub, you may notice that the writer behind the painfully in-depth explorations of the Sean Connery 007 films is the same guy bringing you these beverage recipes week after week. Lazenby aside, OHMSS remains a mighty entertaining piece of work and by far the most faithful to any of the 007 novels, a most romantic and strangely melancholy tale for all its Bondian absurdity. Today’s drink is devoted to easily the most complex and affecting leading lady in the Bond cannon so far. Combine all the liquid ingredients in a cocktail shaker with plenty of ice and, yes, shake this drink vigorously and never, ever, stir it.
Anyhow, once you’re done shaking your drink as if being chased by the nefarious twosome of Ernst Stavro Blofeld and Irma Bunt, strain it into a chilled cocktail glass (coupe or standard martini style). My selection of Campari was directly inspired by the choice of beverage of Tracy’s beloved father, benevolent criminal mastermind Marc-Ange Draco. Finally, the Lillet Blanc and the 100 proof vodka are pretty obviously ripped off from my explorations of the Vesper. Bullz-Eye continues its look back at every James Bond film, 007 One by One, as part of our James Bond Fan Hub that we’ve created to celebrate the 50th anniversary of the first Bond film. Diamond smuggling turns out to be, naturally, only the tip of the iceberg as a graying Bond (Sean Connery) unravels a chain of deception that leads him to a Las Vegas-based ultra-reclusive mega-tycoon (Jimmy Dean), and then onto 007’s not-actually-dead arch nemesis, Ernst Stavro Blofeld (Charles Gray).
Tags: 007, 007 50th anniversary, 007 fan hub, 007 fans, 007 films, 007 gadgets, 007 movies, 007 One by One, Albert R.
You’ve seen “Skyfall,” now how about taking a look at the other best James Bond movie you’ve never seen?
We don’t necessarily want to make bold claims as to what the best Bond movie is, as it differs from person to person, but “Majesty’s” should be Top Five material for any die-hard fan of the franchise.
In the year 2013, we take for granted the changing of the lead actor within the Bond series, as we’ve now had a half a dozen different 007s, but back in the late sixties there was only one James Bond, and his name was Sean Connery. The debate has raged for over 40 years as to whether or not the recasting was successful, with many schools of thought on the matter. The Girls: Blofeld’s mountaintop Swiss hideaway, Piz Gloria, stockpiles quite the cache of babe-alicious flesh – including a very young Joanna Lumley (“Absolutely Fabulous”) as well as the lovely Catherine Schell (“The Return of the Pink Panther”). In my mind, a spy is only as good as his full range of gear, and in honor of that I’m taking a looks at the Bond movies with the best collection of gadgets, and in the interest of perspective, the worst. While “From Russia With Love” was the first movie to really include Bond gadgets, it wouldn’t be until the classic “Goldfinger” where we saw the idea really take off. Officially recognized by Wikipedia as the most gadget filled of all of the Bond movies, “Live and Let Die” was trying to make people forget that Roger Moore was the new Bond by loading it up with awesome gizmos.
Bullz-Eye is celebrating the 50th anniversary of the first James Bond film with look back at every Bond movie, 007 One by One, along with a series of features about the Bond franchise, all laid out in our James Bond Fan Hub.
The first thing ever seen in a Bond movie is the opening gun barrel sequence, and no amount of praise can be too effusive for Maurice Binder’s creation of it.
After the gun barrel sequence, flashing colored lights set to the Bond theme reveal the title “Dr.
It’s anyone’s guess into what directions the Bond title sequences might’ve gone if Binder had helmed the titles for the “Dr. Brownjohn’s other gimmick – projecting imagery over those lovely bodies – is strikingly used in both sequences. With 1965’s “Thunderball,” Maurice Binder returned to his post in the franchise, and would remain with the series in this capacity for the next 24 years. Binder got even more creative on the next outing, by adding graphics and playing around with his silhouette technique by inverting it, as well as throwing filmed bits of flowing lava, erupting volcanoes, and sexy geisha ladies into the mix. Since “On Her Majesty’s Secret Service” was quite the mouthful, composer John Barry opted to create an instrumental piece for the titles, and it’s a rousing bit of work.
