007英语介绍
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发布时间：2022-04-19 09:42
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时间：2023-06-08 09:39
灞曞紑鍏ㄩ儴When we last spied James Bond, at the end of the forceful if oddly-structured Casino Royale, he announced his name while pointing a submachine gun into the sky above Lake Como. The image said: he's back, and nothing if not well-endowed.
Quantum of Solace begins minutes later, with the elusive killer Mr White (Jesper Christensen) now in the boot of Bond's Aston Martin, and a breakneck pursuit in progress which makes claims of a different kind for this new Bond and his supersized franchise.
This film catches Ian Fleming's hero on the run, keeps him running, and zips along with a jolting, almost offensive velocity, catching its ragged breath in the rare opportunity for dialogue. Fans of the series who like to slow down and savour the scenery, enjoying a drip-feed of dodgy innuendo, may consider this a rude awakening - it's the shortest Bond movie to date, and easily the most terse.
But consider how many of the pictures, to include Casino Royale, run out of steam as they drag themselves across the two hour mark, if not long before. Quantum of Solace may hurtle through its own (sketchy) plot as if it's not quite the point - there have been more satisfying narrative pay-offs than we get here - but its best sequences bring you up short in the best way, adding up to the giddiest straight ride since The Living Daylights.
In a career filled with diligent but pedestrian Oscar-t (Monster's Ball, Finding Neverland), it's a true surprise that director Marc Forster has come up with the goods as often as he does. Working with many of the action crew, among them editor Richard Pearson, who made the Bourne series so snappy and exhilarating, he closes in on the set pieces with refreshingly creative skill.
The starting point can be nonsense - when Mr White, murderer of Eva Green's Vesper Lynd, is sprung from captivity in a ngeon beneath Siena, it's too, too Bond that it happens to be on the day, hour and very minute of the Palio horse race.
The gambit of cross-cutting from bolting nags to scarpering baddies starts out strident and doesn't seem necessary. But Forster is biding his time with this skittish prelude: we emerge into the crowd for a chase on foot, across rooftops, and down some scaffolding in a church, and the ensuing scramble with ropes, swinging girders, and out-of-reach revolvers leaves you gasping with its constricted tension and vertigo.
It's briefly to London for some Paul Haggis-scripted soundbites about our changing planet, and then to Haiti, where we meet pouting Bolivian agent Camille (Olga Kurylenko) and villain jour Dominic Greene (Mathieu Amalric), a petulant eco-criminal busily finessing the oil and water reserves of South America for his own gain. Amalric, who with every goggle-eyed smirk cements his credentials to star in a Roman Polanski biopic, brings a wickedly childish spite to this role, certainly proving a more interesting foil to Bond than his latest foxy-but-cross female sidekick.
James, of course, is still hung up over the betrayal and demise of Vesper in the last instalment, motivating a morose six-martini binge while he's flying across the Atlantic, as well as his avoidance here of any serious entanglements, save those in stray lengths of rope dangling from the roofs of Tuscan churches. He isn't alone: Camille, having had her family raped and burnt alive by a deposed Bolivian dictator, also has her mind on other things. Instead, there's a just-for-fun fling with MI6 emissary Gemma Arterton, who pitches up looking like a John le Carr茅 strippogram in a trenchcoat, and exits in a homage to Shirley Goldfinger Eaton which had me reaching for bad oil puns. Crude? Unrefined? It's not exactly slick.
What's clever, and slick, and even a little ingenious about the movie, though, is how it postpones Bond's Vesper vendetta by submerging it beneath his present tasks - he gets an angry kick out of scuttling this international cabal of utility profiteers, who in the barmiest conceit get to negotiate through earpieces while seated for a state-of-the-art proction of Tosca.
If there was any remaining doubt that the world is bartered and sold by people who can afford opera tickets, it's roundly dispelled, though how Amalric persuades his backers that Haiti, of all places, is some kind of model example for neocapitalist progress leaves us just a little foxed. "I don't give a s--- about the CIA," announces Judi Dench, inimitably, but it's not the best line in the movie: those are all the ones on Daniel Craig's face, particularly the deep vertical groove between his eyebrows when he's found yet another score to settle.
Quantum of Solace offers next to no solace, if we mean respite, but in plunging its hero into a revenge-displacement grudge mission, it has the compensation of a rock-solid dramatic idea, and the intelligence to run and run with it.
