I also think that Barry's compositional style for the Bond pictures was somewhat more versatile than most of the other composers trying to fuse pop elements into an orchestral score. I like a lot of Conti's work (I really dug the bass guitar line being picked up by the brass), but I have to admit that I find my favorite non-Barry Bond score to have been George Martin's (even if the movie itself is a little... well... very dated).
When I was referring to the big-band sound, I was actually referring to the big-band section of the James Bond theme itself, which I don't recall ever being used in the Moore films.
The Living Daylights was one of the few latter-era Bond pictures that really captured that Cold War tone correctly; the restraint shown with the presentation of the villains was a nice breath of fresh air, as was Bond's sudden flashes of anger that Moore would never have pulled off.
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Date: 2008-04-03 02:46 pm (UTC)When I was referring to the big-band sound, I was actually referring to the big-band section of the James Bond theme itself, which I don't recall ever being used in the Moore films.
The Living Daylights was one of the few latter-era Bond pictures that really captured that Cold War tone correctly; the restraint shown with the presentation of the villains was a nice breath of fresh air, as was Bond's sudden flashes of anger that Moore would never have pulled off.