A View to a Kill

Tags

007, 1980's, A View to a Kill, Christopher Walken, Desmond Llewelyn, Fiona Fullerton, Grace Jones, James Bond, John Glen, Lois Maxwell, Patrick Macnee, Robert Brown, Roger Moore, Spy, Tanya Roberts, Walter Gotell, Willoughby Grey

Film Title

A View to a Kill

Director

John Glen

Starring

• Roger Moore as James Bond
• Christopher Walken as Max Zorin
• Tanya Roberts as Stacey Sutton
• Grace Jones as May Day
• Patrick Macnee as Sir Godfrey Tibbett
• Willoughby Grey as Dr Carl Mortner
• Fiona Fullerton as Pola Ivanova
• Robert Brown as M
• Desmond Llewelyn as Q
• Lois Maxwell as Moneypenny
• Walter Gotell as General Gogol

Roger Moore finally bowed out of the role of 007 with A View to a Kill, which was his record seventh appearance as the spy. Whilst there are parts that are entertaining, it isn’t really a worthy farewell to the Moore era.  Octopussy would have been a much better swan song for Moore to go out on than this underwhelming effort that ranks as one of the weaker Bond entries.

After discovering a microchip on the body of a fellow agent who was killed in Siberia and narrowly escaping, MI6’s best agent James Bond investigates the case. The chip leads him to Max Zorin, an industrialist with the microchip business as well as horse racing. The seemingly respectable Zorin is actually a psychopath, who along with his loyal but deadly assistant and lover May Day,was the result of a biological test by Dr Carl Mortner, a Nazi doctor . 007 traces Zorin from Ascot, then Paris and for the grand finale San Francisco, where the full extent of Zorin’s scheme comes into a disturbing light. Aided first by fellow MI6 agent Godfrey Tibbett and later by geologist Stacey Sutton, who has history with Zorin, Bond attempts to foil the twisted psychopath’s dastardly plan to flood Silicon Valley and gain a monopoly on the world microchip market. Coming up against the fearsome May Day and other cronies of Zorin’s along with many life and death situations, Bond knows the mission is going to be far from easy if he is to successfully take down this psychopath.

Part of the problem with Moore’s last entry is the overuse of comedy that detracts from many effective sequences. I don’t mind a bit of humour in the Bond movies, but here it just goes overboard with it and never really recovers. Other entries have successfully combined humour, suspense and action, but A View to a Kill doesn’t fall into that category. John Glen is once again in the director’s chair, but his touch isn’t as assured as it has been and A View to a Kill isn’t glowing in terms of greatness. The fact also is that Roger Moore looks too old for the part now and the suspension in disbelief of him as 007 really waned with this entry, which proved to be his last. With those negatives out of the way, here come the positives. The locations used are once again stunning, from the snows of Siberia, the finery of a French Chateau to the use of San Francisco in sun-bathed glory as Bond attempts to stop Zorin and his plan. John Barry is thankfully on hand to compose the beautiful score, which harks back to the classic Bond feel and succeeds in giving this entry something worthy of praise. Duran Duran provide the electrifying title song, which marries 80’s rock riffs with classic strings and the result is impressive. The title sequence has a rebellious edge, with seductive women sporting Mohawks and neon-body paint.

Although he still has style and panache, Roger Moore is just too old for the role in his last installment. Which is a real shame as he had made the role his own and deserved much better material for his final entry as 007. Christopher Walken is an inspired choice for the role of Zorin and he plays him with unhinged menace, cunning smile and odd sense of humour. Tanya Roberts may be gorgeous to look at but her role isn’t the best example of a Bond girl and the character of Stacey is just not that interesting. It’s hard to take her seriously as a geologist and her constant screaming for help really does become annoying after a while. Far more effective is Grace Jones as the villainous May Day, Zorin’s sidekick and deadly weapon. Jones imbues May Day with an unusually intimidating demeanor, brute strength and an Amazonian glamour, which really makes her an excellent female villain to add to the series. Patrick Macnee contributes old-school wit and upper-crust knowledge as a fellow MI6 agent, but Willoughby Grey is too over the top to be believable as the crazed doctor whose experiments resulted in Zorin and May Day. Briefly appearing but oozing sex appeal is Fiona Fullerton as a KGB honey trap who tries to outsmart Bond on his mission. Robert Brown and Desmond Llewelyn are respectively great as M and Q. Lois Maxwell signs off in style as Moneypenny and her contribution to the series can really be felt in her last outing as the loyal secretary. Walter Gotell is back as Gogol, this time helping MI6 in their pursuit of Zorin as he was once a member of the KGB who has decided to go renegade.

So despite some moments of greatness, A View to a Kill sadly ranks as an unworthy way for Roger Moore to bow out on.