2
Pleasurable and Satisfying
Be prepared for a few changes in this new entry of the Bond canon. James Bond is back, and this time it鈥檚 extremely personal. The rugged, harsh, and rough agent picks up exactly where he left off in another striking thriller that leaves you feeling exhausted, if not exhilarated.
Up to this time, the Bond canon entries have been a series, but Quantum of Solace is actually a sequel. Still raged by the death of Vesper Lynd in Siena, bereaved and blooded James Bond (Daniel Craig), goes after the shady international organization he holds responsible, even when M (Judi Dench) orders him to stand down. As promised at the end of Casino Royale, the film opens with a spectacular car chase before the revelation that Quantum, with agents in Her Majesty鈥檚 Government and the CIA, the organization that blackmailed Vesper, is far more labyrinthine and intricate, let alone momentous and far-ranging than anyone had imagined.
Forensic evidence of an MI6 traitor leads him to Haiti, where he meets Camille (Olga Kurylenko), who then helps him find ruthless businessman Dominic Greene (Mathieu Amalric) who is the chairman of Greene Planet, the legitimate cover for Quantum. His intention is to use his government contacts to help overthrow the current regime in Bolivia, and place the exiled General Medrano (Joaquin Cosio) as the head of state. In exchange, The General will give him a barren piece of land, which will actually give them total control of the nation鈥檚 water supply. Hazardously mixing revenge and ty, Bond promptly gets involved with Greene鈥檚 mistress, the beautiful yet mysterious Camille, when he saves her from an attempt on her life. However, Camille has a her own mission of vengeance so they team up to take down Greene and General Medrano while keeping one step ahead of both the CIA and MI6, which involves the action ripping across Austria, Italy, and South America. Meanwhile, Bond must try to keep his desire for retribution over Vesper Lynd鈥檚 death in check.
There鈥檚 still a sense at the end that Bond鈥檚 mission has scarcely begun and he鈥檒l need a few more Bond canon entries to work his way up to annihilating the obviously indestructible Quantum organization. What makes Quantum of Solace captivating, compelling, and appealing is that this is the first of the 22 Bond movies where the plot flows in a natural and structural manner from the last installment, and this sequel looks a far stronger picture for this rare connected whole.
By far, there鈥檚 no better actor at bottling rage than Craig. He continues to be his own man as Bond, not just because he is a darker and more bare-knuckle Bond than any of previous Bonds. Having finally settled into the role of Bond, does Craig not only make it completely his own, but also brings a slightly softer side that his elegant predecessors have been deficient in. Never before have we seen him tenderly hugging a dying male comrade before disposing of his corpse in a mpster. Bond in this sequel is also human enough to start worrying about how regularly his girlfriends get killed. Moreover, viewers get to question his motives for pursuing a crusade. Is he being ultimately altruistic to helping drought-deteriorated Bolivian peasants? Or is he totally selfish to get his own back on the one directly accountable for Vesper鈥檚 predicament? Keep in mind that this is Bond at the beginning of his journey. Predictably, Craig will become the most popular 007 with the younger generation.
Stealthy and sensuous Kurylenko is superb as stunning Camille and her inexorable and determined quest for vendetta leads to one of the best scenes where Bond advises her on professionally assassinating the extremely unpleasant would-be dictator who slaughtered her family. She wants to bring to a bloody conclusion, with or without the hero鈥檚 help. She is in fact so fixed on murdering her enemy that she practically should not be counted as a Bond girl. Though given awfully little screen time, Arterton is equally good as effortlessly foxy Agent Fields who appeals to the better side of the wounded anti-romantic. There鈥檚 also decisively excellent work from Dench as witheringly unimpressed boss M and strong support from Wright and Giannini. All memorable Bond adversaries are amply endowed with unconventional and peculiar behaviors and Greene is no exception. As Greene, he is a suitably repulsive character and Amalric exemplifies a wonderfully humble conceitedness as the hypocritically earnest environmentalist.
In spite of its minor flaws, Quantum of Solace, a visually imaginative follow-up to the series relaunch, to much the same level of quality as Casino Royale, remains overall pleasurable and satisfying with strong performances, a realistically uncompromising script, and intense Bourne-modeled action sequences. It continues Craig鈥檚 authentic and conceivable reinvention of the character and throws him into an all scenario of concrete plausibility against an indistinct, deeply secret organization that bypasses politics and democracy to control economies, governments and necessary resources. And, as usual, no one but 007 can stop them.
