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https://preview.redd.it/slk944hvd7m51.png?width=1000&format=png&auto=webp&s=421ee1d0034226722291439b9c895db9e713042asubmitted by Cyborg800_2004 to JamesBond [link] [comments]
Spectre may lack originality and it is rough around the edges, but it is the most fun Bond has been since Tomorrow Never Dies and more entertaining than the last two films. I agree that the “Brofeld” plot and attempts to connect the Craig films are misguided, but the rest of the film is still good enough to overcome these problems.
Craig’s Bond is different in the Sam Mendes films. Craig’s first two films played up his physical prowess, which led to a more vulnerable Bond, but also one that lacked some personality. Skyfall and Spectre allow Craig to be more like his predecessors and he certainly delivers witty dialogue better than Dalton and Brosnan. However, Craig’s Bond now feels more like a modern version of Connery, albeit with more emotional baggage. I love the return of the old-school Bond, but it is rather hard at times for me to see the Bond of Casino Royale and Quantum of Solace as the same Bond of Skyfall and Spectre. While Craig is bored at times, I do not think he gives a performance as low as Connery in his last two films.
Lea Seydoux is bland as Madeline Swann. Bond choosing to let go of the past and settle down is an interesting plot point, but the lack of chemistry between Craig and Seydoux as well as their age gap, which feels like a step-back to the Moore era, prevents the story arc from achieving its true impact. Christoph Walz is fine as Blofeld, but concealing his identity was a bad move, and making him Bond’s stepbrother was worse. Dave Bautista is a nice return to the invincible henchmen of Bond past, though I do wish he got to show a bit more humor to the character considering how great Bautista is as Drax. Monica Bellucci is criminally underused as Lucia Sciarra. I remember the hype of a middle-aged Bond girl and I kind of wish she played Swann instead. Andrew Scott gets the job done as “C,” though it was not really a twist that he was the villain. While Spectre does not make the best use of such a good cast, it does excel in giving a greater focus to the MI6 crew. Ralph Fiennes and Rory Kinnear appear more as M and Bill Tanner, but seeing more of the flirting between Bond and Moneypenny and Q once again in the field is great. The chemistry between Craig and Naomie Harris is easily the best, though it still does not compare, since Connery and Lois Maxwell. Q has a better relationship with Bond here, harkening back to Desmond Llewelyn’s Q being kinder to Dalton and Brosnan compared to the first three Bonds.
The plot is more traditional Bond and still manages to stay fresh despite the many recycled elements from previous films. For some reason, I do not find the attempts to connect all four Craig films too egregious, though M’s death being connected to Blofeld was a bit much. “Brofeld” was just dumb. The action scenes, while a bit too focused on style rather than substance, are entertaining and are nice distractions from the main plot. The opening sequence is extremely well-made, with references to Bond past such as Baron Samedi from Live and Let Die and the helicopter scene in For Your Eyes Only. The music is pretty good, even if too many cues from Skyfall were reused. I did enjoy the extended use of the music from Skyfall’s “The Moors” for the London climax. Speaking of which, while I do think a climax at the crater would have been a nice callback to the older films, the London finale is still pretty good. The cinematography by Hoyte Van Hoytema is great, but it is somewhat hurt by the terrible yellow/grey palette.
Overall, I am surprised that I do not dislike Spectre. It is a very flawed film, with a misguided attempt to connect Craig’s films and to give Bond and Blofeld a personal connection. Ignoring this, the rest of the film is standard Bond fare, albeit with some twists to the formula to make it feel a bit original. Despite the film’s flaws, I think it is a very competently made film, similar to the eighties films. You will not get anything innovative here, but you will get an experience that does not feel too derivative or trying too to be a Bond film (like Brosnan’s films). Skyfall is an objectively better film, but Spectre feels much better paced and entertaining. If we can forgive guilty pleasures like Moonraker and A View To A Kill for having their silly moments, then I think we can forgive Spectre too.
https://preview.redd.it/imjwn5lpxzl51.png?width=1000&format=png&auto=webp&s=d142b0446d938d86b95c807c4b76604f72517240submitted by Cyborg800_2004 to JamesBond [link] [comments]
Probably the best made Bond film, though it just misses the top five because of several factors. Skyfall feels different from Craig’s first two films. It made the wise decision of not referencing lingering plot threads from previous films, allowing it to stand on its own. Perhaps, this is why Quantum of Solace and Spectre are not well-regarded: they tried to build off previous installments and retroactively hurt the stories of their predecessors.
Skyfall draws heavily from the past, returning to the style of earlier entries. Casino Royale is my favorite Bond film, but I do think it was heavy-handed in in its attempts to differentiate Craig from previous Bonds. Bond responding with “Do I look like I give a damn?” when asked if he wants his martini shaken or stirred feels less like a mythology gag and more of a dig against the tropes the franchise created. Shaking up the formula is fine, but changing too much runs the risk of losing what made the franchise what it was in the first place. I appreciated how Skyfall simultaneously deconstructed (an overused word today) and reconstructed the character.
