10. From the manor to the church — Skyfall (2012)
What happens:
While his childhood home burns, Bond makes his way across the frozen grounds to the estate’s chapel. The siege on the lodge may be over. But M (Judi Dench) and Kincade (Albert Finney) are still in danger. Exhausted and under fire, Bond must reach them before the vengeful, ex-MI6 agent Silva (Javier Bardem) does.
Why it rules:
If someone asked you why Roger Deakins is one of the greatest cinematographers of all time, you could concisely answer them by showing them this scene. It’s like a Bond opening credits sequence made paratext; a shadowy nightmare of contorting silhouettes choked in a smokey haze. The frozen lake makes this more than just a sultry sprint. This is a character-defining sequence for the Craig-era. He will not give up. And if he must suffer to get the job done, then so be it.
9. “I expect you to die” — Goldfinger (1964)
What happens:
Bond, strapped to a table with a laser inching closer to MI6’s most valuable asset, is taunted by Auric Goldfinger (Gert Fröbe).
Why it rules:
An instantly iconic exchange, this moment is legendary in the James Bond franchise and pop culture. But even for all of its brilliantly quotable qualities, this scene is also a perfect representation of Goldfinger as a madman. Bond, ever the strategist, is sure that he’s being tortured for information. But Goldfinger simply wants to kill him and has found a method that is simultaneously cartoonishly convoluted and brilliantly simplistic. It’s the kind of outlandish end that only a true villain could conjure up. The scene has been parodied endlessly, but the true feat is that it’s still an effective, hair-raising moment in its original context.
8. Jaws finds love — Moonraker (1979)
What happens:
After failing to murder Bond on a cable car in Rio, metal-mouthed assassin Jaws (Richard Kiel) frees himself from the surrounding wreckage with the help of the petit, braided, Dolly (Blanche Ravalec). The stars align, and the two fall instantly in love.
Why it rules:
Moonraker is frequently considered one of the worst 007 movies ever made, which is only true if your funny bone was broken in a freak gondola accident. The Moore films are all silly. But only Moonraker has the clarity of mind to lean face-first into the goofs. Of all the silly sights this James Bond movie has to show you, the silliest of them all is the moment when once-goon turned loveable ally Jaws finds love. The comedic implications of the visual mismatch are genius. As is the blatant “villainous fan-favorite lives happily ever after, actually” of it all. Even still, as he towers over her, Dolly is an active participant in the affair; an enthusiastic, infatuated party. She’s as in love with this hulking, hilarious man as we are.
7. Dangers on a train — From Russia With Love (1963)
What happens:
Bond and his nefarious opposite number, the henchman Red Grant (Robert Shaw), square off in a train carriage in a brutal fight to the death.
Why it rules:
Red Grant is one of the best henchmen in the whole franchise. And this scene demonstrates why. He’s an astonishing physical match for 007 and a near-unstoppable force in a fight. M0re than that, he has trained for this moment and it’s a thrill to watch him and James Bond attack each other, fueled by pure instinct and adrenaline. And while, in the back of our minds, we know Bond has to be the one to make it out alive, with Red Grant’s sheer power, there are a handful of scenes where it feels like Bond might truly be doomed. This is a moment that pulls you to the edge of your seat. And while there have been some memorable train moments in James Bond movies over the years, this is the fight scene that still comes out on top.
6. A night at the opera — The Living Daylights (1987)
What happens:
Assigned to aid in the defection of a KGB officer, Bond is tasked with providing cover as the target flees the opera. During the mission, Bond notices a rival sniper (Maryam d’Abo) and identifies her as both the cellist from the orchestra and a non-professional assassin. Disobeying the orders of his superiors, Bond shoots the rifle out of her hands.
Why it rules:
Hello? Christopher McQuarrie? Yeah, hey, when are you going to give Dalton a Mission: Impossible cameo to pay your dues? Just wondering. This is such a high-stakes, compact character introduction it should be taught in film schools. Right out the gate, we know everything about this incumbent 007: he’s is intense, emotional, and has a tuxedo that is also a turtleneck. Where the heck do we sign? After decades of dispassionate killers and dopey civil servants here is someone who isn’t just competent, but also human, able to navigate the business end of a sniper rifle and have the humanity to know when not to use it to end a life.
Related Topics: Bondathon