3
Starring Daniel Craig, Eva Green, Mads Mikkelsen, Judi Dench, Giancarlo Giannini and Jeffrey Wright. Directed by Martin Campbell. 144 minutes. At major theatres. PG
You have to wait for it. And that's hardly surprising because so much of the glorious Casino Royale is a departure from past 007 movies.
But when newcomer Daniel Craig finally identifies himself as "Bond. James Bond" late in the picture, you might well find yourself sharing his satisfied smile.
By this point he's more than proven himself worthy of the name, vanquishing not just innumerable foes but also doubts about his suitability for the role. In the Internet age, everybody's spitball has a global reach.
It is one of the curiosities of moviedom that even though we know James Bond to be a fictional character, the most storied of British spies, we have grown to think of him as a real person. We act as if the reassigning of 007's licence to kill should require Parliament's approval, or a least a wave from the Queen.
And yet each age gets the James Bond it needs, regardless of welcome. Sean Connery launched the series in 1962 and defined the Swinging Sixties style of heroism and hedonism. Roger Moore went for the tongue-in-cheek swagger that typified the 1970s and early 1980s. Pierce Brosnan sought to bring a serious actor's gravity to more recent times 鈥?at least until the sex puns got the better of him. (Let's leave aside the brief interregnums of George Lazenby and Timothy Dalton, which matter not.)
Now comes Craig, the first real 007 of the post-9/11 era. The debate will continue as to who constitutes the best Bond, but there's no question that he is the right Bond for these times.
It's a world where shadowy terrorists no longer live elsewhere, where wars are fought for murky reasons and where even a humble pop bottle represents potential airborne disaster, doomsday visions are no longer confined to the movie screen and nationhood, and patriotism, seek new definitions.
This is something author Ian Fleming realized with uncanny prescience back in 1953 when he launched the legacy with the publication of Casino Royale, introcing Bond as a man of strength and style, but also possessed of self-awareness. A man astute enough to observe that, "History is moving pretty quickly these days and the heroes and villains keep on changing parts."
The rough-hewn Craig is the most credible incarnation to date of Fleming's flawed sleuth. His Bond stalks and kills like the "blunt instrument," as Judi Dench's spy boss M describes him, yet he is human enough to bleed from both the body and the heart. Craig isn't pretty 鈥?he "impersonates the ugly," as was once said of rocker Rod Stewart 鈥?but intelligence and depth reside behind those cold, blue eyes.
He meshes beautifully with the other players and elements of Casino Royale, which returning director Martin Campbell (GoldenEye) directs with a maximum of intensity and a minimum of pretense, aided by an uncommonly smart screenplay by Neal Purvis, Robert Wade and Paul Haggis, who pay e tribute to Fleming.
Gone or reshaped are most of the conceits that have made Bond movies seem like an exercise in parody and nostalgia.
There is no kitten-stroking villain in an island lair, plotting to blow up the world or to claim the sun, the moon and the stars as his own. Instead we get Mads Mikkelsen's suavely chilling Le Chiffre, an obsessive gambler who brokers financial deals with terrorists to fund his adventures at the poker table. Le Chiffre's main quirk, apart from a penchant for torture, is a tear ct that involuntarily bleeds. "Nothing sinister," he assures us.
The femmes are not quite as fatale as in Bonds past. Eva Green's spy accountant Vesper Lynd and Caterina Murino's flirtatious foil Solange are every bit as beautiful as Bond girls go, but they aren't out to prove their own killer instincts. Yet they are more intriguing and alluring than ever before.
And, for the most part, they have to keep those bikinis unfilled and those bedroom eyes wide open, because this Bond isn't wasting time making idle love. Craig's 007 is undeniably virile, but he's paradoxically the least sex-crazed of Bonds since David Niven's satirical elder incarnation was embarrassing the franchise with the rogue Casino Royale movie romp of 1967. (Freudian analysts will have a field day parsing a torture scene where 007's manhood is more than just shaken and stirred.)
Craig's Bond sprints faster 鈥?gasp at an early chase scene with parkour (free running) champ S茅bastien Foucan as a fleet-footed bomb-maker 鈥?and fights harder than any of his predecessors. He loves harder, too, being the first Bond since Lazenby's cerebral spy of On Her Majesty's Secret Service to make a serious commitment to a woman.