Octopussy

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007, 1980's, Desmond Llewelyn, James Bond, John Glen, Kabir Bedi, Kristina Wayborn, Lois Maxwell, Louis Jourdan, Maud Adams, Octopussy, Robert Brown, Roger Moore, Spy, Steven Berkoff, Vijay Amritraj, Walter Gotell

Film Title

Octopussy

Director

John Glen

Starring

• Roger Moore as James Bond
• Maud Adams as Octopussy
• Louis Jourdan as Kamal Khan
• Kristina Wayborn as Magda
• Kabir Bedi as Gobinda
• Steven Berkoff as General Orlov
• Vijay Amritraj as Vijay
• Robert Brown as M
• Desmond Llewelyn as Q
• Walter Gotell as General Gogol
• Lois Maxwell as Moneypenny

It may be something of a conundrum within the Bond community on the opinions of Octopussy, some see it as an effective spy yarn, others see it as too outrageous and too confusing. But for me, I fall into the former category and consider Octopussy a really excellent entry into the series, full of exotic locales and interesting characters. It may be a little convoluted and silly at times, but there is more than enough enjoyment to be had with Octopussy.

When British agent 009 turns up dead at the British Embassy in Berlin, dressed as a clown and clutching a fake Fabergé egg, MI6 begin to investigate. Bond is assigned with finding the seller of the fake egg and comes across Kamal Khan, an exiled Afghan prince who bids for the real egg at auction. Following him to India, Bond investigates Khan and his association with Russian General Orlov, with the help of fellow agent Vijay. Khan and Orlov have been forging valuable jewels and replacing them with replicas, allowing them to smuggle them into various countries. Orlov is power-crazed and wants the Soviet Union to take back more control over the West, which alarms KGB chief and sometimes helper to the British General Gogol. Collaborating with the two in the diamond smuggling is the mysterious Octopussy, a fabulously wealthy woman who lives in a highly guarded palace on the river, guarded by athletic and dangerous women . Meeting Octopussy, Bond sees that her circus business is being used as the front for the scam. Yet Octopussy is unaware of the more sinister motives of Orlov and Khan and just thinks that they are just smuggling priceless jewels across the border. Orlov plans to detonate a bomb at an American military base in West Germany. He believes that this will cause the US to pull out of Germany and leave it open to Soviet invasion, fulfilling his maniacal scheme. Coming up against Khan’s henchman Gobinda, the lithe Magda and the various foes that stand in his way, Bond teams with Octopussy to stop the nefarious scheme before it is too late and bring down Khan and Orlov in the process.

The first thing to praise in Octopussy is the visuals which are beyond stunning. India, with its colourful saris, opulent palaces and exotic mystique makes for a perfect location for a Bond movie. The production design, especially in Octopussy’s palace is breathtaking to say the least and is done to the highest golden standard there is. John Glen directs with a fun and adventurous quality, that also gives the series its fair share of suspense. Nowhere is this more apparent that in the opening when 009 is chased by knife-wielding twins to his eventual death. Yet in comparison to the subdued and grounded For Your Eyes Only, Octopussy has more of an excitement and fantastical quality to it, which always adds to my personal enjoyment of it. The plot, while very interesting, can become a little complex for its own good, but with stunning action and surroundings, you may hardly notice. Standout action scenes are Bond being pursued as the prey in a safari, a tense train fight and a chase through the marketplace on tuk tuks. While the humour is kept to some excellent one-liners, some over the top moments do seep into Octopussy, (need I mention Bond swinging from the vines in the jungle a la Tarzan?) John Barry triumphantly returns for musical duties with a sweepingly romantic score, peppered with exotic strings and drifting flutes. Rita Coolidge sings the main song, entitled ‘All Time High’ with conviction and makes it one of the more romantic of the Bond theme songs.

Roger Moore is still as charming as ever as 007, perfectly balancing humour with the necessary action that is thrown in his way in this tangled web of intrigue. Maud Adams, returning to Bond after her role in The Man With the Golden Gun, makes for a formidable and independent Bond girl. Adams plays the eponymous character as an intelligent businesswoman, who knows her own mind and what she wants. Adams has excellent chemistry with Moore and they really do make a great couple as Bond and Octopussy realize that they are ‘two of a kind’. The late Louis Jourdan exudes suave charisma and villainous glee as Kamal Khan, who is skilled in the art of double-crossing those around him. Khan is such a slimy villain and Jourdan plays him with charm and oily slyness to the hilt. I would like to say here rest in peace Louis Jourdan, you will be certainly be missed. Kristina Wayborn shows off athletic prowess and stunning sexuality as Magda, a member of Octopussy’s women who acts as the linchpin between Khan and Octopussy. Kabir Bedi is intimidating and frightening as the loyal henchman Gobinda, while Steven Berkoff clearly relishes the theatrical role as the unhinged General Orlov. Tennis pro Vijay Amritraj makes for a likable ally to Bond in this exotic adventure. We have a new M in the form of Robert Brown, who while never going to rival the impression left by Bernard Lee, is suitable for the role of the gruff boss of Bond. Desmond Llewelyn supplies Q with an eye-rolling and confounded humour as Bond wrecks more of his effective gadgets in the line of duty. Walter Gotell returns as General Gogol, who this time is worried about Orlov’s delusions of the future. Unfortunately Lois Maxwell isn’t given enough to do this time around as secretary Moneypenny.

Apart from the sometimes long-winded plot and dips into silliness, Octopussy stands as an exciting and enthralling Bond movie.

 

 

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.