As jarring as it is to see Bond go from being a loose cannon novice to a veteran closer in characterization to the previous Bonds, Craig’s played out Bond addicted to alcohol is quite close to the novels, and nicely picks up where the Dalton films left off. Skyfall realized that Casino Royale was a one-time thing and returning to the formula while adding enough fresh elements was the right way to go. Licence To Kill and Skyfall proved that the films can still be fresh without stripping back almost every aspect of the films.
The cast is great. Judi Dench gets an expanded role as M and it is nice to see her relationship with Bond become a strong focus. As sad as it was to see Dench go, I think her character had a fitting end. Skyfall repeats quite a few beats from previous films, but integrates them quite nicely. Javier Bardem’s Silva is similar to Christopher Walken’s Zorin due to both being major psychopaths. Bardem’s first scene was fantastic and I thought the concept of Bond facing off against a former MI6 agent was done much better than in GoldenEye, where Sean Bean’s Trevelyan was pretty much your typical Bond villain in the end. The mid-plot twist where Silva “wanted to get caught” was the worst aspect of the film for me though, and Q was quite idiotic for plugging in a known cyber-terrorist’s computer into MI6’s servers. Also, the train almost hitting Bond underground made no sense unless Silva had predicted that Bond would follow him. He definitely should have come up with a better plan for preventing Bond from stopping Silva’s assassination of M. Bond films are not the best written films, but they made up for their inconsistencies by not taking themselves seriously. A problem with the Craig films is that they take themselves seriously, but also fall prey to poor writing. This only makes their flaws more evident, which is why Spectre is a mess. Bérénice Marlohe has a small role as Severine. She is similar to Andrea Anders, another ill-fated Bond girl who wants to leave her life as mistress to the villain. The love scene with Bond is a bit off considering she was a child sex slave, but I would not go so as far as to call it rape. The late Albert Finney is nice as Kincade, though one can only imagine how it would have been if Sean Connery accepted the role as intended. After ten years, Q and Moneypenny return, portrayed by Ben Wishaw and Naomie Harris respectively. No one can ever beat Desmon Llewelyn, but Wishaw is a fine counterpart. Playing up Q’s computer skills to the point of having him design advanced security protocols was silly considering he then made the mistake of plugging Silva’s computer to the servers. Harris probably has the best chemistry of any young female in Craig’s era. I have heard some take issue with the implication of Moneypenny sleeping with Bond, but Lois Maxwell (forever the best Moneypenny) and Connery (tied with Dalton for my favorite) had conceived a backstory where Bond and Moneypenny had a romantic weekend and decided to stay apart, so it is not too far off from the originals. Ralph Fiennes makes his debut as the new M and I think he has done a fine job so far, playing one closer to Bernard Lee and Robert Brown while having a larger role.
One area where Skyfall absolutely outclasses Casino Royale is in cinematography. Ignoring the subject of films of the past twenty years using color grading, this is the best-looking Bond film, superior to On Her Majesty’s Secret Service, in my opinion. The Shanghai and Scotland scenes are breathtaking and it is nice to see some nice shots without a yellow palette. Skyfall is an artistic film, and Sam Mendes ran out of ideas quickly. Filmmaking has changed and using the same director for multiple films is not going to work like it used to. Martin Campbell had eleven years to refine his skills, but Mendes’s lack of originality between Skyfall and Spectre is very evident.
The same can be said of Thomas Newman. I have a fond spot for Newman’s score, despite lacking the “Bond” feeling John Barry and David Arnold delivered. It is tied with The Spy Who Loved Me for my favorite non-Barry score. “Shanghai Drive” and “The Chimera” are two of my favorite tracks. The immersion when watching Spectre for the first time in theatres was broken when I kept hearing cues from Skyfall.
Despite being a good film, Skyfall is a bit harder to watch again. It is slower than Craig’s first two films, but this also works to its advantage since this is the first time we have had a Bond film that does not throw constant or tacked-on action at your face since Licence To Kill. Pacing is subjective, but the middle does drag on with Silva’s nonsensical scheme. The opening and ending both provide great action scenes as a respite. Skyfall was the first Bond I saw in theatres and the pre-title sequence, which is a welcome return to the traditional style, still excites me. The climax at Skyfall is unparalleled by none but Licence To Kill. I felt that the Aston Martin DB5’s previous appearances in Goldeneye, Tomorrow Never Dies, and Casino Royale were blatant attempts at nostalgia, but there is some purpose to the DB5 here. Craig’s films were grounded in reality, but the return of the gadget-laden car brilliantly supported the film’s theme of returning to the old ways.
The ending with the old MI6 crew back, and the wooden office with a leather door (a sight that brings tears to one’s eye) was a true return to where we left things off in 1989 and we could finally have Bond undertake traditional adventures while maintaining the originality Craig’s era brought (or so we thought). It may not surpass Casino Royale, but Skyfall deserves applause for respecting Bond’s past while moving forward.