The gadgets this time are modest and realistic, just enough to fill the glove compartment of Bond's trusty Aston Martin, which is nowhere near as tricked-out as usual. There is no hapless Q (farewell, John Cleese) to admonish Bond for being reckless with government property.
There is still M, played by Judi Dench as she has since GoldenEye, and finally given a script worthy of her talents. She is much more involved in Bond's training and development, having promoted him to "00" status despite misgivings about his judgment and his apparent inability to rein in his ego.
The above may make Casino Royale sound like serious dramatic fare. It is indeed, and all the better for it.
But director Campbell retains the exotic locales, zipping from Madagascar to Miami to Montenegro, to relieve the potential claustrophobia of the gaming tables that consume much of the story.
There is also humour to savour, although none of the sniggering sex talk that for too long has made Bond seem like a Playboy cartoon character. The wit is often visual: check out the age of the man in M's bed, when she is rudely roused from her slumber, and watch the reaction of the rich oaf who arrogantly mistakes Bond for a parking valet.
Follow the raised eyebrows of Jeffrey Wright's CIA mole Felix Leiter and Giancarlo Giannini's MI6 undercover man Mathis, as they try to figure out exactly what Bond is up to. They are standouts amongst an excellent supporting cast.
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时间：2023-06-08 09:40
灞曞紑鍏ㄩ儴Use field 007 to code for the physical characteristics of an item. You can also use 007 to code for the physical characteristics of the parts of an item such as accompanying material. (007 is valid in all formats for this purpose.) OCLC has implemented the following 007 fields: Electronic Resource
Globe
Map
Microform
Motion Picture
Nonprojected Graphic
Projected Graphic
Remote-sensing Image Sound Recording
Tactile Material
Video Recording
Guidelines Use an appropriate 007 field if you are cataloging microforms, motion pictures, nonprojected graphics, projected graphics, videorecordings, etc., that are published separately. In addition, use field 007 for electronic resources, globes, maps, microforms, motion pictures, nonprojected graphics, projected graphics, remote-sensing images, sound recordings, tactile materials and videorecordings that are components of kits.
Nonmicroform reproctions If you are cataloging a nonmicroform reproction of existing graphic material, use an 007 field for the type of material of the reproction (e.g., use the 007 field for Videorecording for a video copy).
Locally made changes to the physical form of the item The physical description in the master record should reflect the condition or form in which you received the item. For example, if you regularly cut filmstrips and mount the indivial frames as slides and you want the local cataloging to reflect the local form (slides), use the following instructions:
Input a master record for the item as published.
Edit the record for local use.
If a record already exists, edit the record for local use.
Motion pictures and videorecordings If you are cataloging several versions or variations of a work in separate records, use one field 007 in each record to describe that version or variation. However, if you are cataloging versions or variations in the same record (i.e., if the same TMat code applies), use multiple 007 fields to describe the multiple versions or variations.
Projected and nonprojected graphics Use one 007 field to represent multiple items with identical characteristics. For example, a set of 46 slides requires one 007 field if the slides share the same physical characteristics.
However, use multiple 007 fields to represent physical characteristics that differ between items in the same set. For example, if you are cataloging a set of ten filmstrips and six have accompanying sound, use two 007 fields, one for the sound filmstrips and one for the silent filmstrips.
Sound recordings accompanying projected graphics Sound recordings that accompany filmstrips or slide sets and provide a sound track for the filmstrips or slide sets are an integral part of the item. Do not use separate 007 fields for the sound recording. However, use a separate 007 field for sound recordings if it is an independent component of a kit.
Primary and secondary support materials for graphics Provide codes in field 007 for primary and secondary support materials of the item. Primary support material and secondary support material are the base on which graphic items are mounted, drawn, printed, etc.
For example, the primary support for a slide is the film that bears the image. The secondary support is the slide mount, which is usually cardboard or plastic. For art prints, the primary support is usually paper. If the print is in a frame, the frame is the secondary support. If the print is dry mounted and matted, the mounting and mat board are secondary supports.
You may not be able to determine the composition of primary and secondary support materials. If in doubt, do not enter codes for support material in the 007 field
Kits Kits are items containing two or more categories of material, no one of which is predominate. Kits may also be single-medium packages of textual materials (e.g., lab kits). Use visual materials format (Type code o) if you are cataloging a kit. Apply the same rules and definitions to 007 fields used in kit records as you would to 007 fields used indivially in other records.
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时间：2023-06-08 09:40
灞曞紑鍏ㄩ儴0074