 

Moonraker

Tags

007, 1970's, Bernard Lee, Corinne Cléry, Desmond Llewelyn, Geoffrey Keen, James Bond, Lewis Gilbert, Lois Chiles, Lois Maxwell, Michael Lonsdale, Moonraker, Richard Kiel, Roger Moore, Spy

Film Title

Moonraker

Director

Lewis Gilbert

Starring

• Roger Moore as James Bond
• Lois Chiles as Holly Goodhead
• Michael Lonsdale as Hugo Drax
• Richard Kiel as Jaws
• Corinne Cléry as Corinne Dufour
• Bernard Lee as M
• Desmond Llewelyn as Q
• Geoffrey Keen as Frederick Gray
• Lois Maxwell as Moneypenny

Often referred to as one of the weaker entries into the Bond canon, Moonraker does have its appeal every now and then. But after the greatness that was The Spy Who Loved Me, Moonraker feels like a bit of a let down and just an attempt to cash in on the Star Wars phenomenon that was raging at the time of release. Saying that, every movie in the Bond series has something to praise in one way or another.

After surviving an aerial battle with old enemy Jaws, 007 arrives in London to receive his briefing from his superior M. In this adventure for James Bond, he is sent to uncover the theft of a space shuttle. Travelling to California, he investigates Hugo Drax, a suave industrialist with a passion for space whose corporation builds and owns the Moonraker space ship that was hijacked. What Bond uncovers is that Drax has a more dastardly plan than mere space travel. He plans to wipe out the world’s civilization with a deadly poison he has extracted from a rare orchid. After this and with human life gone, a specially picked group of people, who Drax dubs his master race will populate the Earth. With astronaut and CIA agent Holly Goodhead on hand in this mission, Bond must go from America to Venice, from Brazil to eventually the outer reaches of space in order to thwart the maniacal plot of Drax. Yet with Jaws once again on his tail, it won’t be easy for 007 to save the world from utter devastation.

As I mentioned earlier, Moonraker isn’t my favourite of the cavalcade of Bond flicks. Chief among the problems are the outlandish space angle that the movie has. Granted some of the space scenes are visually amazing, I just think the producers went a bit too far with the outrageous tone. As well, the plot just seems like a rehash of The Spy Who Loved Me, with only the settings being changed from underwater to outer space. Lewis Gilbert, to his credit, does his best to keep the action going, but too many examples of kookiness get in the way. Onto the positives of Moonraker and believe it or not, there are many good moments to mention. There is the kitsch appeal of Bond driving a motorized Gondola through the streets of Venice( keep an eye out for the double take pigeon). There is a very menacing scene in which Corinne, one of Drax’s workers who helps Bond find covert information, is chased through the morning woods by vicious Doberman’s to her eventual death. The set design is impeccable, from the house in which Drax resides to his stunning space station, every set is a marvel. I must admit that the space battle is quite thrilling with laser guns and gravity defying bodies, even if it is nothing more than just a riff on Star Wars. John Barry returns and gives Moonraker a beautiful score, with some chilling suspense pieces appearing that heighten a certain tension in the film. Shirley Bassey returns to sing the title song, and although it isn’t the best Bond song, Bassey performs admirably.

It may not be his best outing as 007, but Roger Moore nails the debonair wit and style of Bond with his mix of suave assurance and boyish charm. Lois Chiles, who is saddled with an underwritten role, does her best with the part of the suggestively named Holly Goodhead by giving her a feisty self-assurance and resistance to Bond’s seduction. I wouldn’t rank him among the best in the villains that 007 has encountered, but Michael Lonsdale has a cultured and ruthless quality that gives Hugo Drax a warped side that is good enough to give the character a presence. While he was menace personified as Jaws in the last film, Richard Kiel is unfortunately lumbered with the more comedic aspects of the character. This is largely distracting and the introduction of a love interest for him is just plain goofy in my eyes. Corinne Cléry is suitably winsome as the doomed worker who pays the price for betraying Drax for the affections of Bond. In what was his final performance as M before his death, Bernard Lee is arch and eye-rolling as Bond’s superior. It really is sad that Lee died as he made the role his own from the very beginning. Thank God he got an excellent send off and out of respect they didn’t feature the character in the next movie. Desmond Llewelyn has some witty moments as Q, while Geoffrey Keen is excellently exasperated by Bond’s methods as Minister of Defense Frederick Gray. Lois Maxwell is still as lovely and charming as ever in the part of loyal secretary Moneypenny.

All in all, Moonraker is a flawed Bond movie, but it does have a certain kitsch appeal in various moments and certainly stands out as one of the most outlandish movies featuring 007.

The Spy Who Loved Me

Tags

007, 1970's, Barbara Bach, Bernard Lee, Caroline Munro, Curd Jürgens, Desmond Llewelyn, James Bond, Lewis Gilbert, Lois Maxwell, Richard Kiel, Roger Moore, Spy, The Spy Who Loved Me, Walter Gotell

Film Title

The Spy Who Loved Me

Director

Lewis Gilbert

Starring

• Roger Moore as James Bond
• Barbara Bach as Anya Amasova
• Curd Jürgens as Karl Stromberg
• Richard Kiel as Jaws
• Walter Gotell as General Gogol
• Caroline Munro as Naomi
• Bernard Lee as M
• Desmond Llewelyn as Q
• Lois Maxwell as Moneypenny

After the negative reception towards The Man with the Golden Gun, the Bond producers knew that they needed something great to get 007 back on track. And that is precisely what they did with The Spy Who Loved Me, an exciting and high quality entry into the canon.