Previous Section-Part 2Bsubmitted by Eki75 to DupontDeLigonnes [link] [comments]
Highways and dead endsThe hunt for Xavier Ligonnès is enough to drive you crazy. It’s like looking for a lost object, a bank card for example, of which we can determine the exact moment of disappearance: we used it to pay, it was there, and the next moment it is not there anymore. Logic dictates that we look for it where we usually store it (a wallet, a handbag), then where it could be (a back pocket of pants, a hall cabinet), and the less we find it , the more we seem to see it everywhere. Faced with absence, the brain constructs images (the credit card in an office drawer, as a bookmark in a book, forgotten on the counter of the last store) but these are fictions or mirages; they encourage further research but they do not provide a solution. Xavier Ligonnès’s apparent volatilization follows the same logic and produces the same effects on the investigation. The more weeks and months go by, the more places to look get smaller. Emmanuel Teneur ends up leading the investigators to the Société Générale agency on Place Royale in Nantes, but the safe he holds there is simply empty. A request for information on Joven Soliman is sent to the security attaché for the French Embassy in the Philippines. He is a sedevacantist priest, a fringe of traditionalist Catholicism who considers the Pope to be an imposter. The attaché transmits the hours of mass where he officiates. A trip to the Philippines is being considered, but that would mean going to the other side of the world to look for a needle in the thousands of islands of the archipelago. If this track has never been closed, nothing has supported it to date.
Since we must push logic to the end, the investigators even contact the American authorities to corroborate or contradict the story of protected witnesses told by Ligonnès in his famous letter. The DEA has never heard of the individual, and the liaison officer based at the Miami consulate assures us that his last trip to the United States was in 2003: Ligonnès arrived in Florida on July 18 and left on August 22. The study of his entourage also did not highlight anyone capable of providing false papers to the fugitive, and if he had gone through a criminal network, the police believed that an informant would undoubtedly have warned them to protect himself.
Then there are the news reports: the portrait of Ligonnès goes around France, and even if he has undoubtedly changed his physical appearance, his hairstyle, perhaps had even resorted to cosmetic surgery, someone, somewhere, might recognize him one day. After all, that’s how John List, a New Jersey insurance salesman who killed his wife and mother in 1971, was arrested. He waited for two of his children to return from school to coldly shoot them, then attended his youngest son’s football game before shooting bullets through him at home. He evaded justice for 18 years until a co-worker recognized him from a report on America’s Most Wanted.
Rarely has a criminal case given rise to as many appeals as that of Ligonnès, because his stalking not only bewitches the police, it torments an entire country. More than 1000 reports, thousands of pages of depositions, letters, verifications. You have to imagine the miles of printed paper that this represents when they are stacked on a desk. The most recent: in July, after the broadcast of a Netflix documentary on the subject in the United States, the producers of the film claimed to have received an interesting lead in Chicago; but it’s just one more drop in the bucket. Xavier Dupont de Ligonnès has been seen in Annecy, Nancy, Cholet, Corsica (several times); on the side of a road, thumbs up, by a French tourist in Las Vegas; disguised as a chimney sweep in Nîmes; in a hotel in Cantal and in a pizzeria where he paid cash in a hurry; seen again in Germany, in Italy, and heard on the telephone by the reception of the psychiatric hospital of Troyes. Since he disappeared looking like the ordinary neighbor, since he was a representative and his profession has taken him to all corners of France, there is no less reason to see him in Mulhouse than in Roche-sur-Yon, and you can simply see him everywhere.
Aire de Lançon-Provence in July 2020
Extracts: “It was the same look, except that he looked very sad, in the west, but he had the same glasses as in the photo you are showing me”; “He looked like a man like everyone else, but there was something odd in his eyes;” “Yesterday, around 1:00 pm, I was watching the news on television on the TFI channel. I saw a report where an individual killed his children and his wife before disappearing into the wild. (...) Seeing the gentleman in the photo, I made the connection with the person whom I had crossed Sunday afternoon because he had the same smile.” At the Vauvert tourist office: “I hardly look at the news, but Thursday evening I saw the photo of Mr. Ligonnès, I had the impression of having already seen him, my heart was racing.” Between Carpentras and Avignon, when he comes back from the bakery, the manager of one of Nicolas Sarkozy’s brothers crosses paths with a man with a beige bob, which he is certain is the fugitive. “I flashed,” he says. “For me, there is no doubt. This is him.” Still more letters are sent to the police to offer them help. An amateur astrologer requests a copy of the suspect’s birth certificate to establish a birth chart, a woman in child-like writing recommended a great medium who had helped her find her daughter who had become a junkie in Marseille. A prisoner asked in writing to be sent to Guinea to go hunt him down in the jungle, attaching to his letter a list of the necessary equipment, including infrared glasses and a “samurai sword.”