With “Diamonds Are Forever” the series moved into a new decade, yet the movie still had a foot in the Sixties, as is evidenced by the return of both Sean Connery and Shirley Bassey; the latter again dominates these proceedings. When Roger Moore arrived on the scene in 1973’s “Live and Let Die,” the titles exploded around him, via the inevitable hiring of a Beatle (and his wife) to pen and perform the theme. Here Binder deals in the nightmarish, voodoo aspects of the movie, including human skulls and crackling fire, all wrapped around women of color, some covered in tribal paint. The titles for “The Man with the Golden Gun” are a fairly paint by numbers affair, despite the complete and utter catchiness of Lulu’s theme song. Harsh criticism can in no way be leveled at “The Spy Who Loved Me” titles, which showcase Binder at quite possibly the height of his creative powers.
Then there’s that perfectly gorgeous theme tune, performed by Carly Simon, and written by Carole Bayer Sager and Marvin Hamlisch, that so effortlessly works hand in hand with Binder. It’d be easy at this point to claim it was all downhill for Binder’s Bond after ’77, but that would be to deny a huge chunk of his artistry. Things get seriously back on track with 1981’s “For Your Eyes Only,” a sequence, which, like “Spy,” features a visual first: The inclusion of chanteuse Sheena Easton’s face and body as a part of the titles. Binder creates a swirling, sensual concoction here, and this was the last time he was truly on fire, doing the thing that he’s best known for, in the history of cinema. We need look no further than the titles for “Octopussy” for proof of our previous assertion.
With Moore’s swansong, “A View to a Kill,” the series swings back around to contemporary and current by getting Duran Duran on board.
As we enter the final stretch of Maurice Binder’s work with the James Bond series, a new actor – Timothy Dalton – has been cast in the lead role, and a new era seemingly begins, even though behind the scenes it was all business as usual, with the same creative minds calling the shots in a cinematic world threatening to leave Bond behind.
All 22 of the Bond title sequences are now available to view in one single block (clocking in at over an hour), in gorgeous eye-popping 1080p, on the bonus disc of the recent Blu-ray box set, Bond 50: The Complete 22 Film Collection.
Tags: 007, 007 50th anniversary, 007 fan hub, 007 fans, 007 films, 007 movies, 007 One by One, A View To a Kill, best Bond movie moments, Binder’s Full of Women, Bond films, Bond movies, Bond one by one, Carly Simon, Daniel Kleinman, Dr. The glamorous locations for On Her Majesty’s Secret Service are around Switzerland and Portugal. The opening sequence, of Bond rescuing Tracy Di Vicenzo (Diana Rigg) from the sea, was shot on on Guincho Beach near Cascais, west of Lisbon, Portugal. In Switzerland, the office of solicitor Gumpold, where Bond demonstrates that exciting new invention the photocopier, is the Schweizerhof Hotel, Bahnhofplatz 11, Berne. The stock-car rally was staged at Lauterbrunnen, two miles from Murren, and the skating rink is nearby Grindelwald.
In the UK, M’s house is Thames Lawn, a riverfront mansion at Marlow, near the Pinewood Studios in Buckinghamshire. Bond researches heraldry in the College of Arms, Queen Victoria Street, EC4, in the City of London (the capital’s business and historic core) The handsome brick building, behind imposing black and gold gates, dates from the 1670s, though it was remodelled in the 1860s when Queen Victoria Street was laid out (which truncated the side wings). Where better for Bond to get a crash course in heraldry, in order to pass himself off as Sir Hilary Bray (George Baker, who’s voice Lazenby does an impressive job of imitating).


If you fancy having your own coat of arms, you’ll need to prove a pedigree showing direct male-line descent from an ancestor already entitled to arms. The College appears again, as the home of aristo James Fox, in in Guy Ritchie’s revamp of Sherlock Holmes.