British and Soviet missile submarines have disappeared and it is up to our man Bond to look into the matter. After an outstanding pre-title sequence in which Bond escapes assassins by jumping off a snowy mountain with his skis only to reveal a parachute emblazoned with the Union Jack, the main plot comes into focus. Bond is tasked with recovering a tracking device that could in the wrong hands could cause the submarines to attack major cities. He is partnered with tough KGB agent Anya Amasova, in an attempt to ease the tension between East and West. Although they are supposed to work together, both know that each of their respective countries wants to claim finding it and have the glory. Unbeknownst to Bond, he killed Anya’s lover when fleeing from attack and she plans to kill him when the mission is over. The inquiries through Egypt and Sardinia lead the two to Karl Stromberg, a supposedly respectable shipping magnate. In reality, he is behind the theft of the submarines and has his own plans on causing war between nations to create new life under the sea. Despite their differences, Bond and Anya must work together to bring this plan to a standstill. Getting in the way of this is sinister henchman Jaws, who has metal for teeth and super strength and the fact that Anya is contemplating revenge for her slain lover.

Unlike Golden Gun, the humour in The Spy Who Loved Me is more controlled and balanced with the action in a much better way. Lewis Gilbert, who had earlier directed You Only Live Twice, is an ideal choice for director as he brings a spirited and adventurous quality to the movie, but never lets it slip into ridiculous hokum for too long. Genuine suspense is generated in many scenes, including Jaws stalking someone with information with murder in mind among the pyramids of Egypt. It is also created because the audience is aware of Anya’s motives for taking the mission and her plans for revenge. No Bond film would be complete without exotic locations, The Spy Who Loved Me boasts many beautiful locales for our hero to work his way through as he uncovers the scheme. This film ups the action and has many great chase scenes, I mean who doesn’t love that iconic Lotus that can swim underwater? And who can forget the ski chase at the beginning which screams iconic and memorable? Marvin Hamlisch is on score duties this time around and gives Spy an electrifying pulse, partly inspired by the disco craze at the time of filming. The main theme, entitled ‘Nobody Does it Better’ is one of the best Bond songs, as it clearly encompasses all the qualities that we love about 007 and Carly Simon’s vocals are outstanding in conveying the excellence of the hero.

Roger Moore gives one of his best performances as 007 in this movie, clearly comfortable with the humour and action and obviously enjoying himself. If anyone was unsure about Moore’s portrayal of Bond before, they weren’t questioning it after seeing his work here. The beautiful Barbara Bach is excellent as the hard-edged and able Anya, who can clearly handle herself and knows exactly how to succeed in her job. Playing her with formidable control, sex appeal and self-assurance, Barbara Bach makes Anya one effective Bond girl who is by no means a damsel in need of rescue. Curd Jürgens as Karl Stromberg may not be the best villain glimpsed in the dangerous world of foes that Bond faces, but he does have a stately quality which is used to hide his inner megalomania. More effective on the villain front is the hulking Jaws, whose metal teeth and extraordinary height even have Bond panicking. Walter Gotell is great as KGB head General Gogol, who is working with MI6 but still has reservations about it. Caroline Munro makes an impression in her brief role as the bikini-clad pilot who attempts to kill Bond. Bernard Lee has some great scenes of banter with Gogol as the two act courteously around one another but are still very much wanting their own country to locate the device first. The other regulars of the 007 universe, Desmond Llewelyn and Lois Maxwell are well-used in this adventure.

Filled with sinister plots, a gorgeous and reliable leading lady and stunning locales, The Spy Who Loved Me proves that nobody does it better than Bond.

 

The Man with the Golden Gun

Tags

007, 1970's, Bernard Lee, Britt Ekland, Christopher Lee, Clifton James, Desmond Llewelyn, Guy Hamilton, Hervé Villechaize, James Bond, Lois Maxwell, Maud Adams, Roger Moore, Soon-Tek Oh, Spy, The Man with the Golden Gun

Film Title

The Man with the Golden Gun

Director

Guy Hamilton

Starring

• Roger Moore as James Bond
• Christopher Lee as Francisco Scaramanga
• Britt Ekland as Mary Goodnight
• Maud Adams as Andrea Anders
• Hervé Villechaize as Nick Nack
• Soon-Tek Oh as Lieutenant Hip
• Clifton James as Sheriff J.W. Pepper
• Bernard Lee as M
• Desmond Llewelyn as Q
• Lois Maxwell as Moneypenny

Roger Moore’s second tour of duty as James Bond comes by way of The Man with the Golden Gun. It doesn’t match the heights of Live and Let Die because of its reliance on too much comedy and uneven sense of pace, but it has its moments that are exciting and enjoyable nonetheless, as is to be expected of any Bond movie. It may not be the best that the franchise has to offer, but it does its job.

The energy crisis is at its height and agent 007 is sent by M to locate a Solex Agitator, a powerful device that uses the sun for energy. There is just one hitch in the mission, MI6 has received a golden bullet, engraved with 007 on it. The only known person to use such a bullet is Francisco Scaramanga, an assassin who charges a million for a kill and is largely unseen by many. M believes that the bullet is a warning that Bond is the next intended target for Scaramanga. Bond, although investigating the Solar crisis, decides to find Scaramanga before he becomes the next victim. Jetting from Macau to Hong Kong and eventually Thailand, Bond discovers that the Solex and Scaramanga are actually linked in an evil plot to harness the world’s solar energy. With the bumbling MI6 agent Mary Goodnight in tow and the help of Scaramanga’s terrified mistress Andrea Anders, Bond is sent into this dangerous game of cat and mouse with his eye on eliminating Scaramanga before it is too late.

