For Your Eyes Only

Tags

007, 1980's, Carole Bouquet, Cassandra Harris, Desmond Llewelyn, For Your Eyes Only, Geoffrey Keen, James Bond, Jill Bennett, John Glen, Julian Glover, Lois Maxwell, Lynn-Holly Johnson, Michael Gothard, Roger Moore, Spy, Topol

Film Title

For Your Eyes Only

Director

John Glen

Starring

• Roger Moore as James Bond
• Carole Bouquet as Melina Havelock
• Julian Glover as Aristotle Kristatos
• Topol as Milos Columbo
• Lynn-Holly Johnson as Bibi Dahl
• Cassandra Harris as Countess Lisl
• Michael Gothard as Locque
• Jill Bennett as Jacoba Brink
• Geoffrey Keen as Frederick Gray
• Desmond Llewelyn as Q
• Lois Maxwell as Moneypenny

After the sci-fi excess of Moonraker, the Bond producers had to bring him back down to Earth. They did this by giving this film a seriousness and return to the spy formula, crossed with elements of a thriller. Some of For Your Eyes Only may look a little subdued in comparison with other Bond adventures, but after the spectacle of the previous film, it succeeds in bringing Bond back from outrageous fantasy and contributing a little more grit to the series.

The sinking of a British spy ship, the St. George’s in the Ionian Sea disturbs MI6. The ship was equipped with ATAC, a system that helps order the firing of missiles from the British fleet. If the precious device falls into the wrong hands, then world devastation could be arriving very soon. It is up to our man, James Bond to uncover the location of the device. Another element of this case is Melina Havelock, a beautiful woman who is out for revenge after witnessing the brutal murder of her parents. Her parents where helping MI6 to locate the sunken ship just before their tragic murder. Travelling to Spain, Italy and then Greece, Bond comes into contact with Aristotle Kristatos, a well-informed Greek businessman who gives him information regarding a smuggling operation, supposedly headed by Milos Columbo. Yet there is something not right about Kristatos and Bond soon concludes he is the enemy and the one who has the intent on selling ATAC to the Soviets. With the vengeful Melina, who is nifty with a crossbow, and Columbo, who has the necessary supplies and the men to bring down Kristatos on hand, Bond sets out to save the world once more.

The direction taken with For Your Eyes Only into the serious spy film, with action and some genuine suspense, is a wise one and one that grounds the series, yet still keeps it going. John Glen, who had worked as an editor on many a Bond film, makes an assured first entry into directing by carefully downplaying some of the broad humour and injecting a thrilling atmosphere as Bond comes up against interesting characters and duplicitous motives. The sense of realism is further enhanced by using a minimal amount of gadgets, leaving Bond as a spy relying on his wits and his gun to survive death. Saying this, the serious approach does become a little boring at various points in For Your Eyes Only. Yet, it does add a different dimension to the usual formula. Thrilling moments abound in this adventure, whether it be Bond scaling a mountainside to him and Melina tied to a ship and being dragged through shark infested waters, it isn’t short on excitement that’s for sure. Location work is of the highest order, with the islands of Greece serving as beautiful places for Bond to uncover plots and the snowy mountains of Cortina lending itself to a ski chase sequence. Bill Conti scores the movie and it does have its moments of classic Bond cues, but at times feels a little to loud for its own good and this does detract from many a scene. The same can’t be said about the title song, which is sung with earnest emotion by Sheena Easton. The ballad perfectly enhances the underwater lovelies and aquatic theme of the title sequence, which are super imposed over Easton as she sings.

Roger Moore gives his trademark charm to the role of 007, but he also gets a chance to inject a seriousness into the part that he hasn’t had the opportunity to do before. Moore may be seen as the comedic Bond, but he has his share of unexpectedly cold-blooded moments during his tenure, the highlight here being him kicking an assassins car into a rocky ravine. Carole Bouquet makes a mature impression as the strong and vengeful Melina Havelock. Through her melancholy eyes and wounded glares, we see a young woman who can clearly handle herself with her trusted crossbow and will not rest until she kills those responsible for shattering her heart. Julian Glover makes for a more subdued villain in the shape of Kristatos than the usual evil masterminds, but he does have a sly smile and wit that stands him in good stead when faced with Bond coming up against him. In a colourful performance full of panache and humour, Topol stars as Columbo, a smuggler with many friends who aids Bond on his journey with his knowledge and resources. Wholly out-of-place in the movie and the Bond universe is Lynn-Holly Johnson as Bibi, a lovesick teenage figure skater, sponsored by Kristatos who takes an amorous interest in Bond. The whole character just feels superfluous and the film could have been better if her character wasn’t in it. Cassandra Harris is lovely and serene as a countess romanced by Bond, while Michael Gothard is on form as the silent assassin Locque. Jill Bennett is wasted as Bibi’s stern coach Jacoba Brink and like Bibi, her character doesn’t add anything to the plot in the slightest. This is also the first movie to not feature M, as Bernard Lee died before production on this film and the producers respectfully didn’t cast the role immediately. Bond receives his instructions from the high-ranking but flabbergasted Minister of Defense Frederick, who is played with wise humour by Geoffrey Keen. Desmond Llewelyn and Lois Maxwell are once again on hand for their short but memorable turns as Q and Moneypenny.

