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Honestly, I hated that they went from the mournful love them to the EXCITING JAMES BOND THEME! at the very end. I would have preferred they kept it sad. However, I guess they didn't want to send audiences into a state of depression on the way out.
I really wish they'd restore the original end credits music to Thunderball.
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I agree with juhana on the brief lead-in to the OHMSS end titles being lifted from the barn cue. Surely many of us have read in different places about the producers wanting to go heavy on the James Bond theme in this film to keep reminding us that despite Sean Connery's absence, we were watching Bond in action. (I personally regret so much of "Battle at Piz Gloria" being dropped for that purpose.)
But dramatically, I expect that ending the picture abruptly with that aggressive rendition of the Bond theme was intended to assure audiences that "Next time, Bond will be out for revenge!!!" If so, it was to help encourage positive word of mouth for that current release; and I doubt whether the ending cue was Barry's idea.
Of course, we can all just refer back to Burlingame's The Music of James Bond for the definitive answers.
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Honestly, I hated that they went from the mournful love them to the EXCITING JAMES BOND THEME! at the very end. I would have preferred they kept it sad. However, I guess they didn't want to send audiences into a state of depression on the way out.
I really wish they'd restore the original end credits music to Thunderball.
Though I enjoy that transition to the James Bond theme as a listening experience I have to agree with you as a film. I really thought it would have captured even more of Bond's utter pain if it ended with the same somber and sad music. Bond was finally going to be married after avoiding love and living a life of racking up enemy body counts. It was a brand new life for Bond and then with one bullet, it was stolen from him. I imagine a modern Bond movie with that ending would have kept the sad music going for at least half of the End Credits.
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It's easy to be a back-seat driver, but I see the problem the producers had here.
It's a downer ending, but can you really leave people walking out of the cinema feeling crushed, rather than excitedly expectant that 007 will be back?
No, you can't.
I think the film had to finish with an exciting sense that 007 will be back, and that to me says the film had to finish on an exciting quotation of the James Bond theme.
But, maybe what they should have done is saved that quotation for the very end, for when the words "James Bond will be back" come up, and made it a shorter blast of James Bond theme, rather than switching to it at the start of the credits.
Cheers
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But, maybe what they should have done is saved that quotation for the very end, for when the words "James Bond will be back" come up, and made it a shorter blast of James Bond theme, rather than switching to it at the start of the credits.
Or consider this: The Bond theme at the same length could have entered at Stephen's suggested entry point, at the same length, but with most of it playing as exit music.
The ending and cast credits would have been unified in mood through a longer final quote of "We Have All the Time in the World" than we were given; and the audience would have left the theatre with the promise of motivated action for next installment. (United Artists uses no end logo, and in 1969 the American MPAA rating appeared at a film's start, so short exit music would have been a fair compromise between commercial priority and the film's fidelity to the novel's ending.)
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I do wonder if John Barry scored the end of WHATTITW with a view to a longer sad reflection moment before the end credits.
Well, what was recorded is longer than what's in the film, so maybe the ending was longer at one point.
Cheers
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It's easy to be a back-seat driver, but I see the problem the producers had here.
It's a downer ending, but can you really leave people walking out of the cinema feeling crushed, rather than excitedly expectant that 007 will be back?
No, you can't.
I think the film had to finish with an exciting sense that 007 will be back, and that to me says the film had to finish on an exciting quotation of the James Bond theme.
But, maybe what they should have done is saved that quotation for the very end, for when the words "James Bond will be back" come up, and made it a shorter blast of James Bond theme, rather than switching to it at the start of the credits.
Cheers
Normally, I would agree that leaving audiences utterly depressed would be unthinkable. But this was the late 60's. Films were going much darker, even popular entertainment. Just two years later, the G rated Beneath the Planet of the Apes would send children crying into their parents arms and they didn't lighten up in the following films.
Still, yeah, OHMSS was already ending on a heavy note and I can see Cubby sitting there watching it with the sad music wishing he had some cyanide for himself and said, like Harve Bennett would in 1982, "we gotta give the audience hope!" It's a great ending as is and 20/20 hindsight from my easy chair would make a few changes. However, they crafted what I consider the best film in the Bond franchise. I don't know if it would have been as effective with Connery in the role. This film was a perfect storm of creative ingredients.
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