James Bond in Long Lost Love – Review – 3 August 2020
Overall, this seems more of a Bond parody along the lines of a low budget and low talent Austin Powers movie. The writing seems over dramatic which is overshadowed by poor punctuation, lack of character introductions, and overall confusion in logic.
This script, if produced might have a small cult following along the lines of films such as, “Cave Women on Mars” or “Lair of the White Worm” (which has known celebrities and was better written).
This script proved very difficult to read given the lack of correct formatting, punctuation errors, and general lack of cohesiveness in the dialog. I’m not quite sure what this was about.
Now to the details…
Page 1 – already too much exposition. As “wind blowing gently across the trees and the clouds are wispy” can’t really be “shown”, consider removing this from the script. “… a quiet night” will suffice.
Later on the page, there is more exposition. It would be difficult, or not, to show a cat with a “standing bitch face”.
Page 2 – the man repeats “people of London” twice? Did he think they didn’t hear him the first time?
Page 2 – Where do the “people” come from all of a sudden? Are they out in the streets? Who are these people and where are they?
Page 2 – It’s rather funny to me, not sure if intended that way, when the Man answers the people’s question of “Who’s this man?”. That was nice but if this script is meant to be a drama over a comedy, that question and answer dialog is not going to work.
Page 3 – What’s the setting here? What year is it? $10M does not equate to a lot of money by today’s standards. However, if Bond is watching a black and white TV, are we to assume it’s the 60s in which case $10M is a lot?
Page 14 – Bond “upholsters” his gun. Not going to work. A leather grip might be nice though.
Page 14 – Too much exposition. No need for “felt a sharp pain…” You can’t “show” sharp pain. Also, the same paragraph is written in present and past tenses. Should all be kept in present tense - unless in dialog and talking about the past, present or future.
I though “M” was always a woman. Here M seems to be a man. Towards the end, however, M shows back up as a woman.
Characters are left a mystery until specific moments. While there might be a need for this on screen, in the script the character's identity should be revealed from his / her first line. Imagine the confusion while trying to have a table read or casting call.