As previously mentioned, The Man with the Golden Gun is not the finest Bond film out there. I feel that the writers went a bit overboard on the comedy and lost some of the essence of the previous movies. A good example of this is the car stunt over a rickety bridge that is quite amazing to watch, but marred by the presence of a slide whistle sound effect that detracts from the impact of the stunt. Guy Hamilton lays on the comedy a little too thick with his direction, but at least has some quality action moments and stunning locales to showcase in the typical Bond fashion. The pacing is quite indifferent as well and could have been trimmed a little in parts that drag on. Just as Live and Let Die had incorporated elements of the blaxploitation genre that was popular at the time, Golden Gun decides to get in on the act with countless references to the burgeoning Kung Fu genre. Some of the martial arts scenes are good and well staged, but they eventually become more than a little tiresome. With those negatives out of the way, the positives will now be discussed. The location work is beautiful and the choice of Thailand is a stroke of genius. Scaramanga’s lair is a definite highlight of this, with the island location and breathtaking views. It makes for an excellent scene in which Scaramanga challenges Bond to an old-fashioned gun duel. John Barry returns for musical duties and provides a lush score with Far Eastern allure and intrigue ever-present. The title song may not be the best, but with Lulu on vocal duties and singing with seductive fervor, it serves its purpose.

Roger Moore is once again on fine form as Bond, playing the role with a definite tongue in cheek quality and filled with some great one liners. He has the charm to burn and charisma a plenty and firmly establishes his idea of Bond. Christopher Lee, with his imposing stature and sinister presence is an ideal adversary for Bond. Playing Scaramanga as a ruthless but utterly charming villain, Lee relishes the part as he toys with Bond and questions his moral standing. Although a gorgeous presence and a stunner in a revealing bikini, Britt Ekland’s role as fellow MI6 agent Mary Goodnight is not the best. A bumbling and very clumsy helper to Bond, many of her antics act as more of a hindrance than anything else. I will give Britt Ekland some credit in that she does have her funny and charming moments, but the role of Goodnight just isn’t that good or interesting. Maud Adams gets the better Bond girl role in the form of the tragic and vulnerable Andrea and is very emotionally effective in the part. It is through her that Bond traces Scaramanga and we get the sense of loneliness and restriction that Andrea must endure under the influence of Scaramanga. Hervé Villechaize is a hoot as Scaramanga’s pint-sized sidekick Nick Nack who is prone to sly actions. Soon-Tek Oh is not very effective as an agent helping Bond on the mission. The same can be said about bringing back Clifton James as Sheriff Pepper. It is a misstep as he soon becomes a nuisance in the film. Bernard Lee is particularly gruff but witty this time around as Bond’s superior and Lois Maxwell equally charming as Moneypenny. And its good to see Desmond Llewelyn back as Q after his absence in the last movie.

The Man with the Golden Gun is not 007’s finest hour, but it has its moments that can be enjoyed throughout.

 

 

 

Live and Let Die

Tags

007, 1970's, Bernard Lee, Clifton James, David Hedison, Geoffrey Holder, Gloria Hendry, Guy Hamilton, James Bond, Jane Seymour, Julius Harris, Live and Let Die, Lois Maxwell, Roger Moore, Spy, Yaphet Kotto

Film Title

Live and Let Die

Director

Guy Hamilton

Starring

• Roger Moore as James Bond
• Yaphet Kotto as Dr. Kananga/Mr. Big
• Jane Seymour as Solitaire
• David Hedison as Felix Leiter
• Julius Harris as Tee Hee
• Geoffrey Holder as Baron Samedi
• Gloria Hendry as Rosie Carver
• Clifton James as Sheriff J.W. Pepper
• Bernard Lee as M
• Lois Maxwell as Moneypenny

After Sean Connery signed off once again from the role of 007 in Diamonds Are Forever, the role was subsequently recast. The part was filled by Roger Moore, who brought a more debonair and charming air to the role of 007. Live and Let Die is his first outing as Bond and a successful one at that, a breath of fresh air after the underwhelming previous movie. With Moore now in role, the world of Bond is still as exciting and thrilling as it always has been with a few tricks along the way.

This time we have Bond investigating the deaths of three of his fellow agents. All three where looking into the affairs of political president of a small Caribbean island,Dr. Kananga and a known drugs lord named Mr. Big. Bond is sent to New York, where he encounters Mr. Big as well as Kananga. Piecing the plan together, Bond deduces that they are one in the same. Kananga plans to flood the American market with two tons of heroin and earn millions in the process, he hides his fields of opium on his island and has it heavily guarded under the guise of voodoo master Baron Samedi. Kananga also uses the virginal fortune-teller Solitaire to his advantage. As long as she remains a virgin, she will have the power of foresight. But after a night of passion with Bond, Solitaire finds her life in danger. Bond’s attempts to stop Kananga’s plan send him from the slums of New York to the bayous of New Orleans as he comes up against the crime lord and the powers of voodoo in an exciting eighth entry into the Bond series.