With each letter, with each phone call to report a suspicious individual, investigators attempt to cross-reference the information. They patiently collect the testimonies of the depositors to know where Xavier Ligonnès was seen, if he was accompanied or not, what was his size and his outfit. Inconsistent testimonies or those referring to individuals who are too young (Ligonnès would be 59 years old today) and too small (he measures a little over 1.80 meters) are discarded. For the others, investigators check the CCTV recordings, when they have not been erased and when the cameras have actually recorded on tape. If the person has been spotted pumping gasoline, in a Géant Casino, or in a Courtepaille, they trace the means of payment used and seize the duplicates of bank cards. They give priority to the restaurants, especially the Buffalo Grill, Ligonnès’ favorite establishment. And when the trail is still hot and the dishes haven’t been done yet, they collect DNA from the plates and cutlery. A few months after the start of the investigation, the investigating judge in charge of the case will even be forced to ask them to slow down, the seals starting to take on the appearance of a china cabinet in a large restaurant.
The Total service station in Lançon-Provence, July 2020
The PJ of Nantes believed on several occasions to finally have in hand the winning ticket and to be on the point of intercepting Ligonnès. This was the case in Borgo, where a photo taken from the video surveillance of a supermarket in this small Corsican town was very similar. Upon verification, it was only a local. They believed in it even more in January 2018 when they were told that an individual with a strong resemblance to Xavier Ligonnès was at the Saint-Désert Notre-Dame de Pitié monastery near Roquebrune-sur-Argens. About twenty police officers raided and searched the premises until they came across Brother Jean-Marie Joseph, who certainly looked disturbingly like Ligonnès, but who was not him. In still other cases, the police were never able to “close the track,” and it is perhaps Ligonnès who was seen.
For example, in Lançon-Provence, April 26, 2011. That day, at 2:44 am, Mahjoub B., a handler by profession, parks his vehicle at the Total service station after the Lançon-Provence toll. He fills up, then goes to the store to pay. On his way, he passes a 45- to 50-year-old man, about six feet tall, who hangs out there between the gas pumps and the store. When he returns to his vehicle, his colleague asks him if he has seen the man, whom he is convinced is the one everyone is looking for, the one who killed his family in Nantes. Mahjoub then takes a new look at the individual, notices that he is wearing glasses, light jeans, that he has brown hair a little graying and a beard of a day. At his feet, four rigid shopping bags, one red, one white, one brown and one whose color he cannot distinguish. Inside the store, employees also noticed the individual. He’s been out for almost three hours. At one point, he walks in to ask for free coffee, as part of a promotion. Behind her cash register, Jocelyne H. notes a detail: he is missing a tooth. “The second on the left, I believe,” she says when heard by investigators. This is information that has never filtered out and yet, it’s true – a little detail, Xavier Ligonnès was missing a tooth. Little by little, the space has filled in, but you can always see it when he smiles. The images from the station’s surveillance cameras are confusing: if this man is not the one we are looking for, it must be his twin brother. At 3 a.m., the cameras show him hitchhiking by a Volkswagen Combi, which investigators quickly find. The driver’s name is Christophe B. He has not heard of the case, and he must be one of the only ones in the country; but Christophe is no longer listening to the news because, he says, “the news is bad all the time.” From the hitchhiker on the night of the 25th to the 26th, he remembers that he “did not smell very good” and that he had a growing beard. They didn’t discuss much. The man simply told him that he was coming from Paris where he had gone to see “his sick old father,” and that he wanted to take the train to Aix-en-Provence. Christophe dropped him off at a motorway exit, the 30 or the 31, between 4 a.m. and 4.15 a.m. The surveillance cameras at Aix train station allow you to get back on track. He is filmed on the forecourt at 6 am, he wears light pants, a dark jacket. He buys a ticket at 1.20 euro, free destination. Then we lose track.
Despite all the checks, despite all the cameras, it will be impossible to track this man perfectly resembling Dupont de Ligonnès, who could nevertheless have confirmed that he was, at least on this date, still alive.
How can one suddenly evaporate in plain sight, and how could a man who has collected chess all his life accomplish this feat? The XDDL mystery makes it possible to scaffold all the theories. These flourish in books, in docudramas and, of course, on the Internet. We imagine Ligonnès protected by the secrecy of a monastery, flown to the United States, where he can go unnoticed thanks to his English without an accent, or even on the escape alongside a woman he would have manipulated. The police officers in charge of the case do not work on theories or psychological profiles, but according to a scientific approach: they always start from a fact, which opens a track, which they then explore until the end, close, and move on to another. This method is also a way to protect yourself from endless guesswork, or insanity, but it doesn’t always work. Several times, the track looks like a highway towards the fugitive, and the police are convinced that they will finally close this investigation. But they end up stumbling upon the worst thing ever, as was the case with the allusion to Emmanuel Teneur’s sailboat: coincidences.