The chrome fender mirrors aren’t something we have seen on this model before, but you guessed it, they are the same as the ones used in the film. In the novels, Bond drank it probably more than anything else, and that meant he drank an awful lot of it. Ian Fleming hated ALL stirred drinks and his smirky, snobbish ghost will haunt you forever should you ever consider stirring any drink remotely related to him. It’s a bittersweet and very tasty tribute to the only woman, save Moneypenny, James Bond ever truly loved.
It did well enough abroad, but it’s all-important American grosses was about half that of earlier Bond entries. During the production of “You Only Live Twice,” Connery decided to exit the franchise that made him a household name (though as we now know today, he’d return to the character not once, but twice), however, quite understandably, the producers of the series weren’t finished telling their stories, and the public seemed far from tired of 007’s adventures.
The search was extensive, but in the end Bond producers decided on a complete unknown – Lazenby – a model with virtually zero acting experience.
Having viewed “Majesty’s” numerous times, we feel confident in saying that it’s a shame Lazenby didn’t give it at least one more go in the part (the decision to not return was, amazingly, his own), because as it stands, he cannot help but be somewhat swallowed up by the richness of his surroundings. Her father, Draco, runs a crime syndicate, and has info about Blofeld’s whereabouts, which James requires. Odd then that James zeroes in on the homeliest looking one of the bunch, Ruby Bartlett (Angela Scoular). I’ve heard it remarked before, but it’s great how Connery’s Bond always sounded impressed with the gadgets he was given, as even in his line of work you didn’t see these things every day. It almost works too as we are treated to the full gamut of devices that range from voodoo dolls, flutes that double as communicators, bug sweepers, robotic voodoo priests, enhanced mechanical prosthetic arms, flamethrowers, coffee makers (that surprisingly just make coffee), and the greatest Bond watch of all time, the Rolex Submariner with bullet deflecting magnet and saw watchface. No” is it part of the title sequence proper; afterwards, it would be separated from the titles by the now also iconic pre-credits sequence.
No” as well as the cast, followed by the silhouettes of people dancing a sort of Jamaican mambo, and, finally, a calypso version of “Three Blind Mice” dovetails nicely into the movie itself. In the former, the credits are projected over the undulating female form, and in the latter, snippets of scenes from the movie itself. Perhaps the one area where Binder figured he could outshine his temporary predecessor was to titillate the audience with brief flashes of visible boob and butt, and it worked, ahem, swimmingly. Between the titles for “You Only Live Twice” and “Thunderball,” most of the tools in Binder’s creative box are on display, and he’d use various combinations of the pair in his work over the next 20 years and change.
Because this movie was, for the first time, introducing a new actor (George Lazenby) playing Bond, much of Binder’s work here consists of a montage of clips from the previous films, as the need was felt to stress to audiences that they were still following the adventures of the same man. Binder grabs the iconography of diamonds and Blofeld’s cat to create the titles which brought an end to the Connery era. Indeed, as a rule of thumb, if the song is the most memorable aspect of the Bond title sequence, then boundaries aren’t being sufficiently pushed, even within the limited confines of the format. It’d be easy to claim that this was a reaction to the growing popularity of MTV if not for one thing – MTV didn’t launch until about three months after the movie was released. Rita Coolidge is a fine singer, but not at all right for Bond, and out of step with the cultural zeitgeist of that moment.
Their theme song is exceptional, and Binder gives it his all, in an attempt to deliver visuals to match the audio. It was a franchise in a mild creative crisis, punctuated by being only a two-picture affair.
Even if he’d lived to see ’95, when the Bond franchise was revived with Pierce Brosnan in the lead, it seems unlikely his services would have been called upon. Draco’s home, scene of the birthday party, is the Da Vinho Estate at Zambujal, about 20 miles south of Lisbon. Permission to film there was granted on condition that the film company furnish the interior and build a helipad.