What is interesting upon viewing Live and Let Die is the influences of other genres that it has. It takes many cues from the blaxploitation genre that was popular in the 70’s and many a gangster film. This gives Live and Let Die more of an edge, rather than having a world domination plot it settles for a thrilling and somewhat gritty plot of drug smuggling with the nefarious Kananga at the centre of the scheme. Elements of the horror genre abound in Live and Let Die, primarily in the form of Baron Samedi and the use of voodoo as a backdrop, with tarot cards, human sacrifices and creepy symbolism a plenty. Guy Hamilton regains his confidence again and after the misstep of Diamonds, delivers a more assured and action-packed outing for 007. The action is the main highlight of the film, with a chase on speedboats through the bayou a compelling example of this. For the first time in the Bond series history, John Barry does not provide a score. This task falls to George Martin, who does a commendable job of balancing the sounds of exciting action with the dark undercurrent of the mystical. The amazing title songs, performed by Paul McCartney and Wings, is one of the best songs for a Bond movie with its shifts in tempo, devilish drums and rocking guitars. The song compliments the dark title sequence of gorgeous girls covered in tribal paint, skulls on fire and clawing hands.

Filling the shoes of 007 for the first time is Roger Moore. He brings more charm to the role, but also a certain ruthlessness as well. Moore’s incarnation is very much the more humorous Bond than Connery(especially with that one eyebrow raise and razor-sharp wit), yet he does have serious moments in which he also excels.Moore certainly makes an impression on his Bond debut. Yaphet Kotto makes for an excellent villain in the form of the two-faced Kananga, his sinister smile and outbursts of anger are particularly effective. The beautiful Jane Seymour inhabits the role of Solitaire with a guarded and naive sensitivity, as we watch her gradually slip from under the domineering influence of Kananga into the willing arms of Bond. David Hedison portrays the most charismatic Felix Leiter in the series, and Julius Harris as the hook handed Tee Hee and Geoffrey Holder as Baron Samedi are fine as two of Kananga’s many henchman. Gloria Hendry is saddled with an uninteresting role as a rogue CIA agent employed by Kananga, whilst Clifton James has a laugh as the redneck sheriff caught up in the speedboat chase. Once again Bernard Lee and Lois Maxwell are given scant material as M and Moneypenny. And it is really annoying that Desmond Llewelyn is absent as Q.

Live and Let Die is an exciting and intriguing Bond movie with loads of action, adventure and enjoyment that is the perfect way to introduce Roger Moore as the new James Bond.

Diamonds Are Forever

Tags

007, 1970's, Bernard Lee, Bruce Glover, Charles Gray, Desmond Llewelyn, Diamonds Are Forever, Guy Hamilton, James Bond, Jill St. John, Jimmy Dean, Lana Wood, Lois Maxwell, Putter Smith, Sean Connery, Spy

Film Title

Diamonds Are Forever

Director

Guy Hamilton

Starring

• Sean Connery as James Bond
• Jill St. John as Tiffany Case
• Charles Gray as Blofeld
• Jimmy Dean as Willard Whyte
• Bruce Glover as Mr Wint
• Putter Smith as Mr Kidd
• Lana Wood as Plenty O’Toole
• Desmond Llewelyn as Q
• Bernard Lee as M
• Lois Maxwell as Moneypenny

After critics sniffed at On Her Majesty’s Secret Service, the Bond producers managed to persuade Sean Connery to come back for one more performance as 007. The result is Diamonds Are Forever, one of the weaker entries in the series. But as with all of the Bond movies there are at least things of merit to praise. I mean any Bond is better than no Bond at all, isn’t it?

Diamonds begins with Bond tracking Blofeld for the murder of his wife Tracy. Blofeld has skilfully managed to have people made to resemble him, so it is harder to track the evil mastermind. After duelling with 007, it appears the Bond kills him. After the credits, Bond is given his new mission by M. Bond is to impersonate a diamond smuggler and infiltrate a smuggling ring with mysterious motives. Along the path of this trail he meets the ravishing Tiffany Case, a smuggler not realising what she’s let herself in for. It soon transpires that Blofeld is in fact alive and well. He is armed with a plan to use the smuggled diamonds to construct a satellite that will destroy nuclear power. Coming up against his old nemesis and leading him to Amsterdam and Las Vegas in the process, Bond must also contend with the ruthless killers of Mr Wint and Mr Kidd, who appear to be unlikely killers, but who delight in the art of murder.

I think I’ll get the negatives out of the way first when reviewing Diamonds Are Forever. For starters, the fact that the opening scene has Bond searching for Blofeld after the murder of Tracy is skated over and never mentioned again. In the last film, there was an effort to give Bond heart with him falling for Tracy, but Diamonds Are Forever seems to forget this and proceeds without any thought. Also, the over the top humour that worked in many of the earlier Bond adventures, grows rather tiresome here and becomes more than a little unconvincing. Guy Hamilton, who directed the iconic Goldfinger, doesn’t quite know which direction to go in with Diamonds and this does make it one the weaker movies in the canon. With those negative thoughts out of the way, onto the positives in the picture. The locations are amazing to behold, especially Las Vegas decked out in all its neon glory. Many of the sets are also excellently mounted, including a hotel floor that doubles as an aquarium in which Bond and Tiffany have an amorous encounter while suggestively wrapped in mink. John Barry contributes a lively score of excitement and danger. The highlight has to be the classic title song, sung with seductive prowess by Shirley Bassey. The sensual atmosphere of the song adds to the sexy title sequence of girls draped in shimmering diamonds.