Coincidence number 1. When the Ligonnès C5 was discovered in the Formula 1 car park in Roquebrune, the night watchman informed them that two reservations had been made in the name of Dupont Xavier, one on April 5 and the another on April 14. The hotel manager then specifies that the first reservation was actually made for April 6. That day, however, XDDL was in Nantes, probably digging the grave of Thomas, murdered the day before. Had he thought of accomplishing his crimes earlier or had he reserved a room for an accomplice, who might have been hiding something for him? The videos of April 5 and 6 are no longer available, but payment for the room was made with a Crédit Agricole credit card. The number gives a name, Faiçal E., and an address. Could it be an accomplice? The checks are launched immediately lead to a man who simply used “Dupont Xavier” as an assumed name - like Ligonnès - to book a night in the same hotel, the same year, the same month, within ten days.
Coincidence number 2. The liaison officer in Miami launches research around the various aliases used by XDDL, for operations of “mystery shopper” or to stay in hotels. In the FBI file, he finds a certain Xavier Laurent, one of Ligonnès’s favorite nicknames, installed in Jacksonville, north of Florida. Jacksonville is not just any city. This is where Hugues, the cousin of XDDL lived, and it is also this locality that Ligonnès and his friend Michel Rétif declared to customs in 1990 during their trip to the United States. At the very end of the personalized letter sent to Michel on April 8, Xavier Ligonnès seemed to allude to it: “I will think about you there. (Not the right to tell you where, but you went there with me...in November 90…a clue to dig. LOL).” But this Xavier Laurent is another twist of fate: the police come across a certain Evan Shaffer, a petty criminal who has chosen this alias to commit crimes.
Coincidence number 3. Ten days before the crimes, XDDL reconnects with a childhood sweetheart, Catherine K., whom he met in Versailles in the 1980s. Between March 22 and 24, they exchange text messages and try to find a date to meet the week of April 12, in Chamonix. These messages intrigue the investigators, some answers seem surprising, almost illogical, and they suspect Ligonnès of having wanted to ensure a logistical relay in his escape. A little later, a certain Patrick O. reports having seen XDDL in the queue of a Sixt car rental agency at Nice airport on April 17, 2011. By peeling the names of dozens of people having rented a car that day, the police officers miss the infarction: in capital letters, white on black, appears the surname of Catherine, who would have rented a vehicle at 1:30 am. A few hours later, their heart rate drops again: it was only a perfect disambiguation.
Each coincidence causes the same chain of reactions. First a eureka!, the certainty of having finally found the tiny detail from which to trace everything. The police then cast their nets like fishermen on the high seas, telephone or banking requisitions, requests for listings, identity checks. Then they wait. It can last from a few hours to several weeks, and inevitably it is a burning, nagging wait, tense by the fear that the track will fly away. Finally, there is the immense disappointment and the obligation to face reality again: Xavier Ligonnès is still nowhere to be found, a track has flown again, and we have to hoist the rock up the mountain again. Those who have worked or are still working on the affair strive to maintain a cold, rational, police facade. But little by little, by dint of chasing a shadow - not even a shadow, a ghost - obsession lurks. One of them, a police officer with a professional Protestant pastor, now out of the investigation, still returned until recently to consult the investigation file every week, saying he simply wanted to put the 12,000 pages of documents in order. For a year, a criminal analyst has also been mobilized. He enters all the elements of the file in a software which digests them and spits out, perhaps, new threads to draw. In the meantime, the two police officers who are still following the investigation - one at the PJ in Nantes, one at the OCRVP, in Paris - “live” the case, as their colleagues say. Among these thousands of pages there is no doubt a clue that has gone unnoticed or, better, a lead that has not yet been explored.
Track number 1. Who typed “fraternité saint-thomas becket” on Google on April 3 at 11:34 pm, before clicking on a link in the Cité-Catholique forum? Is it the same person who, the same night at 2:01 am, from an iPhone, did the search for “communion state mortal sin,” bringing it to the same forum? On April 8, the user of this phone will in any case send the search engine the request “hello Chacou”, which will lead him (her) again to the Cité-Catholique forum. Chacou was one of the pseudonyms of Xavier Ligonnès. Investigators saw crazier coincidences, but still: can it really be someone other than Xavier Ligonnès, who himself connected to Cité-Catholique almost every day of his escape? The last article published on the site about Saint-Thomas Becket, an ultra-traditionalist fraternity which practices mass in Latin, dates from January 2009. It indicates the name of its founder, Father Jean-Pierre Gac, and specifies this: “Born in the diocese of Blois where there are two communities (…), the fraternity has also extended in the diocese of Toulon - a parish is also entrusted to them in Ollioules.” Ollioules is located six kilometers from La Seyne-on-Mer, where XDDL spent its penultimate known night, and 94 kilometers from Roquebrune. Jean-Pierre Gac was questioned by the police but claimed to have never been in contact with the fugitive. Investigators have always believed in the possibility that Ligonnès took refuge in a monastery in the Var. They considered to search them one by one, before understanding that there are dozens and dozens of brotherhoods and fraternities, that they are not always castles of the Purple Rivers but sometimes simple farms, lost in the hinterland. To mount a search, it would be necessary to ensure that they do not communicate with each other, and therefore to visit them all at the same time. The examining magistrate quickly tempered the fervor of the police and declared the operation impossible.