Subdued but also thrilling and tense, For Your Eyes Only presents a serious return to the gritty side of Bond and succeeds very well indeed.

 

The Nanny

Tags

1960's, Bette Davis, James Villiers, Jill Bennett, Pamela Franklin, Seth Holt, The Nanny, Thriller, Wendy Craig, William Dix

Film Title

The Nanny

Director

Seth Holt

Starring

• Bette Davis as Nanny
• William Dix as Joey Fane
• Wendy Craig as Virgie Fane
• Jill Bennett as Aunt Pen
• James Villiers as Bill Fane
• Pamela Franklin as Bobby

A slice of creepy thriller from Hammer Horror, The Nanny is an unexpected and interesting addition to the studio’s work as it doesn’t have any supernatural elements but chills aplenty with the legendary Bette Davis on fine form.

The Nanny of the title works for the well off Fane family, consisting of strict father Bill, his nervous wife Virgie and their ten-year-old son Joey. The family had a young daughter who drowned in the bath two years ago. The mischievous Joey was blamed for his sister’s death and many thought he was a dangerous young boy because of his previous history of lying and playing tricks on those around him. As the film begins, Joey is returning home from a hospital for mentally disturbed children, although the doctor warns of his increasingly troubled behaviour. Upon arriving back home, he immediately acts with hostility against Nanny; refusing to eat what she cooks, changing his room because she decorated it and being as unpleasant as he can when she is around him. His mother and father are baffled by this as Nanny seems to genuinely care for him and his wellbeing. Joey continues to spin tales about Nanny, yet no one listens to him because of his history of lying and scheming. No one believes him except his neighbour Bobby, a worldly teenager who lives in the apartment above his and often keeps the young boy company. Is Joey really disturbed or is he in fact right about the seemingly harmless Nanny? As different and conflicting points of view take centre stage, you’ll be left biting your nails trying to figure out the truth in this creepy and effective thriller.

Seth Holt provides interesting and intelligent direction by playing the first half an hour of the film as simple and innocuous, but steadily he pulls the rug from under your feet and gets you to question the events occurring and the validity of them. The crisp yet ominous use of black and white hints at the darkness that may lie beneath the surface of both Joey and Nanny, while roving camerawork takes in the supposed safety of home and reveals the creeping danger within its trappings. A sombre yet menacing score keeps the suspense building as the line between truth and fallacy blurs. Admittedly some of the plot elements creek a little with a lack of originality, but for most of The Nanny’s duration it keeps you riveted.

Bette Davis turns in a subtle performance as the eponymous Nanny and shows us the many sides to her with little nuances clouded with a hint of secrecy. Because of her amazing delivery, the audience is really left until the last-minute wondering whether Joey is right to be afraid of her. As seemingly kind and considerate as Nanny is, there is something uneasy about her character and as played by Davis we begin to question our judgement of her. William Dix is similarly effective as the young Joey, whose string of antics leaves others questioning whether he is lying or not. Dix manages to dig beneath the unpleasant exterior of the character and show fear and intelligence as he attempts to explain his story. Wendy Craig is suitably nervy and highly strung as Joey’s mother, while Jill Bennett provides quiet understanding as the Joey’s aunty who is frustrated by her nephew yet senses something isn’t right. James Villiers is somewhat wasted as Joey’s father and doesn’t really contribute much to the film. On the other hand, Pamela Franklin is precocious and loyal as Bobby, the neighbour who begins to believe Joey’s stories about Nanny.

A sinister and nail-biting watch, The Nanny is a creepy entry into Hammer Horror that boasts a chilling atmosphere and a compelling performance by Bette Davis.