Not only can you enjoy a James Bond breakfast buffet, but the Touristorama shows extracts from the film – you can even get married here. A uniquely British institution, the college is home to the heralds who grant and keep records of the coats of arms of the nobility – and the wannabe-nobility. Well, OK, it’s dubbed by Baker himself (who was, coincidentally, himself once in the frame to play Bond). MI6 khong th? lien l?c du?c v?i James Bond (George Lazenby) trong luc nh?ng thong tin x?u v? Spectre - m?t t?p doan t?i ph?m cong ngh? cao - lien ti?p du?c g?i t?i. As if that isn’t odd enough, it has also been fitted with a Chevy 350 V8 engine and TH350 automatic transmission.
Dark green looks perfect on this car, and if it had the factory 6-cylinder and ZF manual transmission it might have some value if shipped back to the UK. The adorable and entirely first-rate actress who played Tracy and also, of course, the greatest of all filmic female superspies, Emma Peel. To sweeten the deal, United Artists also allowed Connery the chance to take the creative lead on two of his own movies. John, Jimmy Dean, Joe Robinson, John Barry, Lana Wood, Las Vegas, Leonard Barr, Lois Maxwell, M, Macbeth, Marc Lawrence, Miss Moneypenny, Mr. Regardless, Albert Broccoli was certain he could transform the man into his new James Bond. One thing is for certain: Lazenby in no way ruins it, or keeps “Majesty’s” from being the best film it can be. But then again, this is also that unique Bond flick wherein James falls in love, and perhaps going for runt of the litter was the only way for him to rationalize cheating on his beloved Tracy. Well James Bond’s strange trip to the far East is still loaded with high quality tech.
The theme of the movie may have been black magic, but it’s the technology that steals the show. He then spins around, shoots, and the gun sight fills with, presumably, the viewer’s blood.
Coupled with the infamous Monty Norman-composed Bond theme song, the gun barrel sequence is that instantaneous moment when everyone simultaneously acknowledges they’re watching a Bond film. But he did not, and for the next two films – “From Russia with Love” and “Goldfinger” – the titles are designed by Robert Brownjohn. However, anything Brownjohn does with the “Goldfinger” sequence is very probably overshadowed by the sounds of Shirley Bassey, as this other imperative element – the pop song – finally drops into its place in the title sequence timeline. We’d also be remiss to not mention the theme tune sung by Nancy Sinatra, a hypnotic piece of work that’s stood the test of time.


The trip down memory lane aside, the graphics are borderline psychedelic, bursting with eye-popping color — wholly indicative of the film to come.
There can be no doubt that the franchise, and Binder’s work along with it, had firmly entered the 1970s.
That being said, the silhouette gettin’ down about two-thirds of the way through is a fine specimen of woman. The imagery is slightly more abstract than the norm, mostly eschewing iconography from the movie, though sexy, athletic Russian ladies are a theme. The marriage of music and imagery here is the stuff the very best music videos are made of, and this compares to ballet.
So instead we must assume that the decision was purely an aesthetic one, given that Sheena Easton was pretty enough to be a Bond girl herself. Couple her with yet another title that makes for a potentially awkward theme, and we end up with “All Time High,” and likely Binder’s least inspiring work in the series. This title sequence, much like the year 1985, is a garish, hideous affair, drenched in glow in the dark excess.
It should come as no surprise that Binder’s final title sequences, as well as the songs the play over them, reflect this rocky footing. The same can more or less be said of Binder’s fourteenth and final Bond title sequence, 1989’s “Licence to Kill.” Few artists do their greatest work at the end of their careers, and Binder is no exception. Starting with “Goldeneye,” the title sequences (“Quantum of Solace” aside) have been designed by commercial and music video director Daniel Kleinman. Since this is the only appearance in the series of the chiselled woodenness of TV adman George Lazenby, that's not a particularly bad thing.
The Schilthorn summit is a half-hour cable car ride from the village of Stechelberg in the Lauterbrunnen Valley, and gives glorious views of the Eiger, Monch, Jungfrau and many other dramatic Alpine peaks. Trong khi do, m?t cu?c g?p g? tinh c? bi?n James Bond thanh v? c?u tinh khong mong d?i c?a m?t thi?u n? mu?n nh?y xu?ng bi?n t? t?.
While the Scottish unknown-turned-superstar has always insisted he was very grateful for his Bond stardom, to all appearances, Connery was over James Bond — now and forever.