Track number 2. Xavier Ligonnès had two secret Facebook accounts. The first is named after his favorite country singer, Waylon Jennings. One of his nieces had also found him a month before the crimes, sending him a message, “but who is behind this nickname?,” to which XDDL had immediately replied “How did you manage to arrive on the Waylon Jennings Facebook profile? Too clever! Microsoft Advantage??? Kiss.” The second account concerns a certain “George Town” residing in Nantes and is linked to one of Ligonnès’ many email addresses, [email protected]. The police send a requisition to the management of Facebook in Palo Alto to obtain the creation and connection logs of the two profiles. The answer comes in days: the first was created in February 2010, the second in December 2007, when France had barely discovered the social network. Above all, the response indicates that Ligonnès connected to the two accounts on the night of April 4 to 5, between the first assassinations and that of Thomas. The profiles have since been deleted but suggest he could have used them to communicate with a third party. Catherine K., the youthful lover that XDDL contacted a few days before the tragedy, also reported to the police that she had been approached by a certain Philippe Steiner, whom she did not know, around May 20. He sent her a strange message, suggesting that they might have had a relationship in the past. When she went to respond, the profile had already been deleted. Today there are almost 100 Facebook accounts on behalf of Waylon Jennings, some are created and deleted every day.
Track number 3. When the Ligonnès family is having their last meal on April 3, 2011, around 9 pm, a young woman walks through the glass doors of the police station on Place Waldeck-Rousseau in Nantes. Originally from a small village near Vannes, Julie is a BTS student and comes to file a complaint: the Twingo that her father lets her drive has been broken into, probably during the night. There was not much inside, but Julie reported the theft of her car radio as well as the vehicle’s logbook, which she normally stored in a small Renault gray faux leather pouch. This same pouch was found on April 22 in the dresser of the Ligonnès living room where Xavier used to store his papers, during the investigation the day after the discovery of the bodies. The police did not follow this track: they put the break-in of Julie’s car on the account of one of the Ligonnès sons, Arthur, who had already been arrested for theft of a bicycle and driving under the influence of cannabis. But why would Arthur have taken the vehicle papers with the car stereo, and why would he put them in the middle of his father’s papers? And if the theft was committed by Xavier Ligonnès a few hours before killing his family, how can this be explained? Was he able to steal other identity papers to facilitate his escape?
In this case, it is always about cars. Those imported by XDDL from the United States, the Citroën C5 from the escape, the vehicles he claimed had been stolen over the years: the first at the Brest police station in 1998, while living in Pornic, a second at the same time at the Saint-Nazaire police station, and then again, in Nantes, on May 17, 2006, a Golf convertible finally found then sold a few months later to a mechanic, a friend of Cédric M.
Cédric M. is never far away when it comes to cars. He is also a mechanic, that’s how Ligonnès met him in Vannes a few years earlier. He is one of the recipients of the departure letter, therefore a close friend. He was even the first employee of the RDC. Ligonnès regularly went to visit him in Locmalo in the heart of Morbihan, a two-and-a-half-hour drive from Nantes. With Cédric and his partner, Renaud, they went to the local creperie. They had lunch there together on March 31, 2011, four days before the crimes. In the village, it is said that Ligonnès took care of the dark accounts of the “guys,” who have quite a reputation. Could he have built up a slush fund there that no one would have found until now? Cédric and Renaud’s garage is not indicated by any sign. It is at the end of a road. In the yard, wrecks of American cars and a goat on a leash. Inside, Renaud is working on a shiny yellow Cadillac. His attitude is confusing. He is angry with the police who have never come to question him when he is, according to him, “the last to have seen [Xavier] alive. But I will not tell you when, because that the date is important,” he adds before returning to his Cadillac, wrench in hand.
To date, Renaud has still not been heard by investigators.
At the same time, reports continue to flow.
Ligonnès seen in Mulhouse, on the four lanes between Saint-Brieuc and Rennes in a Peugeot 308 and overtaking on the right, Ligonnès seen again in Tunis and Toulouse.
Ligonnès seen, but never caught.
Next Section-Part 2D
submitted by Cyborg800_2004 to JamesBond [link] [comments]
Daniel Craig’s debut – Casino Royale – has always been my favorite Bond film. We have the best lead actor, actress, and villain performances of his era (sorry, Silva), and a script that stays true to the original while reestablishing the original character after several increasingly silly films. However, what is probably my second favorite Bond film – Licence To Kill – also manages to stay true to the character while also providing some of the best thrills in the franchise.
