“We have the earth all the time.”
When James Bond (Daniel Craig) told Madeleine Swann (Leah Siddox) the line “No Time to Die” in nine minutes, it doesn’t mean much for the average movie. But to Bond fans around the world, this is a subtle hint of the most important and impending possible tragedy in the history of the franchise.
It’s not just the main line for “We Have All the Time” in the 1969 screenplay of “On Her Majesty’s Secret Service”, it’s the title song in the middle of that movie by Jazz the Great Louis Armstrong, derived from the love theme of British composer John Barry for the film.
Now, that memorable music from 52 years ago is no less than three times in the latest 007 epic. The tune is heard in Hans Zimmer’s “No Time to Die” underscore just after Craig says the line in the pre-credit sequence. It returns to another, moving scene near the end of the film – and the full, original Armstrong voice then plays under the film’s last credits.
Craig is shocked enough to hear this line, as it sounds the alarm bell in the mind of any colored-in-wool-bond buff. “On Her Majesty’s Secret Service,” is the final line of the conversation, which 007 (George Legenby) said shortly after Blowfeld murdered Tracy (Diana Rigg), the British agent’s new wife, as they set off on their honeymoon.
Another 1969 oil callback is on Zimmer’s score, out of repeated use of “we have the world all the time”. Bond aficionados will admit that Zimmer Barry also added a reference to the all-instrumental title theme from “On Her Majesty’s Secret Service”, a march that points to 007’s relationship with the Secret Service, during a scene with Bond M (Ralph Fiennes) . About the dangers posed by a deadly DNA-based weapon.
Insiders say the use of “We Have All the World in the World” in the new film was a decision to call back Bond from a previous era. And instead of the film moving into the final credits, instead of re-releasing the Billy Ilish title song – which, with its love and betrayal theme, fits nicely with the title headlines but may not be the right mood for exit music – we get the classic Armstrong vocals. Later in the credits, Ilish returns to the song, but humming the tune instead of singing the song in one version with the pop star.
John Barry, who died in 2011, is considered the architect of Bond’s music genre. He designed the original “James Bond theme”, with a moving, dangerous soundtrack, and achieved 11 films, including “Goldfinger” and “Thunderball,” Roger Moore’s “Octopus” and “A View to a Kill,” by Timothy Dalton. Lazenby’s only trip to “The Living Day Lights” and, of course, “OHMS”.
Many Bond fans consider “On Her Majesty’s Secret Service” (despite Connery’s absence) to be one of all 007 movies and Barry’s score to be the strongest. The theme of love is fantastic, and lyricist Hall took his title and inspiration from the lines of David Ian Fleming’s original 1963 novel. The song provided a world-exhausting quality in Armstrong’s voice, and Barry’s final, melody-soaking instrument sent listeners out of the theater in tears.
Coincidentally (or may not be) he clears his desk while playing “On Her Majesty’s Secret Service” Bond to resign and “Dr. No,” “With Love from Russia” and “Thunderball”, and the doorman outside his office. ” Goldfinger “whistles. So quoting the music of “On Her Majesty’s Secret Service” brings the whole subject into “No Time to Die”.
Ironically, viewers watching “No Time to Die” will actually hear Armstrong’s song more than “On Her Majesty’s Secret Service”, where it received a hint of Bond and Tracy falling in love but was only cut for two minutes.
Practically ignored when released in 1969, “We Have All the Time in the World” was never charted in the United States or the United Kingdom, but it was a quarter of a century after Guinness Bear commercially shipped to number 3 in the UK. Considered one of the best songs.