This was Bond’s first watch, the first defining villain device, and of course the first (and maybe best) Bond car. You could definitely tell the series was starting to rely more and more on its prop department by this point as the ideas were getting more and more elaborate, yet still oddly appropriate for this world. Though not the only constant in the Bond franchise, Maurice Binder, as the primary designer of the instantly recognizable title sequence, was certainly one of the most noticeable ones. No” titles are a lot fun and unique in the Bond film series; the only real element of them that would come to feature heavily in the future is Binder’s inventive, energetic use of silhouette. Both sequences march to the beat of different drum than Binder’s, and even though Brownjohn only ever did these two, his influence on what the Bond titles would ultimately evolve into on Binder’s watch cannot be discounted. Bassey is the true star here, and her vocals remain some of the most iconic in film history. Instead it seemingly invokes Bond’s relationship with women in general, achieved via the inclusion of Roger Moore, under the direction of Binder, as a part of the sequence. Visually it feels like leftovers from “Spy,” but its biggest problem, which is no fault of Binder’s, is the return to the Shirley Bassey well for a third time, a decision that no longer works. She’s a marvel, and the song by Bill Conti and Michael Leeson is nearly as tight as Carly Simon’s. There’s simply nothing of note here, unless we want to mention the unintentionally laughable bits such as Bond swinging a woman around in circles by an arm and a leg, and the visual around the 1:20 mark, where it appears Bond is humping the model.
Not bad necessarily, as Binder seems at his worst when he’s not trying, and here he clearly is, but such a freakshow, you cannot take your eyes off it. While this is workmanlike, and not particularly exceptional, it’s difficult to level too much criticism at this stage, since he’d essentially been reworking variations of the same idea repeatedly since “Thunderball” (much like the franchise itself). On his watch they’ve become elaborate, CGI-driven affairs, which, while taking cues from and paying due homage to Binder’s work, have become their own, different sort of excessive animal.
It was nevertheless featured, I understand, in the 2011 James Bond novel by Jeffery Deaver, Carte Blanche.
However, Lillet Blanc is a very lovely product in its own right, and it adds needed sweetness and light to the Countess Tracy. Even with some clunkers like the rubber duck topped stealth wetsuit, like so many other things in “Goldfinger,” the quality of gadgets here would be a real trendsetter for films to come. My favorite part of this movie is all of the things that weren’t technically Bond gadgets but still awesome. For the bulk of Bond’s first 27 years, Binder brought us a cavalcade of swirling colors and curvaceous ladies, typically set to the tune of a current pop sensation. She’s from a different era altogether, and out of step with the movie itself, which was thematically looking forward to the future via its sci-fi aspects. He even brings a little something new to the table by featuring silhouetted naked men – on skis, no less! But the fact that he was able to do it over and over again, for so long, while simultaneously charming generations of moviegoers speaks volumes to his talent and legacy.
Things like Bond’s contact’s personal subway system, the helicopter with the industrial magnet attached, or the quintessential villain lair in the hollowed out volcano all helped to make this one of the most memorable of the Bond movies. His job was to help set the tone for the film to come by presenting elements and themes from the movie in an abstract, artistic fashion. This is where all of the familiar elements finally congeal into the Bond title sequence we all know and love.
It wasn’t movie footage, as had previously been done with “Goldfinger” and “On Her Majesty’s Secret Service” – this was specially shot, and given the film’s title, it was an appropriate creative call. In doing so, Binder sort of proves why he’d never done it before: They appear neutered, like a Ken doll. For many, these title sequences became an important, even necessary part of the Bond movie-going experience, and remain so today, over 20 years after Binder’s passing.
Silhouettes of floating naked women mingle with silhouetted deep sea divers armed with harpoons. Here we take an entirely subjective look at his ongoing contributions to cinema’s longest-running movie franchise.
Tom Jones delivers bombastic accompaniment to the intense, widescreen visuals (also a first for the Bond series). This handful of disparate elements combine to create movie history, and our expectations for Bond would never be the same again.



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