Timothy Dalton is in top form with this film. It is hard to tell which of his two performances is superior; this film was tailored towards his interpretation, which gives it a slight edge over his debut performance. His darker portrayal of the character gets criticism, but I think his staying true to Bond’s roots works in his favor. Carey Lowell is fine as Pam Bouvier. She may be no Pussy Galore or Tracy Bond, but she is definitely better than most of the other Bond girls from the preceding films, with the exception of Melina Havelock. Talisa Soto is not the best actor, but she does good enough as Lupe Lamora. Robert Davi is fantastic as Sanchez. He is more charismatic than Dalton’s moodier Bond, and the comparisons between the two is similar to Bond and Scaramanga. The two even dress similarly in several scenes to highlight this. Benicio Del Toro is also memorable as Dario, thanks to his psychotic nature. Desmond Llewelyn's largest role as Q is a highlight of the film and adds some much needed humor to a darker film.
The plot makes use of elements from Live and Let Die and The Hildebrand Rarity, a short story from For Your Eyes Only. The film has received criticism for lacking a Bondian film and for making use of eighties tropes such as a drug lord as a villain and a rogue hero. However, the film tailors these tropes to the Bond style so successfully that I disagree with the lack of a Bond feeling. The sets are not the best in the franchise and like the other eighties films, has a cheap feel to it thanks to Moonraker’s high budget. However, I would argue that this film feels more Bondian than A View to A Kill due to its use of elements from the novels, as well as the creative action scenes. As I have said before, John Glen was at his best when directing action scenes and this film has some of the best in the franchise. The pre-title sequence racks up the tension before triumphantly playing the Bond theme as Bond goes fishing; the “water-skiing without skis” scene is as Bondian as they get; and the climactic tanker chase is easily my favorite finale to a Bond film. The bar and ninja scenes get criticized for being out of place in an otherwise serious film, but I do not think they hurt the film as bad as the sillier scenes from Octopussy do.
Michael Kamen’s distinctly “eighties action movie” score is another source of contention for the film. I had watched Road House recently, which was also composed by Michael Kamen, and noticed some similarity in instruments between films. However, the frequent use of the Bond theme makes up for the rather generic score. I think the score fits the film and the experience is enhanced thanks to it, but the score is not as listenable on its own. Gladys Knight's theme is fantastic and definitely overlooked. "If You Asked Me Too" is a fitting sendoff for the eighties era, and perhaps the classic era, with the Brosnan and Craig films having different crews and being post Cold War films.
In terms of tone, the film is the darkest yet. The more gruesome scenes are a bit hard to watch for some, but they bring back some of the nastiness Bond had lost in the increasingly sanitized films. Bond is also shown as a bit unhinged in this film. Like in Goldfinger, he makes mistakes, but this film really emphasizes how reckless Bond is. A great aspect to this is that Bond probably snapped from reliving something similar to Tracy’s own death. He might have felt that Sanchez deserved a worse death than falling down a chimney.
Licence To Kill may feel like too much of an attempt to veer away from the campier Moore films, but it was going to happen eventually. The Bond films always had violent deaths, but this one lacked the campier elements that distracted audiences from them. For Your Eyes Only set the precedent for a more realistic, faithful to the source material Bond film, but Octopussy brought back the camp and A View to A Kill tried too hard to appeal to the MTV era, ultimately feeling less like a Bond film. The Living Daylights was a more serious film, but it was written with no specific Bond in mind. Licence To Kill was made with Dalton in mind and committed more than its predecessors did in creating a film that personified the novels.
From Russia With Love has one of the best casts and plots in the franchise. On Her Majesty’s Secret Service is the best directed and scored Bond film, and certainly classier than Dalton’s films. The Spy Who Loved Me takes the cinematic elements of Bond and brings it up to eleven, delivering a product that manages to thrill without veering too far into the excesses of the other Moore films. However, Licence To Kill is paced perfectly, has a strong plot, and some of the best action scenes in the franchise. As a result, it is my second favorite Bond film.
https://preview.redd.it/hf7t712rbfk51.png?width=1000&format=png&auto=webp&s=e7ac4c71da4210c6d7f2cd327ce26e09888c46b2submitted by Cyborg800_2004 to JamesBond [link] [comments]
A disappointing follow-up to Brosnan’s first two films. On the positive side, the majority of the cast is pretty good. Brosnan gives his best performance, with more opportunities to show a colder, more serious Bond. It may not compare to Dalton or even Connery in his first two films, but this is the closest Brosnan gets to the source material and he does his best. Sophie Marceau is an interesting twist on the classic Bond villain, portraying an arrogant seductress not content with what she has. Robert Carlyle as Renard is overshadowed by Elektra, but the concept of him not feeling pain is used in some good moments. Robbie Coltrane returns as Valentin Zukovsky in a larger role and he provides some of the few actually funny lines found in the film. Desmond Llewelyn unfortunately passed away after this film and his final scene is a touching reminder of how he entertained viewers in seventeen films over the course of thirty-six years.
However, Denise Richards’s “Doctor” Christmas Jones proves that one character can actually bring down a film. Even discounting Richards’s horrible acting, the character feels out of place in an otherwise serious film. A relic of the Moore days where the Bond girl was a damsel who needed saving; at least those girls could act. The few times Jones helps out in the plot could have easily been re-written without Jones and the plot would have stayed the same.