It is good to see Sean Connery give the role of Bond one last go. Diamonds doesn’t feature his best performance as Bond, but Connery has more than enough charm, wit and danger to paper over the cracks. Jill St. John is sexy and flinty as the diamond smuggler Tiffany Case. It is unfortunate that she starts out as independent and hard-edged but then falls into damsel territory. None of this is the fault of St. John who is charming and fetching, but more the writer’s fault. Charles Grey makes for a more funny Blofeld that the incarnations portrayed by Donald Pleasence and Telly Savalas. Yet he still has an air of menace about him as he puts forward his scheme. Jimmy Dean is a hoot as the billionaire kept captive by Blofeld, while Bruce Glover and Putter Smith make for an interestingly morbid duo as Wint and Kidd. Lana Wood, though appealing, is wasted as a gold digger who ends up in the wrong place at the wrong time. Desmond Llewelyn has his moments as gadget guy Q, particularly funny with his device that allows him to win a lot at the slot machines of a casino. Unfortunately, series regulars Bernard Lee and Lois Maxwell are underused as M and Moneypenny.

Certainly one of the weaker Bond movies, Diamonds Are Forever is still enjoyable at times, just not the sum of its parts.

 

On Her Majesty’s Secret Service

Tags

007, 1960's, Bernard Lee, Desmond Llewelyn, Diana Rigg, Gabriele Ferzetti, George Lazenby, Ilse Steppat, James Bond, Lois Maxwell, On Her Majesty's Secret Service, Peter R. Hunt, Spy, Telly Savalas

Film Title

On Her Majesty’s Secret Service

Director

Peter R. Hunt

Starring

• George Lazenby as James Bond
• Diana Rigg as Tracy di Vicenzo
• Telly Savalas as Blofeld
• Gabriele Ferzetti as Draco
• Ilse Steppat as Irma Bunt
• Bernard Lee as M
• Desmond Llewelyn as Q
• Lois Maxwell as Moneypenny

After Sean Connery began to grow tired of the role of 007, he left the series after You Only Live Twice and producers cast George Lazenby in the role. A male model with no training as an actor, On Her Majesty’s Secret Service would be his only venture as Bond. Initially sniffed at upon release, the film has grown over time and there is much to praise in it.

The movie begins with Bond in Portugal. He witnesses a young, beautiful woman walk into the sea in a suicide attempt. The young woman is Teresa ‘Tracy’ di Vicenzo, a countess. Before anything else can happen, Bond is ambushed and Tracy runs off. Entranced by her, Bond is later taken to Draco, the leader of a crime syndicate and Tracy’s father. The charming Draco thinks that Bond would be an ideal husband for his wayward daughter, yet Bond isn’t convinced at first. It turns out that Draco has information on the nefarious Blofeld because of his criminal connections. Agreeing to woo Tracy in exchange for the information, Bond actually begins to fall in love for the first time with this woman. Although M is reluctant to send Bond on the mission to discover what Blofeld’s next plan is, he lets him go eventually after Bond threatens to resign from service. Travelling to the Swiss Alps, Bond encounters Blofeld in a health spa designed to cure allergies of a group of gorgeous girls from around the globe. The cures are a front for his evil plan; he has brainwashed the unwitting women to sterilize the world’s food supply, thus bringing the world to its knees unless his request for amnesty is accepted. Battling to save the world, Bond is aided by the influential Draco and also Tracy, with whom he is now totally in love with. He must face off against Blofeld as well as his loyal henchwoman Irma Bunt if he is to thwart the mastermind’s scheme. Love, excitement, tragedy and thrills collide in On Her Majesty’s Secret Service to create a tense Bond adventure with a human heart.

Although many of the Bond movies are about excitement and thwarting evil plans in outrageous style, On Her Majesty’s Secret Service strips this formula back a little by having Bond fall in love. The script effortlessly twins the excitement and thrilling adventure with this underlying love story that makes this a Bond movie with a difference. Some people may not like that the film has a more serious tone than its predecessors, but I like the change in the formula and the shaking up of the conventions we expect from a Bond movie. Best known as the editor on many of the previous instalments, Peter R. Hunt capably directs the film and gives it a heart-stopping suspense that doesn’t let up but also gives us a chance to delve deeper into the heart of Bond. Many of his innovative editing techniques are present here, especially in the fight scenes. The stunning location of the Swiss Alps is breathtaking and makes for many effective scenes of Bond being menaced by the enemy pursuing him on skis. John Barry provides an evocative yet thrilling music score to underpin the romance between Bond and Tracy and the dangers they both face. The highlight of the music is Louis Armstrong’s “We Have All the Time in the World”, a stunning ballad of strings and powerful vocals that acts as the moving love song for the couple.