Most egregious is how Jones hurts a major aspect of the film: Bond and Elektra’s relationship. I read comments from Neal Purvis and Robert Wade, the current Bond writers who debuted here, about how they were inspired by On Her Majesty’s Secret Service and came up with making Tracy turn out to be “Blofeld.” It is a great idea and makes this film an okay Bond film rather than a bad one. However, Christmas Jones hurts the impact of Bond loving another woman by making Bond bed another woman by the end. This refusal to shake up the status quo and deliver on interesting ideas was prevalent since Brosnan’s debut but really hurt his era here. Thirteen years later, Skyfall revisited the concept of M being haunted by a past decision. Despite a slow-paced beginning and some overhype by the critics, I do think Skyfall committed to shaking up the formula more than this film did. Honestly, Purvis and Wade used most of their best ideas in this film. Die Another Day is more blatant in its recycling of old story beats, Casino Royale is the first true adaptation of a story since 1987, Quantum of Solace’s potential was hurt by the writers’ strike, and Spectre had misguided intentions.
The plot is probably the best of Brosnan’s era. It is more daring than Goldeneye and continues the innovation that Tomorrow Never Dies brought. Unfortunately, Goldeneye was a film made to appease people who did not want a darker, less formulaic Bond, and this is what hurt Brosnan’s era. The need to fall back on tried-and-true Bond tropes out of fear of making another Licence To Kill destroyed the good this film did. The best moments are the quieter ones, where Elektra and Renard discuss his lack of pain or when Elektra tortures Bond. The action scenes, with the exception of the opening boat chase, are very underwhelming compared to the last four films.
David Arnold’s score is my personal least favorite of his five scores, but his rendition of the Bond theme and instrumental version of the great theme song are well-done. The boring action, coupled with a plot that fails to deliver on its potential, makes The World Is Not Enough one of the few Bond films I do not feel excitement watching again. I hated it when I first saw it in 2012 and considered it the worst Bond film ever. That does not hold up as much today, but I would still watch Diamonds Are Forever and Live and Let Die over this any day.
The World Is Not Enough feels like a Timothy Dalton script put in a Roger Moore film. Dalton’s films suffered from moments of silliness, but mostly stayed their course. This film is an example of writers trying to innovate while trying to keep things the same at the same time. Goldeneye played the tropes just as straight as this one while failing in its pretensions of telling a personal adventure for Bond, but was still more entertaining and better-acted. Tomorrow Never Dies managed to avoid wasting potential by doubling down on everything one comes to expect from Bond while reinventing the franchise better than its predecessor did. Even Die Another Day, frequent choice for worst Bond film, entertains me much more than this film does. The World Is Not Enough is Brosnan’s The Living Daylights, a film with a great script bogged down by a padded length and questionable choices. Unlike that film, The World Is Not Enough leans more to the negative than the positive.
Cast James Bond 007 - Casino Royale Un film di Val Guest , Ken Hughes , John Huston , Joseph McGrath , Robert Parrish , Richard Talmadge . Con David Niven , Charles Boyer , William Holden , Deborah Kerr , Ursula Andress . Casino Royale ist ein Komödie aus dem Jahr 1967 von Val Guest und Ken Hughes mit David Niven, Peter Sellers und Woody Allen.. In der Bond-Parodie Casino Royale müssen David Niven als der echte ... Don't watch Casino Royale if you want to see a comedy film. Don't watch Casino Royale if you want to see a good film. But ... if you want to see an exercise in swinging 60's style stretched past the breaking point by too many cooks in an overlong romp with one of those classic ludicrously over-the-top comedy endings where everything on screen just goes completely batshit crazy (seriously I ... Casino Royale (2006) cast and crew credits, including actors, actresses, directors, writers and more. Besetzung und Stab von James Bond 007 - Casino Royale, Regisseur: Martin Campbell. Besetzung: Daniel Craig, Eva Green, Mads Mikkelsen, Judi Dench. Casino Royale (2006): il cast e la crew del film con i personaggi e protagonisti. Regista, attori, sceneggiatori, musicisti e tutto il cast tecnico. In James Bond 007 – Casino Royale gibt Daniel Craig unter Regisseur Martin Campbell sein 007-Debüt und erzählt, wie der schärfste Geheimagent aller... Here are the cast and characters of the original, star-studded 1967 version of James Bond's Casino Royale.In 2020, Casino Royale is widely known as the film that launched Daniel Craig's 007 career and breathed new life into the franchise, but the same story was adapted decades previously. The original Casino Royale is often overlooked because it isn't part of recognized James Bond continuity. Casino Royale (1967) cast and crew credits, including actors, actresses, directors, writers and more. The film Casino Royale is an action-adventure thriller film that is based on secret Agent James Bond who is setting out on his first mission as 007 after gaining 00 rank and a killing licence.In a high stakes poker game at Casino Royale, Montenegro, Bond must beat a private banker funding terrorists.. The film is helmed by Martin Campbell and bankrolled by Columbia Pictures, Eon Productions ...
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