He may not be as effective as Sean Connery was in the role of 007, but George Lazenby has his moments and is definitely physically capable in the action scenes. Diana Rigg is wonderful as Tracy, the woman who finally captures Bond’s womanizing heart. Rigg makes Tracy such an interesting and multi-dimensional character; she can be bold and reckless, but vivacious and strong in equal measure. This is why Tracy ranks as one of my favourite Bond girls as you can see why Bond would be so entranced by her character. Telly Savalas makes for an interesting Blofeld, this time around he isn’t afraid to get his hands dirty and personally fight with Bond so he can resume his grand plan of worldwide devastation. Gabriele Ferzetti makes for a likable and charming ally in Draco, whilst Ilse Steppat is perfectly stern and unsmiling as Blofeld’s right hand helper in evil. Bernard Lee is still crusty as ever as M, and we do get a glimpse of his house in this movie and his exchange with 007 is filled with wit and banter. Q is marvellously played by Desmond Llewelyn and Moneypenny is her flirty usual self when it comes to Bond’s affairs.

Thrilling but also quite dramatic, On Her Majesty’s Secret Service is an interesting addition to the franchise that isn’t afraid to shake things up a little.

You Only Live Twice

Tags

007, 1960's, Akiko Wakabayashi, Bernard Lee, Desmond Llewelyn, Donald Pleasence, James Bond, Karin Dor, Lewis Gilbert, Lois Maxwell, Mie Hama, Sean Connery, Spy, Teru Shimada, Tetsurō Tamba, You Only Live Twice

Film Title

You Only Live Twice

Director

Lewis Gilbert

Starring

• Sean Connery as James Bond
• Tetsurō Tamba as Tiger Tanaka
• Akiko Wakabayashi as Aki
• Mie Hama as Kissy Suzuki
• Donald Pleasence as Blofeld
• Teru Shimada as Mr Osato
• Karin Dor as Helga Brandt
• Bernard Lee as M
• Lois Maxwell as Miss Moneypenny
• Desmond Llewelyn as Q

The fifth film in the James Bond canon, You Only Live Twice is also one of the most well-known. With the iconic villain of Blofeld, stunning locations and action, it is a great addition to the franchise. Some of it may become a little ridiculous but overall You Only Live Twice is a strong, entertaining and memorable spy movie.

In the opening scenes, James Bond fakes his death while in Hong Kong so that his enemies are less suspecting. After a mock funeral at sea, Bond is informed of his next mission. The mission in question centres around American and Soviet spacecrafts that have disappeared in orbit under mysterious circumstances. With each nation blaming the other and tensions mounting, M dispatches Bond to Tokyo to find the cause of this potentially fatal situation. 007 soon uncovers that SPECTRE is behind this, with the nefarious head Blofeld at the heart of it. He plans to instigate a war between the countries and wreak havoc in the process, all from the security of his lair which is situated under a dormant volcano. Helped by the charming head of Japanese Secret Service Tiger Tanaka, female agent Aki and eventually a student of Tanaka’s Kissy, Bond dives into the sinister plan and hopes to stop nations coming to the brink of war.

You Only Live Twice features some of the best set design in the Bond movies. Under the skilful eye of Ken Adam, the volcano lair that houses Blofeld is amazing to look at and ingenious in its execution, with it still holding up even in today’s age of blockbusters. The same can be said about the beautiful Japanese locations, that paint a thrilling and adventurous picture of the Orient as Bond comes up against his many enemies amongst the blazing sun, mountains and rivers. Lewis Gilbert directs with finesse and makes the film memorable all round with its cocktail of action, scenery and intrigue. The final attack on the volcano lair is exciting and generates thrills and explosions a plenty. It’s also great to finally see Blofeld in person. In other films, he was just a voice, a pair of hands and a purring Persian cat. But in You Only Live Twice, we get a look at the evil mastermind for the very first time and it immediately becomes an iconic scene. Where You Only Live Twice stumbles is in the moments when it falls into the realms of ridiculousness. The main example is Bond being made to look Japanese as part of his cover. The whole idea is needless and doesn’t do anything for the plot as well as being supremely unconvincing. John Barry contributes one of his best scores to the series with a lush and romantic sound featuring prominently as well some suspenseful pieces of composition. Nancy Sinatra’s haunting title song perfectly compliments the beautiful title sequence of Maurice Binder, which incorporates spinning parasols, melancholy geishas and lava flowing.

Despite being disillusioned with the role at the time of filming, Sean Connery is still charming, virile and convincing as James Bond on yet another mission to stop worldwide war. Tetsurō Tamba is charismatic as Tiger Tanaka, Bond’s valuable ally in Japan. The scenes between Connery and Tamba are great as we see that both men are very similar in that they are there to do a dangerous job, but are not above refusing the advances of beautiful women. As the two Bond girls, Akiko Wakabayashi and Mie Hama are beautiful and charming, even though neither is given much in the way of character development. Despite this, both girls are good as willing agents aiding Bond on his mission. Donald Pleasence is creepy and effective as the mastermind Blofeld, his scarred face and Persian cat becoming staples of evil and leading to many imitators. Teru Shimada and Karin Dor are used well enough as enemy agents, scared to fail their menacing boss for fear of a painful death. The MI6 regulars( Bernard Lee, Lois Maxwell and Desmond Llewelyn) are all fine, with Llewelyn especially humorous as Q.

Despite the odd trip into ridiculous and needless strands that don’t make sense, You Only Live Twice is another exciting yarn in the James Bond universe.